With their beautiful 3.75 square-island constantly in the media glare, Palm Beachers protect their impossibly rich society from outside scrutiny with vigilant police, ubiquitous personal security staffs, and screens of tall hedges encircling every mansion.To this bizarre suspicious, exclusive world, New York Times bestselling author Ronald Kessler brought his charm, insight, and award-winning investigative skills, and came to know Palm Beach, its celebrated and powerful residents, and its exotic social rituals as no outside writer ever has. In this colorful, entertaining, and compulsively readable book. Kessler reveals the inside story of Palm Beach society as it moves languidly through the summer months, quickens in the fall, and shifts into frenetic high speed as the season begins in December, peaks in January and February, and continues into April.When unimaginable wealth combines with unlimited leisure time oil an island barely three times the size of New York's Central Park, human foibles and desires, lust and greed, passion and avarice, become magnified and intensified. Like laboratory rats fed growth hormones, the 9,800 Palm Beach residents—87 percent of whom are millionaires—exhibit the most outlandish extremes of their breed.To tell the story, Kessler follows four Palm Beachers through the season. These four characters—the reigning queen of Palm Beach society, the night manager of Palm Beach's trendiest bar, a gay "walker" who escorts wealthy women to balls, and a thirty—six-year-old gorgeous blonde who says she "can't find a guy in Palm Beach"—know practically everyone on the island and tell what goes on behind the scenes.Interweaving the yarns of these unfor-gettable figures with the lifestyle, history, scandals, lore, and rituals of a unique island of excess, The Season creates a powerful, seamless, juicy narrative that no novelist could dream up.

    Where do she and her guests spend Christmas and how do they get there? The answers to these and many other questions are given in this intriguing and riveting account of what really goes on at a Royal Christmas, written by one of Britain’s leading Royal writers, and based on facts from impeccable sources at Buckingham Palace.Brian Hoey is acknowledged to be one of the most important Royal authors in the world, having written 28 books about the Royal Family. He conducted the first ever television interview with the Queen’s only daughter, Prince Anne, the Princess Royal, and also wrote her only official biography. He was a commentator at the wedding of Prince Charles and Princess Diana in 1981, and again, at the funeral of Diana in 1997, and his written work has appeared in countries throughout the world, particularly the United States, Canada, South Africa, Australia and New Zealand. Hoey has been a guest on many major radio and television shows in Britain and America, including the Today Show, Good Morning America and in Britain, This Morning.

    Two recent college graduates move to New York to edit a new magazine called The National Lampoon. Over the next decade, Henry Beard and Doug Kenney, along with a loose amalgamation of fellow satirists including Michael O’Donoghue and P. J. O’Rourke, popularized a smart, caustic, ironic brand of humor that has become the dominant voice of American comedy.Ranging from sophisticated political satire to broad raunchy jokes, the National Lampoon introduced iconoclasm to the mainstream, selling millions of copies to an audience both large and devoted. Its excursions into live shows, records, and radio helped shape the anarchic earthiness of John Belushi, the suave slapstick of Chevy Chase, and the deadpan wit of Bill Murray, and brought them together with other talents such as Harold Ramis, Christopher Guest, and Gilda Radner. A new generation of humorists emerged from the crucible of the Lampoon to help create Saturday Night Live and the influential film Animal House, among many other notable comedy landmarks.Journalist Ellin Stein, an observer of the scene since the early 1970s, draws on a wealth of revealing, firsthand interviews with the architects and impresarios of this comedy explosion to offer crucial insight into a cultural transformation that still echoes today. Brimming with insider stories and set against the roiling political and cultural landscape of the 1970s, That’s Not Funny, That’s Sick goes behind the jokes to witness the fights, the parties, the collaborations—and the competition—among this fraternity of the self-consciously disenchanted. Decades later, their brand of subversive humor that provokes, offends, and often illuminates is as relevant and necessary as ever.

    They had already made films that redefined the gangster movie, the screwball comedy, the fable, and the film noir, among others. No Country is just one of many Coen brothers films to center on the struggles of complex characters to understand themselves and their places in the strange worlds they inhabit. To

    Reserved seats went on sale at premium prices. Audience members dressed up and arrived early to peruse the program during the overture that preceded the curtain's rise. And when the show began, it was--a rather disappointing film musical.In Roadshow!, film historian Matthew Kennedy tells the fascinating story of the downfall of the big-screen musical in the late 1960s. It is a tale of revolutionary cultural change, business transformation, and artistic missteps, all of which led to the obsolescence of the roadshow, a marketing extravaganza designed to make a movie opening in a regional city seem like a Broadway premier. Ironically, the Hollywood musical suffered from unexpected success. Facing doom after its bygone heyday, it suddenly broke box-office records with three rapid-fire successes in 1964 and 1965: Mary Poppins, My Fair Lady, and The Sound of Music. Studios rushed to catch the wave, but everything went wrong. Kennedy takes readers inside the making of such movies as Hello, Dolly! and Man of La Mancha, showing how corporate management imposed financial pressures that led to poor artistic decisions-for example, the casting of established stars regardless of vocal or dancing talent (such as Clint Eastwood in Paint Your Wagon). And Kennedy explores the impact of profound social, political, and cultural change. The traditional-sounding Camelot and Doctor Dolittle were released in the same year as Sergeant Pepper's Lonely Hearts Club Band, representing a vast gulf in taste. The artifice of musicals seemed outdated to baby boomers who grew up with the Cuban missile crisis, the Kennedy and Martin Luther King Jr. assassinations, race riots, and the Vietnam War.From Julie Andrews to Barbra Streisand, from Fred Astaire to Rock Hudson, Roadshow! offers a brilliant, gripping history of film musicals and their changing place in our culture.

    Covering everything from adventure, war, murder and slavery to espionage, including the stories of the real war horse, who killed Rasputin, Agatha Christie's greatest mystery and Hitler's English girlfriend, these tales deserve to be told.

    It purposely makes the two biggest developments in end-user music in the last 30 years irrelevant. Zaireeka is not mobile. It is not personal. It is not solitary, cannot be easily controlled, and can't easily be consumed in small doses. So another way to think of Zaireeka is as a one-off piece of technology that comes in a highly inconvenient dead-end format, which is a rather extraordinary kind of thing for a rock band to make. The Flaming Lips' 1997 album Zaireeka is one of the most peculiar albums ever recorded, consisting of four CDs meant to be played simultaneously on four CD players. Approaching this powerful and complex art-rock masterpiece from multiple angles, Mark Richardson's prismatic study of Zaireeka mirrors the structure the work itself. Thoughts on communal listening and the "death of the album" are interspersed with the story of the Zaireeka's creation (with assistance from Wayne Coyne) and an in-depth analysis of the music, leading to a complete picture of a record that proved to be a watershed for both the band and adventurous music fans alike.

    He’s the most loveable of rogues with the most common of dreams: to become a professional footballer. And he isn’t about to let trivial details like talent and achievement stand in his way. . . not when he has so many other ways to get what he wants.In one of the most remarkable football stories ever told, Kaiser graduates from abandoned slumdog to star striker, dressing-room fixer, superstar party host and inexhaustible lover. And all without kicking a ball. He’s not just the king… he’s the Kaiser.

    Films widely disparate in subject, sentiment, and technique, they nonetheless shared one dual purpose: to provide the audience (of women, primarily) with temporary liberation into a screen dream - of romance, sexuality, luxury, suffering, or even wickedness - and then send it home reminded of, reassured by, and resigned to the fact that no matter what else she might do, a woman's most important job was...to be a woman. Now, with boundless knowledge and infectious enthusiasm, Jeanine Basinger illuminates the various surprising and subversive ways in which women's films delivered their message. Basinger examines dozens of films, exploring the seemingly intractable contradictions at the convoluted heart of the woman's genre - among them, the dilemma of the strong and glamorous woman who cedes her power when she feels it threatening her personal happiness, and the self-abnegating woman whose selflessness is not always as "noble" as it appears. Basinger looks at the stars who played these women (Kay Francis, Barbara Stanwyck, Joan Crawford, Bette Davis, Rosalind Russell, Susan Hayward, Myrna Loy, and a host of others) and helps us understand the qualities - the right off-screen personae, the right on-screen attitudes, the right faces, the right figures for carrying the right clothes - that made them personify the woman's film and equipped them to make believable drama or comedy out of the crackpot plots, the conflicting ideas, and the exaggerations of real behavior that characterize these movies. In each of the films the author discus

    Two-time Academy Award-winning screenwriter and the bestselling author of Marathon Man, Tinsel, Boys and Girls Together, and other novels, Goldman now takes you into Hollywood's inner sanctums...on and behind the scenes for Butch Cassidy and the Sundance Kid, All the President's Men, and other films...into the plush offices of Hollywood producers...into the working lives of acting greats such as Redford, Olivier, Newman, and Hoffman...and into his own professional experiences and creative thought processes in the crafting of screenplays. You get a firsthand look at why and how films get made and what elements make a good screenplay. Says columnist Liz Smith, "You'll be fascinated.

    In the subsequent twenty years as manager he has transformed the club. English football's longest serving manager has overseen a period of radical change. His experience spans across the spectrum from complex challenges to historic success.The Wenger Revolution chronicles this fascinating era through the combination of distinctive photographs taken from the inner sanctum, and words from Amy Lawrence.This is a stunning photographic journey, based on the images captured by official club photographer Stuart MacFarlane, who has had exclusive access for many years. Publication coincides with the twentieth anniversary of Wenger's arrival in England.The Arsenal he joined bears little resemblance to what the club looks like as we approach 2016. A total renovation in terms of training, stadium, style, economics and a global audience has taken place under Wenger's instruction.His successes illustrate what a sensation he created in English football. He is regarded as a guru of new football methods, getting a club with a traditional English culture to give up drinking, modernize diet, embrace new training methods, and play with a panache that ripped up the stereotype of Boring Arsenal. The Wenger Revolution is worth commemorating, and this book will do so in style.

    It's a lot like asking a woman who's just come home from a girls' dinner 'What did you talk about?'  The short answer?  Everything! When Mia Freedman talks, people listen. Perhaps not her husband. Or her children. But other people. Women. Mia has a knack for putting into words the dilemmas, delights and dramas of women everywhere. The new rules for dating in the internet-romance age? Yep, tricky stuff. Things are not what they used to be. And sex talk at the dinner table? Appropriate or not? Perhaps not, unless in an educational capacity and even then some things are best left unsaid . . . With intrepid curiosity and a delicious sense of humour, Mia navigates her way through the topics – great and small – of modern life.

    The forces at play in the decade's battle for hockey supremacy-dazzling speed vs. brute force-are now, for better or worse, part of hockey's DNA. This book is a welcome reappraisal of the ten years that changed how the sport was played and experienced. Informed by first-hand interviews with players and game officials, and sprinkled with sidebars on the art and artifacts that defined Seventies hockey, the book brings dramatically alive hockey's most eventful years.

    Her life is one of stunning extremes. The author tells her whole story of what it was like to have love affairs with the likes of Paul Newman, Errol Flynn, Tommy Smothers, Rod Taylor, Vince Edwards, and Hugh O’Brian, plus exciting friendships with the Rat Pack, Judy Garland, Bobby Kennedy, Jay Sebring, Elizabeth Taylor, John Wayne, and Marilyn Monroe (to name only a few!).

    The result is a frame-by-frame examination of the inimitable style that infuses every Kubrick movie, from the pitch-perfect hilarity of Lolita to the icy supremacy of 2001: A Space Odyssey to the baroque horror of The Shining. The book's beautiful design and dynamic arrangement of photographic stills offer a frame-by-frame understanding of how Kubrick constructed a film. What emerges is a deeply human study of one remarkable artist's nature and obsessions, and how these changed and shifted in his four decades as a filmmaker.