… Destined to take its place as not only one of the masterworks on Eisenhower, but as one of the classics of presidential history. … Impeccably researched, the book is nothing short of extraordinary. What a triumph!”—JAY WINIK, New York Times bestselling author of April 1865 and 1944In Three Days in January, Bret Baier masterfully casts the period between Eisenhower’s now-prophetic farewell address on the evening of January 17, 1961, and Kennedy’s inauguration on the afternoon of January 20 as the closing act of one of modern America’s greatest leaders—during which Eisenhower urgently sought to prepare both the country and the next president for the challenges ahead.Those three days in January 1961, Baier shows, were the culmination of a lifetime of service that took Ike from rural Kansas to West Point, to the battlefields of World War II, and finally to the Oval Office. When he left the White House, Dwight Eisenhower had done more than perhaps any other modern American to set the nation, in his words, “on our charted course toward permanent peace and human betterment.”On January 17, Eisenhower spoke to the nation in one of the most remarkable farewell speeches in U.S. history. Ike looked to the future, warning Americans against the dangers of elevating partisanship above national interest, excessive government budgets (particularly deficit spending), the expansion of the military-industrial complex, and the creeping political power of special interests. Seeking to ready a new generation for power, Eisenhower intensely advised the forty-three-year-old Kennedy before the inauguration.Baier also reveals how Eisenhower’s two terms changed America forever for the better, and demonstrates how today Ike offers us the model of principled leadership that polls say is so missing in politics. Three Days in January forever makes clear that Eisenhower, an often forgotten giant of U.S. history, still offers vital lessons for our own time and stands as a lasting example of political leadership at its most effective and honorable.

     Beginning with her solitary childhood in London, it took years for Melanie Phillips to understand her parents’ emotional frailties and even longer to escape from them. But Phillips inherited her family’s strong Jewish values and a passionate commitment to freedom from oppression. It was this moral foundation that ultimately turned her against the warped and tyrannical attitudes of the Left, requiring her to break away not only from her parents—but also from the people she had seen as her wider political family. Through her poignant story of transformation and separation, we gain insight into the political uproar that has engulfed the West. Britain’s vote to leave the EU, the rise of far-Right political parties in Europe, and the stunning election of US president Donald Trump all involve a revolt against the elites by millions. It is these disdained masses who have been championed by Melanie Phillips in a career as prescient as it has been provocative. Guardian Angel is not only an affecting personal story, but it provides a vital explanation why the West is at a critical crossroads today. “Melanie Phillips has been one of the brave and necessary voices of our time, unafraid to speak the language of moral responsibility in an age of obfuscation and denial. This searing account of her personal journey is compelling testimony to her courage in speaking truth to power.”—Rabbi Lord Jonathan Sacks

    Having risen through Hammer Horror films to international stardom as Bill Sykes in Oliver!, Reed became, in his own works, 'the biggest star this country has got'. With his legendary off-screen exploits and blunt opinions - especially of his co-stars - he was also one of the most infamous.Bestselling author Cliff Goodwin uses material from first-hand interviews with Reed's family, friends and colleagues and never before seen photographs to explore Reed's eventful career. But he also reveals another side to this unique and complex man.

    Dilip Kumar (born as Yousuf Khan), who began as a diffident novice in Hindi cinema in the early 1940s, went on to attain the pinnacle of stardom within a short time. He came up with spellbinding performances in one hit film after another – in his almost six-decade-long career – on the basis of his innovative capability, determination, hard work and never-say-die attitude. In this unique volume, Dilip Kumar traces his journey right from his birth to the present. In the process, he candidly recounts his interactions and relationships with a wide variety of people not only from his family and the film fraternity but also from other walks of life, including politicians. While seeking to set the record straight, as he feels that a lot of what has been written about him so far is ‘full of distortions and misinformation’, he narrates, in graphic detail, how he got married to Saira Banu, which reads like a fairy tale! Dilip Kumar relates, matter-of-factly, the event that changed his life: his meeting with Devika Rani, the boss of Bombay Talkies, when she offered him an acting job. His first film was Jwar Bhata (1944). He details how he had to learn everything from scratch and how he had to develop his own distinct histrionics and style, which would set him apart from his contemporaries. After that, he soon soared to great heights with movies such as Jugnu, Shaheed, Mela, Andaz, Deedar, Daag and Devdas. In these movies he played the tragedian with such intensity that his psyche was adversely affected. He consulted a British psychiatrist, who advised him to switch over to comedy. The result was spectacular performances in laugh riots such as Azaad and Kohinoor, apart from a scintillating portrayal as a gritty tonga driver in Naya Daur. After a five-year break he started his ‘second innings’ with Kranti (1981), after which he appeared in a series of hits such as Vidhaata, Shakti, Mashaal, Karma, Saudagar and Qila.

    Now, in The Good, The Bad and The Multiplex, he takes us into the belly of the beast to ask: 'What's wrong with modern movies?'If blockbusters make money no matter how bad they are, then why not make a good one for a change? How can 3-D be the future of cinema when it's been giving audiences a headache for over a hundred years? Why pay to watch films in cinemas that don't have a projectionist but do have a fast-food stand? And, in a world in which Sex and the City 2 was a hit, what the hell are film critics for?Outspoken, opinionated and hilariously funny, The Good, The Bad and The Multiplex is a must for anyone who has ever sat in an undermanned, overpriced cinema and asked themselves: 'How the hell did things get to be this terrible?'

    Joesten carefully documents the little-known facts behind Johnson's involvement in scandals stretching back to his first stolen election in 1948, thru the Bobby Baker, Billy Sol Estes and Walter Jenkins affairs, and culminates with the assassination of John F. Kennedy. Included are LBJ's connection to mobsters, big Texas oil, political graft and corruption, blackmailing of FBI chief J. Edgar Hoover, and a disturbing number of murders committed by his henchmen for LBJ's personal gain.FROM THE BOOK:The true nature of Lyndon B. Johnson has long been hidden from the public through the frenzied efforts of highly paid P.R. wizards and artificial image-builders. William Manchester came closer than most other people to seeing through the benign public relations mask of Lyndon Johnson, but one wouldn't know it from scanning the pages of 'The Death of a President'.If there are two persons in the world who have really come to know Johnson at close quarters, outside of his own family, they are Robert and Jacqueline Kennedy. Manchester interviewed both of them at length and they told him, without mincing their words, what they thought of That Man in the White House. But when Manchester, having faithfully recorded everything the Kennedys had told him, rushed into print with his story, years ahead of schedule, they both got panicky and practically forced him to 'revise' his story out of recognition.Edward J. Epstein, the author of Inquest, somehow managed to get hold of a copy of the original, unedited manuscript of the Manchester book, then entitled 'Death of a Lancer', and revealed in the July issue 1967 of Commentary, some of its contents.In his original draft, Manchester, it seems, made some very pungent remarks about Lyndon Johnson whom he described, among other things, as a 'chameleon who constantly changes loyalties'; 'a capon' and 'a crafty schemer who has a gaunt, hunted look about him'.He also pictured Johnson as 'a full-fledged hypomaniac' and 'the crafty seducer with six nimble hands who can persuade a woman to surrender her favors in the course of a long conversation confined to obscure words. No woman, even a lady, can discern his intentions until the critical moment'.By far the most interesting aspect of this matter, however, is Epstein's contention that Manchester's original theme, which gave unity to his book, was 'the notion that Johnson, the successor, was somehow responsible for the death-of his predecessor'.Several quotations from the original draft bear out this contention. At one point, the Lancer version states, 'The shattering fact of the assassination is that a Texas murder has made a Texan President'.At another, Kenneth O'Donnell, Kennedy's appointments secretary, is quoted as exclaiming 'They did it. I always knew they'd do it. You couldn't expect anything else from them. They finally made it'.Then Manchester comments: 'He didn't specify who "they" were. It was unnecessary. They were Texans, Johnsonians'.But what is one to think of an author who allows his most important work not only to be castrated, but to be turned completely upside down by a publisher more committed to the dictates of expediency than to the search for historical truth?

    It has been translated into every major language on Earth and dozens of minor ones; it has spawned entire genres of animation, and had more books written about it than all but a handful of American Presidents. Even its minor characters have become iconic, and the titular family is recognizable in almost every corner of the planet. It is a definitive and truly global cultural phenomenon, perhaps the biggest of the television age. As of this writing, if you flip on FOX at 8pm on Sundays, you will see a program that bills itself as "The Simpsons". It is not "The Simpsons". That show, the landmark piece of American culture that debuted on 17 December 1989, went off the air more than a decade ago. The replacement is a hopelessly mediocre imitation that bears only a superficial resemblance to the original. It is the unwanted sequel, the stale spinoff, the creative dry hole that is kept pumping in the endless search for more money. It is Zombie Simpsons.

    Aged just 42, he was found hanged in the garage of his home. As a long-standing legend of the game and manager of Wales, he appeared to have everything to live for. Now, as he would have approached his 50th birthday, family and friends come together to speak honestly and emotionally about the man they knew and loved. Wife Louise opens her heart for the first time and talks in depth about her life with Gary and her own personal journey since his death. Mum Carol and dad Roger recall their beloved son. And a multitude of famous names from the game remember their friend and speak emotionally about how the tragedy has touched their own lives. Author John Richardson was a close friend of the man he knew as ‘Speedo’ and was entrusted to write his autobiography. Gary completed two chapters of his life story before putting the project on hold because he thought he had not achieved enough in the game to merit a book. For the first time, these revealing chapters are published in the original form they were written, with insights from Richardson on the personal story that would remain so sadly untold. Gary Speed: Unspoken is a unique celebration of one of the football heroes of our generation. A tribute to a role model, leader and a much-loved husband, father and son gone too soon.

    Treasury. And Alva Vanderbilt squandered tens of thousands on one evening to crack the closed social circle of the Mrs. Astor. And when Jay Gould, of Black Friday fame, sent his card to one of the Rothschilds, it was returned with the comment, "Europe is not for sale." It was this climate of mid- and late-nineteenth-century excess that fostered the most rapid period of growth in the history of the United States, replacing the unyielding Puritanism of Cotton Mather with the flexible creed of Henry Ward Beecher. National Book Award nominee Milton Rugoff gives his uniquely revealing view of the Gilded Age in this collective biography of Americans from 1850 to 1890. Writing on the political spoilsmen, money kings, parvenus, forty-niners, lords of the press, sexual transgressors, and women's rights leaders, Rugoff focuses on thirty-six men and women from almost every walk of life. His exponents include U.S. Grant, John Charles Frémont, Cornelius Vanderbilt, Jim Fisk, Elizabeth Cady Stanton, Horatio Alger, free-love advocate Victoria Woodhull, first female surgeon Bethenia Owens-Adair, Brigham Young's rebellious nineteenth wife Anna Eliza Young, Boston Brahmin Charles Eliot Norton, Gold Rush pioneer Sarah Royce, black visionary Sojourner Truth, and to critique American society, Walt Whitman. In examining the Gilded Age, Milton Rugoff offers fresh glimpses into the lives of the celebrities of the era, as well as some lesser-known Americans, while at the same time revealing the roots of problems that still plague us today.

    While the role may have given him eternal life on the silver screen, it doomed him to a career plagued by typecasting. After a decade of trying vainly to broaden his range and secure parts to challenge his acting abilities, Lugosi finally resigned himself to a career as the world's most recognizable vampire. His last years were spent as a forgotten and rather tragic figure.

    This amusing and entertaining collection of reminiscences will jog the memories of all who grew up in the same decade where greed was good and mullets were cool.

    In Sculpting in Time, he has left his artistic testament, a remarkable revelation of both his life and work. Since Ivan's Childhood won the Golden Lion at the Venice Film Festival in 1962, the visionary quality and totally original and haunting imagery of Tarkovsky's films have captivated serious movie audiences all over the world, who see in his work a continuation of the great literary traditions of nineteenth-century Russia. Many critics have tried to interpret his intensely personal vision, but he himself always remained inaccessible.In Sculpting in Time, Tarkovsky sets down his thoughts and his memories, revealing for the first time the original inspirations for his extraordinary films--Ivan's Childhood, Andrey Rublyov, Solaris, The Mirror, Stalker, Nostalgia, and The Sacrifice. He discusses their history and his methods of work, he explores the many problems of visual creativity, and he sets forth the deeply autobiographical content of part of his oeuvre--most fascinatingly in The Mirror and Nostalgia. The closing chapter on The Sacrifice, dictated in the last weeks of Tarkovsky's life, makes the book essential reading for those who already know or who are just discovering his magnificent work.

    The sheer number of false rumors and downright lies disseminated about the man and his films is truly astonishing. Yet Herzog's body of work is one of the most important in postwar European cinema. His international breakthrough came in 1973 with Aguirre, The Wrath of God, in which Klaus Kinski played a crazed Conquistador. For The Enigma of Kaspar Hauser, Herzog cast in the lead a man who had spent most of his life institutionalized, and two years later he hypnotized his entire cast to make Heart of Glass. He rushed to an explosive volcanic Caribbean island to film La Soufrière, paid homage to F. W. Murnau in a terrifying remake of Nosferatu, and in 1982 dragged a boat over a mountain in the Amazon jungle for Fitzcarraldo. More recently, Herzog has made extraordinary "documentary" films such as Little Dieter Needs to Fly. His place in cinema history is assured, and Paul Cronin's volume of dialogues provides a forum for Herzog's fascinating views on the things, ideas, and people that have preoccupied him for so many years.

    In Wicked Messenger, acclaimed cultural-political commentator Mike Marqusee advances the new thesis that Dylan did not drop politics from his songs but changed the manner of his critique to address the changing political and cultural climate and, more importantly, his own evolving aesthetic. Wicked Messenger is also a riveting political history of the United States in the 1960s. Tracing the development of the decade’s political and cultural dissent movements, Marqusee shows how their twists and turns were anticipated in the poetic aesthetic—anarchic, unaccountable, contradictory, punk— of Dylan's mid-sixties albums, as well as in his recent artistic ventures in Chronicles, Vol. I and Masked and Anonymous.Dylan’s anguished, self-obsessed, prickly artistic evolution, Marqusee asserts, was a deeply creative response to a deeply disturbing situation. "He can no longer tell the story straight," Marqusee concludes, "because any story told straight is a false one."

    Frank wore a big fake head. Nobody outside his inner circle knew his true identity. This became the subject of feverish speculation during his zenith years. Together, they rode relatively high. Then it all went wrong.Twenty-five years later and Jon has co-written a movie, Frank, inspired by his time in this great and bizarre band. Frank is set for release in 2014, starring Michael Fassbender, Maggie Gyllenhaal, and Domhnall Gleeson and directed by Lenny Abrahamson.Frank: The True Story that Inspired the Movie is a memoir of funny, sad times and a tribute to outsider artists too wonderfully strange to ever make it in the mainstream. It tells the true story behind the fictionalized movie.