To celebrate these films and their cultural heritage, Roger Moore has written a book that features all the Bond movies, along with a wonderfully witty account of his own involvement in them.  From the girls to the villains, the cars to the cocktails, the gadgets, locations and everything else, this beautiful book is illustrated with hundreds of iconic images from all the films plus many previously unseen photos from the Bond archive. This is the ultimate James Bond book, written by the ultimate insider, with all the affection and good humor he brought to the role.  It is the perfect gift for all fans of these much loved films.

    An Indian boy by adoption, J. W. Schultz has told his paleface brothers many good Indian tales. "Apauk, Caller of Buffalo", was a lad in the land and the days of the great buffalo herds. Apauk. a Blackfoot boy. was taught when young the art of calling buffalo. A new type of the wooly, wild west Indian story appears in "Apauk, Caller of Buffalo." More thrilling than Action, the life story of the greatest of the Blackfeet medicine men, not only possesses an enthralling interest but gives the reader an authoritative historical picture of the life of the American Indian on the great western plains before the invasion of the white man. The biographer, James Wlllard Schultz, is an adopted member of the Blackfeet tribe and has lived the life of an Indian for forty years. Schultz writes: "ALTHOUGH I had known Apauk A—Flint Knife—for some time, it was not until the winter of 1879—80 that I became intimately acquainted with him. He was at that time the oldest member of the Piegan tribe of the Blackfeet Confederacy, and certainly looked it, for his once tall and powerful figure was shrunken and bent, and his skin had the appearance of wrinkled brown parchment. "In the fall of 1879, the late Joseph Kipp built a trading-post at the junction of the Judith River and Warm Spring Creek, near where the town of Lewistown, Montana, now stands, and as usual I passed the winter there with him. We had with us all the bands of the Piegans, and some of the bands of the Blood tribe, from Canada. The country was swarming with game, buffalo, elk, antelope, and deer, and the people hunted and were care-free and happy, as they had ever been up to that time. Camped beside our trading-post was old Hugh Monroe, or Rising Wolf, who had joined the Piegans in 1816, and it was through him that I came to know Apauk well enough to get the story of his remarkably adventurous and romantic youth. The two old men were great chums. Old as they were —Monroe was born in 1798, and Apauk was several years his senior—on pleasant days they mounted their horses and went hunting, and seldom failed to bring in game of some kind. And what a picturesque pair they were ! Both wore capotes ——hooded coats made from three-point Hudson Bay Company blankets—and leggins to match, and each carried an ancient Hudson Bay fuke, or flint-lock gun. They would have nothing to do with cap rifles, or the rim-fire cartridge, repeating weapons of modern make. Hundreds—yes, thousands of head of various game, many a savage grizzly, and a score or two of the enemy—— Sioux, Cree, Crow, Cheyenne, and Assiniboine, had they killed with the sputtering pieces, and they were their most cherished possessions. "Oh, that I could live over again those buffalo days! Those Winter evenings in Monroe’s or Apauk’s lodge, listening to their tales of the long ago! Nor was I the only interested listener: always there was a complete circle of guests around the cheerful fire; old men, to whom the tales brought memories of their own eventful days, and young men, who heard with intense interest of the adventures of their grandfathers, and of the “ calling of the buffalo,” which strange and wonderful method of obtaining at one swoop a whole tribe’s store of Winter food, they were never to witness. For the luring of whole herds of buffalo to their death had been Apauk’s sacred, honored, and danger-fraught avocation.

    A role model for generations of writers and performers, Doc was renowned for his mastery of virtually every popular style, from the gutbucket rhythm and blues of “Lonely Avenue” to the symphonic soul of “Save the Last Dance for Me” to the pure pop of “Viva Las Vegas.” His songs-“This Magic Moment,” “A Teenager in Love,” “Hushabye,” “Little Sister,” “Turn Me Loose,” and many others-have been recorded by everyone from Ray Charles, Elvis Presley, and B. B. King to Bob Dylan, Led Zeppelin, and Bruce Springsteen, with sales exceeding $100 million. Doc was ready-made for literature. His collaborator Mort Shuman once described him as an “entire rollicking soul neighborhood rolled into one man.” Garrulous, profane, hilarious, and Rabelaisian, Doc was never inhibited about offering his opinions and his friendship. His confidants, collaborators, and discoveries included Duke Ellington, John Lennon, Dr. John, Jimmy Scott, Bette Midler, and Lou Reed. In the words of renowned producer Jerry Wexler, “If the music industry had a heart, it would be Doc Pomus.” Despite, or more likely because of, his successes, few acquaintances knew that this writer of jukebox hits led one of the most dramatic and unlikely lives of his time. Spanning extravagant wealth and desperate poverty, suburban domesticity and the depths of New York’s underworld, worldwide fame and near-total obscurity, enduring love and persistent loneliness, Doc’s story remains one of the great untold American lives. Its chapters comprise a back-room history of rock ’n’ roll, touching on more than a half-century of American popular music-from the blues Doc performed with Lester Young to his collaborations with the luminaries of New York’s punk scene, shot through with vivid portraits of virtually every major player. Lonely Avenue is the first biography of this American original, so elegantly rendered that it reads like a novel, and fortified by full, exclusive access to Doc Pomus’s family, friends, voluminous journals, and archives.

    Jack Warner called her "an explosive little broad with a sharp left." Humphrey Bogart once remarked, "Unless you're very big she can knock you down." Bette Davis was a force of nature--an idiosyncratic talent who nevertheless defined the words "movie star" for more than half a century and who created an extraordinary body of work filled with unforgettable performances. In Dark Victory, the noted film critic and biographer Ed Sikov paints the most detailed picture ever delivered of this intelligent, opinionated, and unusual woman who was--in the words of a close friend--"one of the major events of the twentieth century." Drawing on new interviews with friends, directors, and admirers, as well as archival research and a fresh look at the films, this stylish, intimate biography reveals Davis's personal as well as professional life in a way that is both revealing and sympathetic. With his wise and well-informed take on the production and accomplishments of such movie milestones as Jezebel, All About Eve, and Now, Voyager, as well as the turbulent life and complicated personality of the actress who made them, Sikov's Dark Victory brings to life the two-time Academy Award-winning actress's unmistakable screen style, and shows the reader how Davis's art was her own dark victory.

    Godfathers of alternative rock, they reinvented music in the post-punk era, creating a new sound—dark, hypnotic, and intense—that would influence U2, Morrissey, R.E.M., Radiohead, and numerous others. The story is now legendary: in 1980, on the heels of their groundbreaking debut, Unknown Pleasures, and on the eve of their first U.S. tour, the band was rent asunder by the tragic death of their enigmatic lead singer, Ian Curtis. Yet in the mere three years they were together, Joy Division produced two landmark albums and a handful of singles—including the iconic anthem "Love Will Tear Us Apart"—that continue to have a powerful resonance.Now, for the first time, their story is told by one of their own. In Unknown Pleasures, founding member and bass player Peter Hook recounts how four young men from Manchester and Salisbury, with makeshift instruments and a broken-down van, rose from the punk scene to create a haunting, atmospheric music that would define a generation. Peter talks with eye-opening candor and reflection about the suicide of Ian Curtis; the band's friendships and fallouts; the evolution of their sound and image; and the larger-than-life characters who formed a vital part of the Joy Division legend, including Factory Records founder Tony Wilson and producer Martin Hannett. Told with surprising humor and vivid detail, Unknown Pleasures is the book Joy Division fans have awaited for decades.

    As Dorothy in The Wizard of Oz Judy Garland had charmed the world, singing and dancing down a golden path to fame; now she was middle-aged and wracked with personal problems, habitually late for rehearsals, often not showing up at all. When she made what proved to be her final appearance on Stage 43 in Television City (dressed, rather ironically, as a clown), one stagehand, assessing her thin and haggard figure, sighed no more yellow-brick road. In The Other Side of the Rainbow--now reissued with a new preface--Mel Torme takes us on a Hollywood roller-coaster ride through the triumphs and disasters of this short-lived show, at the same time revealing a personal side of Judy Garland rarely glimpsed. While she was notoriously hard to work with, and her affection for the Blue Lady (Blue Nun leibfraumilch), vodka, and pills was well-known even at this time, Torme shows that Judy was still capable of breathtaking performances, that she could still earn the sobriquet High Priestess of the entertainment world. Torme signed on to The Judy Garland Show as its musical director, writing special tunes, putting together medleys, at times even coaching Judy from an off-camera position. He was there from the start, survived an almost total purge of show staff, and left just before the final telecast. Consequently, we see it all from center stage: Mickey Rooney saving a virtually unrehearsed early show from failure, Lena Horne storming over Judy's lack of professionalism, Cary Grant refusing to do his oft-imitated JU-dy, JU-dy, JU-dy (insisting he had never said it), daughter Liza Minelli singing a duet with her beaming mother, and Judy herself, alone on the set, belting out a powerfully moving rendition of The Battle Hymn of the Republic only weeks after the assassination of JFK. (Her desire to do a special program dedicated to Kennedy's memory was nixed by CBS: this was her unexpected and defiant response.) Behind the scenes we witness Judy at her best (Torme remembers of feeling chills of delight as Garland sang Mama's Gone, Goodbye during their first session together), her funniest (telling dirty stories to the production crew), and her worst, drunk and hysterical, waking her colleagues with early morning telephone calls. Known as The Dawn Patrol, Torme and others would leave their beds and rush to Garland's Brentwood home to offer whatever assistance they could. Brimming with anecdotes, illustrated with rare photographs of Judy on the television stage, and informed by the insights of a fellow performer who saw it all, The Other Side of the Rainbow offers a rare and compassionate look at one of America's most beloved and misunderstood entertainment icons.

    Few could or would have predicted that the improvised raps and raw beats busting out of New York City's urban underclass would one day become a multimillion-dollar business and one of music's most lucrative genres. Among those few were two visionaries: Russell Simmons, a young black man from Hollis, Queens, and Rick Rubin, a Jewish kid from Long Island. Though the two came from different backgrounds, their all-consuming passion for hip-hop brought them together. Soon they would revolutionize the music industry with their groundbreaking label, Def Jam Records. Def Jam, Inc. traces the company's incredible rise from the NYU dorm room of nineteen-year-old Rubin (where LL Cool J was discovered on a demo tape) to the powerhouse it is today; from financial struggles and scandals-including The Beastie Boys's departure from the label and Rubin's and Simmons's eventual parting-to revealing anecdotes about artists like Slick Rick, Public Enemy, Foxy Brown, Jay-Z, and DMX. Stacy Gueraseva, former editor in chief of Russell Simmons's magazine, Oneworld, had access to the biggest players on the scene, and brings you real conversations and a behind-the-scenes look from a decade-and a company-that turned the music world upside down. She takes you back to New York in the '80s, when late-night spots such as Danceteria and Nell's were burning with young, fresh rappers, and Simmons and Rubin had nothing but a hunch that they were on to something huge. Far more than just a biography of the two men who made it happen, Def Jam, Inc. is a journey into the world of rap itself. Both an intriguing business history as well as a gritty narrative, here is the definitive book on Def Jam-a must read for any fan of hip-hop as well as all popular-culture junkies.

    Introduction by Charles C. Alexander.