But Olivier was as elusive in life as he was on the stage, a bold and practiced pretender who changed names, altered his identity, and defied characterization. In this mesmerizing book, acclaimed biographer Terry Coleman draws for the first time on the vast archive of Olivier’s private papers and correspondence, and those of his family, finally uncovering the history and the private self that Olivier worked so masterfully all his life to obscure. Beginning with the death of his mother at age eleven, Olivier was defined throughout his life by a passionate devotion to the women closest to him. Acting and sex were for him inseparable: through famous romances with Vivien Leigh and Joan Plowright and countless trysts with lesser-known mistresses, these relationships were constantly entangled with his stage work, each feeding the other and driving Olivier to greater heights. And the heights were great: at every step he was surrounded by the foremost celebrities of the time, on both sides of the Atlantic—Richard Burton, Greta Garbo, William Wyler, Katharine Hepburn. The list is as long as it is dazzling.Here is the first comprehensive account of the man whose autobiography, written late in his life, told only a small part of the story. In Olivier, Coleman uncovers the origins of Olivier’s genius and reveals the methods of the century’s most fascinating performer.

    National award winning film journalist Anupama Chopra tells the fascinating story of how a four-line idea grew to become the greatest blockbuster of Indian cinema.

    Filled with stunning revelations about the men in her life—Burton, Clift, Hilton, Dean, Fisher—it is a glorious celebration of the turbulent life of a brilliant star that none in Hollywood or heaven could ever outshine.

    The competition continued when someone had the bright idea to put the two of them together on television to critique the coming attractions. In the process of becoming legendary, they also came to know and love each other while continuing to put a stick in the eye. This is their funny and engaging story, as told by scores of people who were involved with them and their show over the years. In the end they stood tallest when they stood together.

    Never before has the renowned author revealed so much about his own life or written with such immediacy about the forces shaping America. 26 halftones.

    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.

    The year was 1951. Dean had recently arrived in Manhattan in search of Broadway stardom. Sheridan was a tall, graceful aspiring dancer. They met one rainy afternoon in the parlor of the Rehearsal Club, a chaperoned boardinghouse for young actresses -- and before long Dizzy and Jimmy were inseparable. Together they hunted for jobs, haunted all-night bars and diners, and gloried in the innocent rebellion of early-'50s bohemian New York. Dizzy Sheridan and James Dean were lovers; they lived together; as even ardent Dean fans may be surprised to learn, they were engaged to be married. But when Dean began to find success on the Broadway stage and then was lured to Hollywood, the couple parted amid tears and broken dreams -- dreams that would be dashed forever when Dean died in a car crash in 1955, not long after seeing Dizzy for the last time.Dizzy & Jimmy marks the first time Liz Sheridan has written about this joyous yet ill-starred romance. She brings us closer than we have ever been to the vibrant young actor before he became a Hollywood icon, capturing his unstudied charm, his complicated psyche, the spontaneous delight he took from the world around him, and the passion he invested in his work and life. It is a journey that takes in many locales, from Dean's boyhood home in Fairmount, Indiana, to Sheridan's recuperative travels through the Caribbean after their breakup. But at its heart Dizzy & Jimmy is the story of a love affair with Manhattan -- of nights spent stealing kisses in Times Square, sharing a walkup in the Hargrave Hotel, dancing after hours beneath the stars in Grand Central Station. And in Sheridan's bittersweet, embraceable telling, it becomes a story no reader, Dean fan or otherwise, will soon forget.

    As Johnny Knoxville so succinctly put it, Nieratko is an asshole, but whether Chris is rescuing a stalker from choking on her own vomit, getting his nose broken for having AIDS (he doesn't) or marrying the one woman that could put up with his insanity, his life sounds so much like a collection of hilarious bar stories it's impossible not to grab a beer and listen to the whole thing.

    But the drama on-screen has been matched, and often exceeded, by the lives off-screen."As the title suggests the book covers the history of Hollywood from its origins in the early part of the 20th century through its heyday under the studio system and finally to the Hollywood of CGI and summer blockbusters.

    He remains as popular today, and as sensitive a chronicler of our emotions, as he was half a century ago. And throughout, his work has been gloriously distinctive—especially for the unforgettable images and the intimacy he brings to his songs.In this book of conversations with the acclaimed author and documentary filmmaker Nasreen Munni Kabir, Gulzar speaks about the making of his most enduring songs—from ‘Mora gora ang lai le’ (Bandini; 1963) and ‘Dil dhoondta hai’ (Mausam; 1975) to ‘Jiya jale’ (Dil Se; 1998) and ‘Dil toh bachcha hai ji’ (Ishqiya; 2010). He also discusses the songs of other greats, like Shailendra and Sahir Ludhianvi; his favourite music directors, like SD and RD Burman, Hemant Kumar and AR Rahman; and several playback singers, among them, Lata Mangeshkar, Mohammed Rafi, Asha Bhosle, Vani Jairam, Jagjit Singh and Bhupinder Singh.Full of insight, anecdote and analysis—and containing over 40 songs, in roman script and English translation—this book is a treasure for students and lovers of Hindi cinema, music and poetry.

    Now, ten years after the original film’s release, the full story of this seemingly cursed production can finally be told...  In The Crow’s last days of filming, its star Brandon Lee (son of Bruce Lee) was killed in a strange on-set accident, while filming his character’s death scene. Bridget Baiss describes the chain of events which led from O’Barr’s creation of the graphic novel, up to this fateful day, and beyond, to the film’s final, triumphant release. The definitive account of The Crow’s production and the phenomenon it became, packed with scores of interviews with the film’s cast and crew.

    He was the King of Cocaine, the wealthiest and most violent criminal in the world. By the 1980s his Medellin Drug Cartel was responsible for smuggling several tons of cocaine into America each and every day, killing thousands of people along the way. The end result was hundreds of millions of dollars in cash profits. In response, and as part of President Reagan’s War on Drugs, Congress created the Money Laundering Act of 1986. The goal was to take the profit out of Escobar’s business. And the plan was working. Drug Money seizures went up. But as U.S. Agents became more and more efficient at finding the dirty cash, stashed inside ship bellies and truck beds at America’s ports and land borders, Pablo and other Cartel leaders sought a more efficient method to get their money back to Colombia. They found the solution in an unlikely place, a dusty back room of a tiny, rare coin shop in the small town of Cranston, Rhode Island. The shop owner was a young, local mobster who had already been laundering much of the Mob's stolen gold. With a few minor adjustments, his coin shop evolved into a springboard for a new venture, a billion dollar money laundering scheme. The Italian Mafia's stolen gold was used to dispose of the Colombian Cartel's dirty cash. It was the perfect scheme, brilliant. As his customer base grew, the young mobster, known as Fat Man, a.k.a. Mr. Cash, set up a string of phony gold shops crisscrossing America. The end result was one of the world's largest, most efficient money laundering networks. By some accounts, Fat Man laundered more than a billion dollars of drug profits for Pablo Escobar and the other Cartel leaders. This is the true story of how it all happened. It is a step –by- step view of how the scheme worked and how it was ultimately uncovered. This story reveals conventional and at times unconventional tactics used by the government in its three-year, worldwide investigation. It is also a behind-the-scenes look at Fat Man himself and his crew, as well as the agents and cops who pursued them. It was unlikely that Fat Man, a small town gangster, would ever become an international money launderer for the Colombian Drug Lords. But what was more unlikely was the fact that it took a rookie agent to finally uncover the scheme. And more unlikely than that was the fact that the rookie agent was Fat Man’s neighbor. Both were born within just a few days from each other, grew up just a few miles from each other, lived in similar blue-collar neighborhoods and even lived in all but identical homes. And both were influenced, in very different ways, by the New England Mob, which was headquartered nearby on Federal Hill in Providence, RI. While Fat Man relished a life of crime, I dreamed of becoming an agent. In 1987, while his scheme originally went unnoticed, I was at the Federal Law Enforcement Training Academy in southern Georgia. One year after the new Money Laundering Law was created, I began work as a new U.S. Treasury Agent. My first post of duty was Providence, RI. My first assignment was to follow a lead, a suspicious cash deposit at a local bank. It was originally considered to be a dead end, “keep busy” work for a new, inexperienced agent with little to do. But that changed when I followed the lead to Fat Man’s Coin Store. This is how it all happened.

    The Wright Brothers is an historical narrative that draws on extensive archival materials, personal journals, and public records to tell the story of the Wright brothers as men of incredible character and determination along the road towards their significant contributions to aviation history. The summary parallels the structure of the book which is divided into three parts. The first part explores the period of the boys’ childhood through their work on flight testing various models of gliders. The second part picks up with the addition of the engine to the Wright planes and traces the brother’s work through the early stages of powered flight, roughly 1903 to 1908. Part three follows the brothers, now globally famous, through the years when they captured the most attention for their accomplishments. A central aspect of this historical account is the development of Orville and Wilbur Wright as individuals who showed fierce determination in the face of relentless setbacks. It also sheds light on their private nature and their deep bond as brothers. McCullough is a two time winner of the Pulitzer Prize for other historical works, Truman and John Adams. He also won the National Book Award twice and is a recipient of the Presidential Medal of Freedom. His educational background includes a degree in English Literature from Yale University. He is also a well-known narrator, as well as previous host of American Experience. Read more....

    If you want to stop struggling with endless mechanical swing rules, and instead harness the power of your innate skill-learning systems, this book shows you how. Here’s what you’ll learn: Why trying to obey mechanical swing rules blocks your improvement Why forcing your body through endless angles, positions and movements is unnatural and ineffective That the swing is a skill performed by a human, not a set of mechanics performed by a machine How a skill-based approach is more effective than a mechanics-based approach How focusing on your skill allows improved mechanics to fall into place How to swap dozens of swing positions for just a handful of more effective images How to transfer the skill you develop during practice to the course How you will improve whatever your level: beginner, intermediate or expert Stop fighting against millions of years of evolution!

    I wouldn't be in the magical place I am today without them.This is my “thank you” to the universe.**Please note: this book contains adult language and content.**