Book Description
A century of family tales from two beloved but divided homelands, Iran and America
Drawing on her remarkable personal history, NPR producer Davar Ardalan brings us the lives of three generations of women and their ordeals with love, rejection, and revolution. Her American grandmother’s love affair with an Iranian physician took her from New York to Iran in 1931. Ardalan herself moved from San Francsico to rural Iran in 1964 with her Iranian American parents who barely spoke Farsi. After her parents’ divorce, Ardalan joined her father in Brookline, Massachusetts, where he had gone to make a new life; however improbably, after high school, Ardalan decided to move back to an Islamic Iran. When she arrived, she discovered a world she hardly recognized, and one which demands a near-complete renunciation of the freedoms she experienced in the West. In time, she and her young family make the opposite migration and discover the difficulties, however paradoxical, inherent in living a free life in America.
Customer Reviews:
Great Story Not So Great A Story Telling.......2007-08-11
The life story of Davar Ardalan is simply amazing. I only wish her editor had done more to make the text flow smoothly.
Great Story.......2007-04-15
This is an amazing story about a fascinating family. As a first time writer it is a great effort, but I believe that the editors dropped the ball in a few places and that this could have been a better book.
A Woman's Journey to Iran and Back.......2007-03-13
At a time when tensions between the Muslim world and the United States are strained at best, it is good to see a book that talks of Iran in terms of life at an ordinary level. In this book, a woman returns to Iran where she was born in an attempt to live life as a traditional Muslim, wearing a chador and agreeing to an arranged marriage.
Even more interesting is the fact that in so doing, she was following in the footsteps of her ancesters who had made a similar journey. In part this is the report on a personal journey, a coming of age book where her vision of an ancestral home was destroyed by the reality of life in a country rules not by law but by religious zealots who have literally the power of life and death. After this somewhat strange start on her life, Ms. Ardalan was able to return to this country, complete college and move on to a career in journalism.
The book is written rather matter-of-factly but reading between the lines there is a lot about life in Iran, in the Muslim world and brings a better understanding of what the world is all about.
O,Iran- Washington,DC.......2007-03-10
I can not agree more with the reviewer -errrrrrrrrrrrrin Portland-.I still love to read books written by Iranian authors. What is interesting to me that you see more and more Iranian American women writing about their lifes, but I have not found one written by an Iranian American man.
.......2007-03-09
After writing a whole book on searching for identity, it surprises me to see that the author has not managed a true self acceptance and published her book not under her first name Iran (as she has done thru most of her life).
This reminds me of the author of the "Funny in Farsi", Firoozeh Dumas, that seized the opportunity to cash in her "persian" memories but in reality distances herself from all that is Iranian.
Book Description
In 1994, Kevin Smith debuted his low-budget filmClerks at the Sundance Film Festival. It became an instant cult classic and made Smith the top dog of the indie film world. Next he was an executive producer of the smash hit Good Will Hunting and quickly earned the title 'King of Gen X Cinema' from Time magazine. He appeared on Charlie Rose, Politically Incorrect, Late Night with Conan O'Brien, and currently holds a regular spot on The Tonight Show with Jay Leno hosting a segment entitled 'Roadside Attractions.' Fans of his films will instantly recognize Smith as Silent Bob-the character with no lines. And last year Smith began writing a hilarious monthly column covering popular culture for Arena magazine. In this side-splitting rant-fest, Kevin Smith waxes rhapsodic and obnoxious on everything from his platonic infatuation with Ben Affleck to his bloodcurdling hatred of Britney Spears, from his shocking diagnosis with morbid obesity to the fatal flaws of SpiderMan-all done in his inimitable, raunchy style.
Customer Reviews:
Kevin Smith Fan? You Will Love This.......2007-10-03
Kevin Smith proves himself as a very good writer once again with this collection of his blogs. There is a lot of behind the scenes information given as well as his likes and dislikes when it comes to movies and celebrities. The stories range from funny to serious, but all keep the interest of the reader the entire time. If you are a fan of the "Evening with Kevin Smith" DVD series, this is basically the same kind of thing but in book form. The stories are different than on the DVDs, so I didn't mean that the same stories are told that you have heard a thousand times.
So basically, if you are a fan of Smith, this book is a must have that you won't be able to put down. If you're not a fan, why bother with this in the first place? Fans will find enjoyment, but I doubt those Clerks haters will have their opinions changed. This is for the fans, and fans...I can't say it enough, you will like this book.
A treat for Smith fans.......2007-04-22
What does it mean to have a cult following? When one speaks of directors like Clint Eastwood, Ron Howard, Martin Scorcese or Steven Spielberg, the reference is to a director that appeals to a broad audience, as opposed to one who appeals to a smaller group. This limited appeal director can be said to have a cult following, and like with regular cults, the followers are often more avid (or deluded, depending on your viewpoint) than their mainstream counterparts. It's the different between Christians and Movementarians (Simpson fans will understand).
Kevin Smith has a cult following and I am one of the cult. He will never have the broad popularity of Eastwood, et al, because that isn't his goal. His movies are crammed with dialogue and limited in action and often the items discussed could be considered offensive. Clerks, Smith's first movie, was almost given an NC-17 rating for the dialogue alone. But to those who don't offend easily, Smith's movies are often really funny. Smith himself is both a funny writer and speaker; as DVDs of his college tours show, he has a definite following and he can be hilarious in person.
Silent Bob Speaks is a collection of essays he has written, primarily for Arena magazine. For those familiar with Smith from other things (his movies, etc.), this fits right in with the Smith they know. If you don't know Smith, this is not the place to start (for example, if you don't know who Silent Bob is, you probably need to rent one of his DVDs first (but not the atypical (although good) Jersey Girl).
Much of the book deals with behind-the-scenes happenings for his movies Jay and Silent Bob Strike Back and Jersey Girl, with plenty of wonderful asides, such as why he doesn't like Reese Witherspoon but does like David Duchovny. For the most part, he is kind to the celebrities he discusses, and his interviews with Ben Affleck and Tom Cruise will give you some insights into those actors with very little negative material. And, most importantly, the book is really funny.
One reason Smith has his cult following is that he successfully seems like one of the guys. You might like Steven Spielberg, but it's hard to imagine that he'd just like to hang out with you. On the other hand, Smith seems a lot less aloof; his movies are filled with friends of his and his view of himself is nicely self-deprecating. This book is more of what makes a Smith fan a Smith fan.
Avoid.......2007-04-22
I am a Kevin Smith fan. I love most of his work and by that I mean I wasn't big on the sequel to "An Evening With Kevin Smith" and I wasn't big on "Chasing Amy" or the animated series of Clerks. The rest of his movies I liked a lot or loved. Never read his comics though.
I was expecting a lot from this book. And I didn't get it. This book takes place basically telling the story kind of like production journals of him working on "Jay & Silent Bob Strike Back". But while he is doing that he goes off on stories about other topics. Don't get me wrong, I typically enjoy that stuff from him a lot. But this book hasn't made me laugh once and I am a tad over 100 pages into it.
Kevin Smith Fans Will Love It........2007-01-10
I bought this book for my husband who is a huge Kevin Smith fan. If you are a fan, you won't be disappointed. If you are easily offended by language, the occasional potty humor and thinking out of the main stream its probably not the book for you. He is a brilliant writer who can write about everything from being obese to meeting Tom Cruise. It's a good (and quick) read.
great if you like Kevin Smith.......2006-12-19
And I do. I REALLY enjoyed this. Historical stuff, new(er) stuff, and fun stuff. This is pure Kevin Smith
Book Description
Suspense, excess, danger, and exuberant fun come together in Chuck Barris's unlikely autobiography- the tale of a wildly amboyant '70s television producer nationally known as the host of The Gong Show. What most people don't know is that Barris also spent close to two decades as a decorated covert assassin for the CIA, claiming to have killed over thirty people. Honestly. Barris, who achieved tremendous success as the creator of the hit game shows The Dating Game and The Newlywed Game, joined the CIA as an agent in the early 1960s. He inltrated the Civil Rights movement, met with militant Muslims in Harlem, and was sent abroad to kill enemies of the American state, even as his game shows began to soar to ratings success. Originally published in 1982, Confessions of a Dangerous Mind has been out of print for a number of years, but interest in Barris is about to reach an all-time high, with a major movie based on the book coming from Miramax Films in December 2002. The all-star cast includes Sam Rockwell, Julia Roberts, George Clooney, Brad Pitt, and Drew Barrymore. Barris will be covered extensively in the media this fall. Confessions of a Dangerous Mind is a wild and improbable tale spiced with intrigue, sex, bad behavior, and plenty of one-liners.
Customer Reviews:
Confessions of a fantasizing mind...........2005-11-30
Some fantasize what they would do if they win the lottery and some fantasize being a hitperson for the CIA.
One should most likely take this book with a few grains of salt. Even if it isn't true it is still entertaining. Quick reading.
the big question.......2005-10-14
Very good and interesting but of course I am a Chuck Barris fan. It is especially interesting to read the book and see the movie in the same week. The BIG QUESTION of course is: is it true or another Barris Production? And reading the book will still keep you guessing. I have a BA degree in Psychology and JD degree in law and still I cannot figure out if it is fiction or non fiction - the only disappointment I had was (after reading his first book) I wanted this book to be longer AND I wanted updated material and to know more about Penny (his wife). I hope he writes again!
Interesting - Regardless of the truth..........2005-01-17
Forget whether or not it's real. It's a good yarn that is convincingly told. Funnily enough, the parts of the story that concentrate on his role as a CIA agent are probably less interesting than his life as a gameshow producer and his own inability to be content with anyone or anything.
"The Homicide Game".......2004-12-12
I saw the movie "Confessions of a Dangerous Mind" first and then I read the book. As interesting and well made as the movie is, the book is actually better. I was a regular viewer of Mr. Barris's television programs and watched them quite a bit when I was growing up along with millions of other boomers.
It is a strange leap from producing "The Dating Game" and "The Newlywed Game" to being a contestant in Barris' real life version of "The Homicide Game." Yet, this is precisely what this story from Mr. Barris asks the reader to believe. Yet something in the back of my mind tells me that it is not actually all that difficult to imagine Mr. Barris actually saying, "And now here's a prize selected especially for you. It's a three-eighty hollow-point!"
I always thought Chuck Barris did not deserve all the vile and spiteful things that were said about him during his television producer days by critics and so-called media experts. He was just giving America what it wanted. Compared to the infantile sitcoms of the day, his game shows were far more mentally engaging. The first book I read by Barris was "The Game Show King: A Confession" and I was amazed at how well he wrote. But then again, this is a well educated, well traveled mature man who has lived life above and beyond the everyday Joe since 1965, so I should not have been as surprised as I was. "Game Show King" is a better insight into his complex and fascinating personality than "Confessions of a Dangerous Mind" and does not get into the CIA angle at all.
That Barris is just plain wired differently from normal people is obvious to anyone who ever saw "The Gong Show." However accepting that what he wrote in "Confessions of a Dangerous Mind" could all be true is certainly a stretch. Yet Mr. Barris is clever enough to make his story very convincing and extremely entertaining. There are very few clues here that he could be making the entire thing up, but they are there for informed readers. For only one example, he writes about CIA operations which happened in the USA. Of course, this is specifically forbidden by law and they simply wouldn't do that. They would get the FBI to do it. There are other very minor details that are also questionable.
The true mystery of this book and its sequel "Bad Grass Never Dies" isn't whether or not the CIA angle is true. The real mystery is that since Barris doesn't need the money why does he bother to write these books at all? As of yet his true motivation remains a mystery, but I wouldn't be surprised if his next book is about why he wrote the "Sunny Sixkiller" books. I've seen him interviewed and he's been extremely evasive when directly questioned on the story's validity. None the less, this is one very enjoyable book that I had trouble putting down and finished in no time flat. I was left wanting more. I really enjoy Barris's writing style. I think he could have been an everyman's Tom Clancy or Ian Fleming if he'd really wanted to be. Instead of carving a literary legacy for himself, he will be remembered primarily as "Chuckie-Baby" Barris, the apparently deranged master of disaster on "The Gong Show." This is a pity as he writes so well. The ending of this book is really very good. The ending of the film it is just not as good. I would have enjoyed reading an entire "Sunny Sixkiller" series if he had written one.
Refreshing and Intriguing.......2004-10-18
Though I read this account two years ago, I still vividly recall of my impressions. This is not a book you soon forget. Though some say this is hype or improbable, I found it believable and think it was accurately written (however,I am sure certain details were left out). Mr. Barris makes no apologies for his behavior, which I found particularly interesting because to do what he did one would have to be able to be an emotionless sociopath or psychopath. He is obviously highly intelligent and for someone who created many of the game shows we still watch 40 years later, this was the ultimate game! Anyone who favors the genre of murder mysteries or finds True Crime intriguing, would not want to pass up this book. I also think those in law enforcement and the psychology professions would gain insight into the motivations of a hired killer.
If you enjoyed the movie, the book is much better!
Book Description
A fascinating, anecdote-filled behind-the-scenes look at more than forty years of the highlights, successes, and day-to-day inner workings—all about productions, the divas, and backstage dramas—of New York’s Metropolitan Opera House, by Joseph Volpe, the only general manager to have risen through the ranks.
This book is the story of Volpe’s years leading up to those at the Met, from his first job as a stagehand at the Morosco Theater to the odd jobs he picked up moonlighting: setting up a searchlight or laying down a red carpet for a movie premiere, changing titles on the marquees at the Astor, Victor, and Paramount theaters. It is his Met years—from apprentice carpenter to general manager—that give us a story about New York and the business of culture. Volpe looks at the Met today, an institution full of vast egos and complicated politics, as well as its glittering past—the old Met at Thirty-ninth and Broadway, and the political and artistic intrigues that exploded around its move to Lincoln Center. With stunning candor, he writes about the general managers he worked under, including Rudolf Bing and Anthony Bliss; his own embattled rise to the top; the maneuverings of the blue-chip board; his bad-cop, good-cop collaboration with the conductor James Levine; and his masterful approach to making a family of such highly charged artist-stars as Luciano Pavarotti, Placido Domingo, Teresa Stratas, and Renée Fleming, and such visionary directors as Franco Zeffirelli, Robert Wilson, and Julie Taymor.
Customer Reviews:
Kenneth.......2007-01-20
The book disclose many backstages tales of opera. I enjoyed it pretty much.
Part autobiography, part history of the Met, and part stories about the performers.......2006-07-26
Opera is dramatic and bigger than life on stage and back stage. Now we learn about all the drama that also goes on in managing the Metropolitan Opera, the largest opera company in the world and an arts organization that puts on more opera performances each year than any other company on earth. Its budget is more than $200 million for something like 240 performances per year. I was quite surprised to read how the monies to fund this huge budget are raised. No, it isn't the government, corporate, or even the richest donors that provide the bulk of the money as I had suspected.
The 2005-2006 budget was $221 million. The Box Office receipts were $101 million, the endowment of $300 million provided another $18 million, parking and commons revenues provided $10 million, and the support from the Federal, State, and City governments was only $375,000! Where does the other $92 million come from each year? 125,000 private donors, 2/3 of whom live outside New York City, provide donations ranging from $60 to more than $500,000 and total $80 million. The 300 members of the Metropolitan Opera Club provide another half-million, and the board members each provide substantial contributions to the met each year. I found this fascinating and quite a different mix than I had expected.
The author, Joseph Volpe, has run the Met for the past 16 seasons, but has worked at the met for more than four decades. He joined as a carpenter and worked his way up from the back of the house to operations. While he showed great skill in getting the shows on stage, he was passed over more than once for the job of Managing Director because of his blue collar background. But after floundering through some poor appointments, Volpe got the job. He admits that his personal style is more, well, frank than most other arts managers and the scowl on his face on the cover photograph (and in some of those included in the book) let us know that he is all about getting the shows on stage and at the highest level rather than getting us to love him as a person.
Volpe came to love opera while working at the Met. True, his grandmother had him listen to "Cavalleria Rusticana" with her when he was a child, but it was getting the magnificent sets to work and to hear the great singers, choruses, and see the dancers, costumes, and even the guests, that got him to see what grand opera is truly about and fall in love with the greatest of all art forms.
The book is part his own biography, part the history of the Met, and part about the great singers he has worked with while at the Met in his various capacities. The book has dozens of interesting photos from all the eras of the Met and the stories of the singers are well chosen and very entertaining. Pavarotti, as you might expect, provides some wonderful anecdotes when he is trying to help Volpe lose weight and includes Volpe in his "yoga" lessons.
The book is quite a pleasant read and I enjoyed it a great deal. It is interesting to hear about the whole of the opera company including everyone it takes to make the shows rather than just the great soloists. Coming from a blue collar background myself, I enjoyed hearing about the working guys and gals that make the show work for those fabulous artists who create the great music with their voices and hearts. The magic wouldn't be nearly as powerful without all those sets, costumes, lights, and the performers on the chorus or the dancers.
Recommended!
The House of Diva.......2006-07-25
Joseph Volpe's "The Toughest Show on Earth" is a remarkably comprehensive look at the recent history of the Metropolitan Opera as told through the eyes of the retiring general manager, himself. Volpe has the best "view" in the house and no wonder...he's been there for over forty years.
From the start it's clear that Joe Volpe is not a man to be crossed lightly. Tough as nails (and nails were part of his business) he rises from an entry level position to the top job...and reveals much along the way. There's just enough "dirt" in this book to tickle the senses of the reader and anyone who has ever been in opera knows exactly what Volpe describes...in order to be associated with opera personalities it is sometimes required to act like one.
The longest chapter in "The Toughest Show" is devoted to Volpe's firing of Kathleen Battle and one can just see the steam building in the author's ears as he amasses stories of misbehavior on the part of the "embattled" diva over a period of years. Finally, he acts, much to the delight of the cast and crew. It's a juicy chapter and one of the best in the book. While Volpe offers reflections on just about anyone with whom he has come in contact, he reserves the nicest comments for conductor James Levine and (whom he calls the "Siamese Twins") tenors Luciano Pavarotti and Placido Domingo. Without these three would there be a present-day Metropolitan Opera?
There are occasional bouts of self-serving given over to by the author and often he feels a need to defend himself based on some past controversial decisions, (which I found rather astounding given the fact that he is departing the scene) but what makes "The Toughest Show" such a wonderful book is the comprehensiveness of the Met story. It's not only onstage and backstage but everywhere else, too. "The Toughest Show on Earth" is the greatest guided tour around. It's a terrific read and Volpe deserves much credit not only for this book but for a lifetime of service dedicated to one of the nation's treasures...the Metropolitan Opera.
Tough Love.......2006-07-13
Joseph Volpe was a tough as the job he took on when he grabbed the reins of the Metropolitan Opera House, having to deal with the likes of James Levine and Luciano Pavarotti.
But as in the phrase beloved of behavorial psychologists, his was a "tough love." He started as a carpenter at the Old Met with but a passing interest in opera, but by the time he left, music infused his very blood with a passion for his work and the people who populated the space he called home.
The autobiography details the years, the failed marriage, the battles with superstars, the triumphs and disappointments with a candor perhaps unique in this type of memoir, where the authors tend to be either diplomatic or, as with Sir Rudolph Bing, unrelentingly acerbic.
Volpe tells his story in lean, plain-spoken language that reveals the inner workings of the gargantuan Met and makes that place of mazes and convolutions an environment the reader can understand.
Joe Volpe (after reading the book, it's hard to think of him as Joseph) dragged The Met kicking and screaming into the 21st century without violating the traditions that surround opera, and his book is refreshing, entertaining and revelatory.
It should be read by anyone interested in opera, politics or the big business of show.
Behind the scene with refreshnig honesty.......2006-06-30
I found this book absolutely fabulous. Mr. Volpe is to the point and shall we say, extremely honest, in his account of his years at the opera, including via himself. One finishes this book with a greater understanding of what goes on behind the scenes. It reads well, with enough details to keep the average reader riveted and without the unnecessary clutter found in some of those books that insist on giving us an hour by hour acount of events. I especially liked the way the book was subdivided. If it does follow a certain chronological order, each chapter focuses on a specific subject matter, for example signers... that serves as the guide thru the different events. Hence, this book is delightful and I strongly recommend it to all and especially, if not exclusively, to opera lovers. Even ones who do not know a lot about opera will love this book.
Marie Kirouack
Product Description
Legendary British producer and early recording pioneer Joe Meek was known, among other things, for pushing the creative and technical audio envelope in the 1950s and '60s. In this exciting new title - the first ever to delve into the techniques employed by Meek - you'll learn practical tips and advice based on the information contained in interviews with people who worked extensively with Meek until his untimely death in 1967. Learn how he got, and how you can get, the best performances out of artists, plus his creative micing techniques, and use of effects processors and unusual 'instruments' to get new sounds. A great guide to thinking outside the lines while recording! Includes an exciting audio CD of Meek's legendary album I Hear a New World!
Customer Reviews:
Interesting insight into this original producer.......2006-06-29
This book shares some of the tricks and techniques of this legendary producer and shows how all pop recording and record production since has been influenced by them. The included recording and notes are especially helpful.
Wonderful work on an obscure topic.......2005-12-21
To anyone who is old enough to remember hearing the original 'Telstar' on the radio, this is a wonderfully researched bio on the life and work of a vastly underappreciated godfather of audio engineering. Also being a huge Deep Purple fan, I was surprised to learn that the great Ritchie Blackmore, was a first call session player for Joe (as a member of the Outlaws) and that there are some enticing recordings he made that I now have to spend the rest of my life searching for!
Great stuff. The equipment & discography are very well researched, in addition to the personal stuff. And you just can't beat the included disc of studio experiments, on the bizarre factor.
Well Done.......2005-11-13
Extremely interesting book about Joe Meek, the innovative English recording engineer and producer who made hit records in his flat. Has lots of detail and pictures of Joe's recording gear and recording techniques. Discusses how Joe Meek pushed the recording gear to it's limits while creating new sounds. Highly recommended.
A Great Read for Anybody Interested in Sixties Pop & Rock.......2002-06-05
I am very impressed by Barry Cleveland's book. He provides a great deal of specific information about Joe Meek's recording techniques and equipment. However, be not afraid, this is not done in a pedantic technical manner; it's very readable for the non-technical.
Being well familiar with most of Meek's recorded output, I especially enjoyed Cleveland's detailed commentaries on certain of Meek's recordings. For my taste, Cleveland could have gone on for many more pages on the same subject with different tracks.
I perceive Cleveland to be outside of the intense (mostly English) Meek cult which brings some fresh perspective on his work.
What more can I say? This was a good read that I raced through and will no doubt revisit frequently. The CD of "I Hear a New World" is a great bonus. It's surprisingly different from the RPM release. It makes me appreciate the work Roger Dopson and his associates did to bring out the RPM version.
An inspiration for all home recordists..........2002-03-08
The British record producer Joe Meek has attained posthumous cult status and rightly so: his innovative work broke the highly conservative mould of studios where engineers sported white coats as though they were in a science laboratory and everything was done "by the book".
In Meek's case the circumstances of his life - and more to the point his death - have created a lot of urban myth. After all, Spector may have discharged revolvers at ceilings, but Meek ended his own life - and that of his landlady - with a large shotgun and all on the anniversary of Buddy Holly's death!
With those factors in mind, it's refreshing to discover a book which traces Joe Meek's life, not for the sake of cheap scandal, but through the music he made through his innovative recordings and equipment creations/modifications. Barry Cleveland has achieved the near impossible by delivering a book which is both an enjoyable work for the non-technical reader and highly satisfying for the studio "anorak" who wants to know the fine details of Meek's home studio in London's Holloway Road. Cleveland has tracked down the closest surviving sources who bring to life a picture of the cluttered apartment where Joe Meek took on the mighty forces of EMI, Decca and the like and won - for a while at least - with hits like Telstar, Johnny Remember Me and Have I The Right.
If the words are top class, the layout is every bit the match for them, with many photos I've never seen before (and believe me, I've seen a lot of Meek-related photos!) and a full discography. I can't reccomend this book enough... how about 6 stars out of 5?!
Book Description
"PAYBACK'S A BITCH, JERRY."
The words scrawled crudely across Jerry Heller's bedroom mirror that afternoon meant the rap wars had suddenly escalated. In the battle of his life over the ragingly successful music label he had helped found, Ruthless Records, Heller had seen death threats, strong-arming, and beatings. Now the violence had come home when his enemies burglarized his house, jacked his Corvette, and left behind this sneering piece of graffito.
Heller didn't get mad; he got even. Ruthless tells the explosive story of Jerry Heller's alliance with Eric Wright, aka Eazy-E, one of the legends of rap music and a founding member of N.W.A., "the world's most dangerous band." As a longtime music industry superagent, Heller had the skill and insight necessary to guide N.W.A.'s cometlike rise to the top of the charts. Along the way there were raucous nationwide tours, out-of-control MTV pool parties, and X-rated business meetings. Heller held on through the brutal shocks and reversals of the Ruthless Records era, which saw the label being targeted by the FBI, and its principal artists locked in bitter conflict, until a final turnaround placed Ruthless at the top of the heap once more. Always in the middle of the whirlwind were Jerry and Eazy, an odd-couple pairing that represents one of the deepest and most appealing stories in American music.
You don't have to be an N.W.A. fan to love Ruthless. Heller turns the music industry inside out, exposing its strange logic and larger-than-life personalities. Ruthless provides keen insight into the popular music scene, with an unforgettable portrait of its rollicking excesses, life-churning drama, and multimillion-dollar highs.
Customer Reviews:
Jerry is out to settle the score........................2007-01-14
Jerry Heller aka Mr. Rourke is out to settle a few scores with Suge, Cube and Dre. The read is very laughable when he discredits Cube and Dre's gangsta reputations. My beef is with the way he claims Eazy E as a adopted son and protoge, then towards the end of the book, he discloses some very private information about Eazy's death. I found it disgusting for a person who claims to have had so much love for Eazy to do that.
A Very Choppy Read.......2006-12-31
The (Cleveland) Plain Dealer recently printed a lengthy interview with Jerry Heller as a promo to a talk he gave at the Rock-n-Roll Hall of Fame & Museum on his career in the music industry and to discuss Ruthless: A Memoir.
The book gets off to a very choppy beginning, as Heller struts a tough-guy persona that is absolutely silly. He sounds as if he is a rookie pro wrestler trying to psyche himself up for his first match by looking in the mirror & yapping through a monologue that he hopefully will be able to use in the future to get his "bad-guy" character over with the fans.
The extensive chapters on how he met Eazy-E, the rise of West Coast rap, the struggles to get Ruthless Records operating - the racism on the street & in the corporate boardrooms - and the exploding feuds with The D.O.C., Ice Cube and Dr. Dre are interesting. The same can't be said on material covering the implosion of the group and the battles with Suge Knight/Death Row Records; the sections read like the coverage in any number of books/articles.
About one-third of the book covers his work in the music industry in the 1960s and 1970s & is more of a narrative of names, places and anecdotes on the famous, near famous and wannabes.
It is a quick read and is written in more of a conversational flow. Ruthless: A Memoir has about as many misses as hits, but - in the end - will hold your attention in parts & have you skimming other chapters pretty quickly.
A Very Compelling Read.......2006-09-20
I have to admit, that when I first heard that Jerry Heller was writing a book about the Ruthless Records History, I was a little suspicious that the book would have something of a tabloid-esque, payback tonality to it. After all, any of us who followed the Ruthless chronicles in its entirety, knows well the verbal beating that Jerry Heller took after the break-up of NWA. His flogging seemed inevitable since most of Urban America, if not the world, was deeply dissapointed when Ice Cube left the group. So it was easy to jump on the "Jerk Jerry" band wagon when Cube pointed the finger at him. Then Dre pointed the finger. I even remember hearing the word "Draconian" being used in regards to the contracts the group shared.
Finally, and after a decade, Jerry Heller stands up to tell his side of things. Despite my suspicion, I was impressed to discover that book isn't nearly as bitter as I had anticipated. "Memoir" is an accurate term used in the books sub-title, as there's an obvious emotional undercurrent about the friendship that existed between Eazy-E and Heller. This friendship, severed by Eazy's death, takes on a documentary voice as Heller takes it all the way to the beginning. First, he gives us a brief account of his own life before he met Eazy. His pre-Eazy story helps underscore just how improbable their "dynamic duo" alliance really was. It also gives you a glimpse of just how much Jerry Heller evolved from having been in Eazy's company for years. Every good story involves change and evolution from experience and introspection, and that's something of how Heller as a "character" in this Memoir presents himself.
But perhaps what is even more urgent than appreciating the bond between Heller and Eazy is someone FINALLY bringing to the immediate foreground the indisputable importance that was NWA and "Straight Outta Compton." Somewhere in the beginning of the book, Heller mentions how Chris Rock noted "Straight Outta Compton" as the single most important album of all time. I vividly remember when I encountered this same article in Rolling Stones, because I felt a sudden relief that finally someone of significant celebrity had finally taken the Torch that everybody has given "The Chronic" and handed it to the rightful pioneer project: Straight Outta Compton. Anybody who witnessed the advent of NWA and how it changed the entire social and political climate of America knows what I'm talking about.
After NWA controversy became fashionable. Everybody, including Tupac & The Geto Boys, sought out controversey either through more explicitly told ghetto stories, or just plain explicitness and then defended it with the "I'm just kicking reality" - a signature mantra of NWA. "The Chronic" was a great album, but it was really just a smoother sequel to what Dre had already started with "Straight Outta Compton," and "Eazy Duz it."
This book finally offers people like me 300+ pages of WHO, WHAT, WHEN, WHERE, WHY and HOW descriptions of NWA.
Not to be missed are pages 98-100, where Heller gives a tell-all account of Eazy, Dre, Yella and Heller being harrassed by the police while hanging in front of THEIR recording studio during a break. Actually, let me correct myself. Heller stood on the sidelines and protested in awe as the police completely excused him from the routine pat-down administered to the other three. As a black man who has many white friends, I will be the first to say that whites often dismiss and refuse to believe that the police are that selective in singling out young black men. That's what made "F--- tha Police" such a potent and prophetic song. Heller's story serves to validate it.
The book does have a somewhat sour beginning, specifically when Jerry attempts to brand himself with the "N" word. A move that wasn't so much offensive as it was pretentious. Even if he is as anti-establishment as he claims, turning the "N" Word into a self-given fashion emblem is a temptation (and embarrassment) he should have avoided.
Another unfortunate part of this book, and I'm not sure if this is a reflection on the book or just the reported history of the author, is that you can't help but feel suspicious of how much of the story has been slightly twisted to simply un-do all that has been said in the past about Heller and Eazy. At times, you can sense the indulgence to over-romanticize an obvious "Father and Son" story, but hey, maybe it really was that way. And if not, I suppose all that matters is that it geuninely seemed that way to Heller.
Eitherway, if there is truly two-sides to every story, then here we have at last a little light shed on the alleged "darker side" that was the backbone of Ruthless Records. If nothing else, Heller is probably one of a small few who make up the short list entitled to tell Eazy's and the Ruthless story.
trip out Book.......2006-09-05
Jerry Heller&Eric 'Eazy E" Wright RIP flipped the whole script of Hip-Hop. forget what you know about Hip-Hop pre NWA Era Hip-Hop because Hip-Hop as we know it mirrors the NWA Era more than anything else. Jerry Heller is a interesting musical figure. Loved or Loathed he pulls no punches in this book. he sets the record straight about Ice Cube, Dr.Dre, Suge Knight&Other Musical Figures through his own eyes,ears&overall Opinion. once I started reading this book I couldn't put it down. my local Barnes&Noble accidentally put this book out a few days before it was suppose to reach the shelf,but it didn't phase me because I had time to read&I was just reading it. good feedback on the DOC, also Mechell'e the R&B singer who pre-dated alot of what Mary J.Bliege&other artists would do with bridinging the gap of R&B&Hip-Hop. also Heller was Marvin Gaye's Agent. very interesting storys on him&Marvin along with Heller&Elton John amongest other interesting tidbits in here. One of those Books that takes you back to a different era of the music business&when certain things that happen in Hip-Hop that made your jaws drop to the ground. it seems longer than it really is.
I loved this book.......2006-08-30
The book read like a novel which was interesting for a biography and surprisingly fun. It was not your basic "this is where I grew up; this is how great I am, this is what I'm doing now" biography. It was a look into two men's (Eazy-E and Jerry Heller) vision and the story of how they turned that vision into reality. It was almost inspiring to see how a 21 year old reputed dope dealer and a 40 year old Jewish man could team up to create one of the most powerful record labels ever and forever change the landscape of music. By far the best part of this book was how well they articulated the craziness that was omnipresent at Ruthless. Beat downs, guns, drugs, full blown war and kidnapping plots were everyday business for these thugs/businessmen/rappers.
Average customer rating:
- A Unique and Deeply Insightful Book
- Superficial and dull
- A fine study for film buffs and cinema history students.
- Remembering a Difficult Friend
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Mainly About Lindsay Anderson
Gavin Lambert
Manufacturer: Knopf
ProductGroup: Book
Binding: Hardcover
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ASIN: 0679445986
Release Date: 2000-09-26 |
Book Description
Lindsay Anderson was the most original British filmmaker and theatrical director of his generation. His films If . . . , O Lucky Man!, and Britannia Hospital created a Human Comedy of life in Britain during the second half of the twentieth century and were witty, daring, and often prophetic. This Sporting Life and O Lucky Man! made Richard Harris and Malcolm McDowell international stars; The Whales of August provided Lillian Gish, Bette Davis, and Ann Sothern the opportunity to give extraordinary farewell performances.
He also directed notable documentaries in several countries: in Britain, the Academy Award-winning Thursday's Children, about a school for deaf-mute children; in Poland, The Singing Lesson, a personal impression of a group of students at a drama school. In China, he recorded the 1985 concert tour by George Michael and Andrew Ridgeley of WHAM!
As a theatre director he collaborated with playwright David Storey on a series of successes (The Contractor, The Changing Room, In Celebration, Home), and he worked with such actors as John Gielgud, Ralph Richardson, Alan Bates, Albert Finney, Helen Mirren, Peter O'Toole, Joan Plowright, and Rachel Roberts.
Anderson was, as well, an outspoken and sometimes ferocious critic of British films--and of Britain itself. He was the author of the most important and acclaimed book on John Ford. And he was one of Gavin Lambert's closest friends for more than fifty years.
Lambert's book begins with his and Anderson's days as movie-struck schoolboys, becoming fast friends, growing up in the shadow of World War II. He shows us their postwar creation of and collaboration on the influential magazine Sequence--a magazine that was produced on love and a shoestring, and which shook up the British film world with its admiration for both Hollywood noir and MGM musicals (at the time unfashionable genres) and its celebration of such directors as Ford, Buñuel, Cocteau, Vigo, and Sturges.
He describes how both men rebelled in opposite directions--Anderson remaining in England, Lambert leaving in 1958 for Los Angeles--and traces their unorthodox paths through the film industry.
An illuminating, multifaceted portrait--of a friendship, of postwar moviemaking on both sides of the Atlantic, and, mainly, of the remarkable Lindsay Anderson.
Customer Reviews:
A Unique and Deeply Insightful Book.......2003-06-16
Gavin Lambert has written many books about the motion picure business, both fictional and non, but this is far and away the most remarkable. A tribute to a great filmmaker and a through examination of world he lived in, it's also a partial autobiography -- with Lambert's digressions on his affair with Nicholas Ray sharply constrating with Anderson's difficulties in having the lover he longed for. Anderson was capable of producing some of the most indelible homoerotic images in the history of the cinema, yet his own life suffered from sexual and emotional constraint.
No one who wants to know about the British cinema, or one of the most remarkable creative talents Great Britain has ever produced, can afford to pass up this book.
Superficial and dull.......2002-07-22
Too much Lambert: i.e., creaky, stilted, and boring.
His "outing" of the late Nicholas Ray is offensive and exploitive. Moreover, I find it difficult to believe that the explosively talented, sophisticated Ray took Lambert as a lover.
A fine study for film buffs and cinema history students........2001-01-04
British filmmaker Anderson's films were witty social commentaries for the late 20th century, while his documentaries were revealing and educational. Mainly About Lindsay Anderson provides a biographical review of his life and an assessment of his career and achievements, from his early days as a movie-goer to his later influential creations within the industry. Any studying modern film history will find this a fine study.
Remembering a Difficult Friend.......2000-10-03
Director and critic Lindsay Anderson was one of the makers of modern British cinema so this memoir "mainly about" him by his school chum and life-long friend Gavin Lambert is necessary reading for all serious students of film. But it is equally compelling an addition to the "literature of creativity" and so of interest to anyone concerned with the phenomenon of artistic production. Anderson had a vivid personality, warm and generous but often combative and sometimes hysterical, a character Lambert renders in telling detail. Anderson's world of theatre and film from the 1950's through the '90s is also drawn in fascinating if hardly encouraging terms.
Book Description
Chronicling the fascinating rise, fall, and rise again of legendary producer Robert Evans, "The Kid Stays in the Picture" offers a true insider's view of Tinseltown--complete with great stories about Hollywood royalty--that is definitely "worth the price of admission" ("Publishers Weekly").
Customer Reviews:
Meeting 'The Kid' .......2007-05-09
I met Bob Evans a couple of years ago at Book Soup on Sunset Blvd., for no less a 'literary' L.A. event than a 'book' signing for the release of 'Kid' on cd. I stayed after, to speak with the legendary producer and get my 1st ed. copy of 'Kid' signed. When the last guest had left, only myself, Evans and Army Archerd (with a Michael Clarke-Duncan size bodyguard) remained. I told Mr.Evans that I have great admiration of for his work and that meeting him was a dream come true for me. Evans' story as meteoric rise to head of production at Paramount and white-hot, sub-orbital fall due to substance abuse is an amazing tale of genius and hubris. Evans was personally involved in producing some the classics from a cinematic-artistic Golden Age: The Godfather, Chinatown, Harold & Maude, to name a few.
Absolutely fabulous!.......2007-03-31
This is a splendid chronicle of a remarkable career, though I can't help but wonder if Evans wouldn't have been happier if he had just learned to love himself for who he is.
Honest and absorbing.......2007-02-06
I've read just about every autobiography I've come across, but I'd have to say Robert Evans has taken a more honest and critical look at his life than anyone I've ever read.
I can't imagine anyone wouldn't find this book absorbing and interesting
Heroic Self- Absorption.......2006-12-04
This book celebrates "ME-ness" better than almost anything I've read in the last five years, except maybe for "Feel This Book."
Evans actually writes fairly well, although a few habits of repetition seem pointless or a distraction. This helps the reader get through what appears to be a narcissistic and self-absorbed exercise in "look upon my works, ye mighty, and despair."
Well, there is a difference between narcissism and self-absorption. After finishing this book, I realized that while Evans is in love with himself, he also is fairly realistic and self-appraising without being totally boring. Sort of like listening to someone at a 12-step meeting. The reader gets drawn into the lessons available from such constant and unblinking preoccupation with Evans' own attributes and foibles...
Anyway, great literature it ain't, but if you'd like to read long lists of names of famous people and hear how rough it is to make millions of bucks and get the most beautiful women in the world to sleep with you, it's a great choice!
Vulgarity overshadows story.......2006-08-29
I love to read about Hollywood, and I know I would enjoy this book if the "Eff-word" wasn't used so much. It proves to me that to get anywhere in Hollywood you have be very low-class and profane. Any really educated person would have a stronger command of the language. The eff-word is a stupid substitution for any word at all, and I just can't get interested in the book because of it. If you don't mind eff this and eff that you might enjoy the book. Too bad. It could have been a good read.
Average customer rating:
- Moderately interesting but insubstantial
- Fascinating portrait of flawed hero
- A fascinating look at a complicated man
- A well-rounded biographical treatment essential for any who would understand the filmmaker's creations and methods.
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Citizen Moore: The Life and Times of an American Iconoclast
Roger Rapoport
Manufacturer: RDR Books
ProductGroup: Book
Binding: Paperback
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Building Powerful Community Organizations: A Personal Guide To Creating Groups That Can Solve Problems and Change the World
ASIN: 1571431632 |
Book Description
His fearless satirical assaults on formidable opponents like General Motors, the National Rifle Association and George W. Bush's White House, have made Michael Moore both a box office hit filmmaker and a bestselling author. For the first time this definitive biography traces the untold story of the 30 years of struggles and failures that led to his "overnight" success. To write this revealing, inspirational, often hilarious book, about the quintessential late bloomer, investigative reporter Roger Rapoport interviewed 250 people who played key roles in Michael Moore's life, from the nuns at his boyhood Catholic school to Ralph Nader and other employers - not to mention a seven-foot chicken! Anyone who loves (or detests) Michael Moore will find Citizen Moore an eye-opening book.
Customer Reviews:
Moderately interesting but insubstantial.......2007-08-27
Michael Moore's a fascinating figure, and I have equal parts respect for his iconoclasm and disdain for the self-righteous and impractical politics that informs it. I found Bowling for Columbine - for my money Moore's creative peak thus far - entertaining but disingenuous, although ultimately honest enough to admit that the easy, pat, leftie answers didn't really cuit the mustard.
Roger Rappaport's biography doesn't feature any direct, for-purpose interviews with Moore, and is even-handed enough: it tracks, sympathetically, his early progress through the Flint Voice up to his ill-fated and short editorship of Mother Jones, but then unsheathes the knife in the context of Moore's failure to "stay true to his roots" or reciprocate help or acknowledgment from people who have helped him on his way up.
Rappaport's most damning criticism is Moore's hypocrisy: his refusal to confront his own critics, and his own poor sportsmanship (if not quite underhandedness) in cutting them off at the knees. That said, there's nothing like a knock-out blow here, and Rappaport's attempt to affect a New Journalism-style sizzling literary style falls flat - most of Rappaport's efforts at clever wordcraft leads not so much to zip and sparkle as ambiguity and confusion. Once the early history - with which Rappaport seems more familiar - is dispensed with the book moves at a real clip - too much of a clip, really - spending very little time on any of Moore's projects, and certainly including little if any useful political or social analysis of them.
All in all a passable read if you're stuck in an airport terminal, but Michael Moore is an interesting - and politically significant - enough character to warrant a better biography than this.
Fascinating portrait of flawed hero.......2007-08-26
Michael Moore is a public gadfly, muckraker, and professional pest -- the kind of person we need many more of in these days of lapdog mainstream media. He's also, it would appear, a hero and a villain, a self-absorbed, self-promoting egomaniac who's a champion of the downtrodden masses and yet treats real individuals shabbily. A spokesman for the poor who lives in Manhattan splendor. A sentimentalist who can be totally unsentimental at times. A human being in all his contradictions. (In short, he's like all of us -- only a lot more so.)
Moore's a complex individual and his complexity is fully on view in this meticulously researched book. The bottom line (for fans of bottom lines): Whether you love Moore or hate him -- the reviews never add, "or are totally indifferent to him," do they? -- you'll find something in this book to make you think, just for a moment, the other way. (And Moore is, after all, a brilliant filmmaker and humorist -- for that we can forgive him some of his tresspasses.)
My only quibble with the book itself is that it could have used a professional copy editor. Really how, hard is, it to learn, to put commas in, the right place? The poor editing sometimes distracts from the story.
But in the end Roger Rapoport has produced a book well worth reading about someone who, despite all his flaws, is well worth paying attention to.
A fascinating look at a complicated man.......2007-03-22
Within the past two weeks, by sheer happenstance (I found them on the public library's new acquisitions shelves), I've read two books by left/liberals about Michael Moore. This was the second - the first was Jesse Larner's "Forgive Us Our Spins" - and this is clearly the better of the two.
I wanted to read about Michael Moore because I agree with him on almost everything and it troubled me that he sometimes undercuts his own cause through misleading his audience, thus giving ammunition to his political enemies. The two most obvious cases in point: (1)Contrary to the whole theme of "Roger and Me", Roger Smith of GM did indeed give Moore an extended interview; (2)"Fahrenheit 9/11"'s depiction of happy Iraqi children, while unstaged, was clearly misleading about the reality of pre-war Iraq.
Rapoport describes these and other shortcomings of Moore, but he also shows Moore's great strengths. And he does so with very little editorializing. Instead he quotes his many interview sources at great length, which is far preferable to putting their thoughts into his own words. And he also quotes some wonderful Moore passages which make one realize that, despite his obvious, frustrating faults - which inevitably detract from his potential impact - Moore is much needed. He gains a wide audience for countless matters that need attention - and action - and he shows the sins and corruption of so many of the rich and powerful.
As Ralph Nader says (p. 202) : "Overall Michael Moore is definitely a plus. But the problem is that if you become the issue, the subject of your message is defused."
A well-rounded biographical treatment essential for any who would understand the filmmaker's creations and methods........2007-03-12
Michael Moore is both a hit film maker and best-selling author, so any who have followed his works in either medium will find CITIZEN MOORE the perfect biographical reference to understanding his life and times. Veteran investigative reporter Roger Rapoport interviews over two hundred friends, producers, agents, employees and actors who all contribute different insights: the result is a well-rounded biographical treatment essential for any who would understand the filmmaker's creations and methods.
Diane C. Donovan
California Bookwatch
Amazon.com
Best known as the author of scripts for such hit musicals as West Side Story and Gypsy, Arthur Laurents began his career writing strong, socially conscious plays like Home of the Brave and Time of the Cuckoo; he also has impressive credits as a screenwriter (The Way We Were) and stage director (La Cage aux Folles). Such a varied professional life makes for absorbing reading in this lively autobiography stuffed with famous names, including George Cukor, Katharine Hepburn, Barbra Streisand, and Stephen Sondheim, all of whom emerge vividly in thumbnail portraits ranging from affectionately frank (Stella Adler) to frankly unflattering (Jerome Robbins). Laurents, born in 1917, was a Marxist during his college years at Cornell, and he retains strong political opinions to this day: he has no use for bigots of any kind, and his memoir displays no inclination to forgive people like Elia Kazan, who named names during the 1950s. Yet the author also has a marvelous sense of humor (after critic Frank Rich inadvertently made public reference to Laurents's homosexuality, Laurents introduced him at a charity lunch as "the man who outed me as a liberal") and a zest for life that shines particularly in a loving portrait of his longtime companion, Tom Hatcher. --Wendy Smith
Book Description
Here is the original story of a true original, the celebrated and internationally renowned director, playwright and screenwriter Arthur Laurents, whose creative genius continues to energize American stage and screen today. Say his name, and images of West Side Story, Gypsy, Anastasia, The Turning Point, and The Way We Were appear. Laurents' highly praised memoir is a dazzling portrait of his life - as he recounts the great moments, the trials and the joys of his incredible career. He takes us into his world, peopled with the creative artists, directors, actors and personalities who came of age in the theatre and in Hollywood after WWII. Later, back in New York, he writes about jump-starting Barbra Streisand's career by casting her in I Can Get It for You Wholesale. He writes about the creation of Gypsy with Jule Styne and Stephen Sondheim. And he writes about coming together in a complex, fraught collaboration with his three old pals, Jerome Robbins, Leonard Bernstein and Sondheim for West Side Story. Throughout, Laurents is funny, fierce, and frank - a life recounted as richly as it was lived. "This is a historic work. A 'must' for show biz mavens." - LIZ SMITH, Newsday and Syndicated
Customer Reviews:
Engrossing but self-absorbed.......2005-01-04
I just finished reading this fascinating but maddening autobiography last night. There is no doubt about it - Arthur has quite a story to tell. His storytelling pulls you in, making you feel as if he's telling the stories directly to you. He's met or worked with virtually every major star of the past 60 years so he's definitely got tales to tell. However, after reading for awhile, I found several things off-putting. Early on, Arthur starts to regale us with endless stories of sexual conquests. He inevitably describes his partners as "handsome", "beautiful", etc. A few stories like this would have gotten the point across, but I eventually came to the conclusion that Arthur was very insecure about his attractiveness and had to make sure that we readers knew that he was very desirable (even if pictures don't seem to tell that story). Then there's the sexual encounter he has with an old friend and sex partner who was starring in a play that Arthur was directing - it was simply creepy to me. As I continued reading, it just seemed that Arthur wanted to dissect and criticize almost everyone he came across, especially those who had disappointed him, and on several occasions I thought he was incredibly unkind. His portrait of Jerry Robbins is one-sided at best and mean at worst - he definitely comes across as if he has an ax to grind with Jerry. His coldness upon Jerry's death struck me as amazingly hard-hearted, considering all that they had done together in their lives. Arthur also never seemed to turn that critical eye onto himself. He generally comes off as good in all encounters, while others are usually immoral, dishonest, etc. I also had the sense that Arthur might have embellished the details to help himself come out so well in his stories. (This is especially ironic, considering his comments about how Gypsy Rose Lee did the same in her autobiography.) If you're interested in Broadway and the movies in the second half of the 20th century, this is a great read. Just beware the shortcomings of the author.
The truth........2003-01-06
An 86-year-old friend who grew up in Beverly Hills and Hollywood, and who had her own works on Broadway, gave me this book for help with my writing (I'm 42). Laurents is remarkably inspiring, even when he doesn't necessarily intend to be. His stories about writing for the war effort, writing radio plays, mapping plots of popular films, and turning out work for deadline demonstrate a TREMENDOUS work ethic and a resilient willingness to write and re-write.
..., but gay lives weren't well documented in that era. Worse, "liberal" Hollywood was thought to be generally accepting, when in fact the opposite was true. Laurents was under enormous pressure to stay in the closet, as were most writers and stars.
The narrative hops around a bit, but he's a gifted writer, and soon you'll settle in. If you want to be a screenwriter, read this. Some of the political nonsense that goes into making a motion picture still happens, even in 2003!
Arthur Laurents is an amazing man whom I hope has a magnificent decade as an octogenarian. If his vibrant words are any indication, then in spirit he'll always be 33 and ready for the next adventure.
Damned good..Go out and Read it!.......2001-09-12
The best thing a book can have is the author's voice, and Laurents' autobiography certainly has his: argumentative, discrening, opinionated, political, sexy, candid. He has a bristly side to him and he doesn't hide it. And this makes his book seem genuine and compelling, not the kind of "I loved them all..we had a great time" gush that many older entertainment types write. His take on the blacklist is wonderful. His backstage stories about how his play ("Time of the Cuckoo") was a hit and his movie ("The Way We Were") got chewed up in the editing room are fascinating. And he doesn't hold back: Sydney Pollack comes off a clever swine, Jerome Robbins is shown warts and all. You may find that Laurents is the kind of man you might have trouble liking in real life, but you won't be able to put his book down. That's because he's a real writer with a voice...and it's in these pages. One of the best theatre books in quite a while, certainly the best since Neil Simon's first book. Seems like good playwrites make good memoir writers. Read this!
VITAL, JUICY AND BLUNT.......2001-04-13
Now THIS is an autobiography! It is the story of a man, the last of his peer group, who, at 81, is healthy, athletic, sexual, productive in his craft, and in love. He is joyous and it reflects in his writing. Vitriol, if not burned away, has often been reduced to pithy one-liners that zing with word-play. Apathy seems to have replaced anger. Mr. Laurents is too busy living to show resignation or to bemoan the passing of relationships, so his book is vital, alive.
He is blunt and ruthless and he shows us the sage as scrappy youth and unformed man as well as (bad)businessman and lover, plus playwright, director and Hollywood hack. He has little respect for the movie industry and when black-listed,was more relieved than aggrieved! He spares himself nothing, is quick to offer accolades and in stories that are pay-backs, with time and acoomplishment to back him up, chummy fact can be damning! He has a gift for knowing that someone loves and respects the famous people he mentions and he writes accordingly, whether he shares their regard or not, and even when a relationship has lapsed, if praise is due, he generously heaps it on.
Incidentals are rampant. Some add to the whole, like how Geraldine Brooks' breast cancer led to her marriage with HUAC informer Budd Schulberg and how this impaced her friendship with Mr. Laurents, or how Lillian Roth's fight with alcoholism helped Mr. Laurents direct her in I CAN GET IT FOR YOU WHOLESALE. Other tidbits just make juicy reading, like the stoicism of Hal Prince learning to water-ski. It is so easy to link the vision of Prince dropping rather than veer out of the boat's wake, with his dogged direction of PARADE a few years back! It is fascinating to hear how life experiences made their way into his work, to hear the power 'stars' had to pervert an author's intent, and to see how some events became motivations or mere moments of dialogue in a play, while others became entire works. Sometimes, Mr. Laurents himself was unaware of where a line or a thought came from, and when he recognizes the origin, his delight is triumphant! Bad psycho-analysts become saccharine characters in admittedly mediocre plays, a handsome Jew in love with a Nazi becomes a portly Italian shopkeeper/love interest, and the Hollywood Witch Hunt becomes THE WAY WE WERE, before politics were 'expunged', Robert Redford collided with his role and the climax of the movie (not film) was edited out. (It seems Katherine Hepburn had a knack for turning her character into herself too, not the reverse!) Included too, is director Laurents' dealings with star-in-waiting Barbara Streisand, manipulative producer David Merrick, sweating co-star Elliot Gould, and costuming goddess Theoni V. Aldredge. He loved working with Jule Styne, Len Bernstein and Steve Sondheim and has high praise for master craftsmen Shirley Booth and Angella Lansbury. It was fascinating to hear him revisit GYPSY over the years as his role changed from author to director. Reading about Miss Lansbury performing the bows at the end of "Rose's Turn" was electric. I wish I could have seen an actual performance!
There is over-lap between Laurents and the ballet world through Jerome Robbins, Nora Kaye, and Harold Lang, and superstar Erik Bruhn makes a moon-lit naked appearance. Robbins seems to be the only one of the four Laurents didn't sleep with, and I question his use of 'balletomane' as a verb! His friendship with Robbins runs as deeply as Nora Kaye's and Robbins plays a major part in the book, as friend, informer, collaborator on famous works, and betrayer. To hear his stories of W.W. II, where he wrote training films, gays in the military should NEVER be an issue. Actually, he finds handsome men all over the world and his search to not only accept what he is, but to prefer it, turns up in much of his writing. Too much so in fact, if there is anything to criticize about ths book. His exploits during the war read like fiction!
Early on, he announces his intolerance of bigotry of any kind, especially against homosexuals, Negroes and Jews but I find this odd since he flatly dismisses his Bar Mitzvah as 'meaningless.' This is really the first book I've read that deals pointedly with McCarthyism and the Hollywood Witch Hunt. He voices what many must have felt, sharing freely his feelings of the time and his feelings now! Informers are pariah, yet some who informed remained Laurents' friend, some did not and we learn the whys of each, first hand. Judgments are presented factually along with consequences of decisions that were made.
This book is a wealth of history but for those interested in fair play and looking at all sides of an issue, don't bother picking it up. This is Arthur Laurents' story, and I not only respect his right to tell it, I revel in it! Five stars for this one, and the moon has come out again!
Enjoy the Ride!.......2001-01-17
If you live to be 82 years old and fortunate enough to have lived the life that Arthur Laurents has then you've earned the right to say what you damn well please. Arther Laurents does just that in his autobiography and in a very honest an entertaining style. Sit back and enjoy the ride, you just might learn something along the way!
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- Orson Welles: Volume 1: The Road to Xanadu
- Perfect Spy: The Incredible Double Life of Pham Xuan An Time Magazine Reporter and Vietnamese Communist Agent
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- Rachael Ray 365: No Repeats--A Year of Deliciously Different Dinners (A 30-Minute Meal Cookbook)
Books Index
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