Biography: arts and entertainment Books

Book Synopsis The shocking true crime story of a beloved Hollywood star gone too soon—told by the captain of the boat on which Natalie Wood spent her last night.   Goodbye Natalie, Goodbye Splendour is the long-awaited, detailed account of events that led to the mysterious death of Hollywood legend Natalie Wood off the coast of Catalina Island on November 28, 1981. It is a story told by a haunted witness to that fateful evening: Dennis Davern, the young captain of Splendour, the yacht belonging to Wood and husband Robert Wagner. Davern initially backed up Wagner’s version of that evening’s events through a signed statement prepared by attorneys. But Davern’s guilt over failing Natalie tormented him.   Davern reached out to his old friend Marti Rulli, and little by little, at his own emotional pace, he revealed the details of his years in Wood’s employ, of the fateful weekend that Natalie died, and of the eve

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Trade Review“Definitive, exhaustively researched and superbly written, the book contains none of the sentimentality the subtitle may suggest . . . . Victoria Price tells Vincent’s tale with such clear-eyed pride that the reader cannot help being won over.” —Publishers Weekly“This is an excellent, detailed, readable biography of the Gable of Gothic.” —Booklist“[Vincent Price] emerges as one of his most complex characters in this entertaining and touching biography.” —The New York Times

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Book SynopsisPublished in 1959, this book is what Vincent Price called his “visual autobiography” — the story of his life through his 48th year as seen through the lens of his greatest passion, the visual arts. Peppered with lively stories about both his art collecting and advocacy as well as his career as an actor, I Like What I Know is written in an approachable and entertaining style, capturing what has drawn fans to Vincent Price throughout his distinguished 65-year-career and in the two decades since his death in 1993.

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Book SynopsisMoving' THE NEW YORK TIMESA joy' THE WASHINGTON POSTVibrant' LIT HUBPowerful' NEW YORKERLucy Sante has often felt like an outsider. Born in Belgium to conservative Catholic working-class parents, she was transplanted to the United States without ever entirely settling here. But a feeling of home finally arrived when she moved to New York City in the early 1970s amidst her fellow bohemians. Through those electric years, some of her friends would die young, from drugs and AIDS, and others would become jarringly famous. Lucy flirted with both fates, on her way to building a glittering career as a writer. But she could never shake that feeling.When she was finally ready, Lucy decided to confront the façade she'd been presenting to everyone, including herself, over these years. I Heard Her Call My Name is the story of that confrontation, of a life with a missing piece that with t

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Book SynopsisFrom one of the hottest stand-up comedians, Nate Bargatze brings his everyman comedy to the page in this hilarious collection of personal stories, opinions, and confessions.Nate Bargatze used to be a genius. That is, until the summer after seventh grade when he slipped, fell off a cliff, hit his head on a rock, and "my skull got, like, dented or something." Before this accident, he dreamed of being "an electric engineer, or a doctor that does brain stuff, or a math teacher who teaches the hardest math on earth." Afterwards, all he could do was stand-up comedy.* But the "brain stuff" industry''s loss is everyone else''s gain because Nate went on to become one of today''s top-grossing comedians, breaking both attendance and streaming records.

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Book SynopsisThis book examines the impact place and displacement can have on the composition and interpretation of Western art music, using as its primary objects of study the work of István Anhalt (1919-2012), György Kurtág (1926-), and Sándor Veress (1907-92). Although all three composers are of Hungarian origin, their careers followed radically different paths. Whereas, Kurtág remained in Budapest for most of his career, Anhalt and Veress left: the former in 1946 and immigrated to Canada and the latter in 1948 and settled in Switzerland. All three composers have had an extraordinary impact in the cultural environments within which their work took place. In the first section, ""Place and Displacement,"" contributors examine what happens when composers and their music migrate in the culturally complex world of the late twentieth century. The past one hundred years produced record numbers of refugees, and this fact is now beginning to resonate in the study of music. As Anhalt himself forcefully asserts, however, not all composers who emigrate should be understood as exiles. The first chapters of this book explore some of the problems and questions surrounding this issue. Essays in the second section, ""Perspectives on Reception, Analysis, and Interpretation,"" look at how performing acts of interpretation on music implies bringing the time, place, and identity of the musician, the analyst, and the teacher to bear on the object of study. Like Kodály, Kurtág considers his work to be ""naturally"" embedded in Hungarian culture, but he is also a quintessentially European artist. Much of his production - he is one of the twentieth century's most prolific composers of vocal music - involves the setting of Hungarian texts, but in the late 1970s his cultural horizons expanded to include texts in Russian, German, French, English, and ancient Greek. The book explores how musicologists' divergent cultural perspectives impinge on the interpretation of this work. The final section, ""The Presence of the Past and Memory in Contemporary Music,"" examines the impact time and memory can have on notions of place and identity in music. All living art taps into the personal and collective past in one way or another. The final four chapters look at various aspects of this relationship.Table of Contents List of Examples List of Plates and Figures List of Tables Acknowledgements Introduction Friedemann Sallis First Word 1 István Anhalt: A Character Sketch John Beckwith (University of Toronto) 2 Kurtág, as I Know Him Gergely Szokolay 3 ""A Kind of Musical Autobiography"": Reading Traces in Sándor Veress's Orbis tonorum Claudio Veress Place and Displacement 4 Of the Centre, Periphery; Exile, Liberation; Home and the Self István Anhalt (Queen's University) 5 István Anhalt's Kingston Triptych Robin Elliott (University of Toronto) 6 István Anhalt's The Tents Of Abraham: Where Music Cannot Heal, Let It Be Restored William Benjamin (University of British Columbia) 7 Which Displacement? Tracing Exile in the Postwar Compositions of István Anhalt and Mátyás Seiber Florian Scheding (University of Southampton) 8 Letters to America Rachel Beckles Willson (Royal Holloway, University of London) 9 Roots and Routes: Travel and Translation in István Anhalt's Operas Gordon Smith (Queen's University) 10 Le fonds István Anhalt (MUS 164) à Bibliothéque et Archives Canada : auto-construction du compositeur et rôle du lieu dans son oeuvre Rachelle Chiasson-Taylor (Bibliothéque et archives Canada) Perspectives on Reception, Analysis, and Interpretation 11 Sewing Earth to Sky: István Anhalt and the Pedagogy of Transformation Austin Clarkson (York University) 12 György Kurtág's Játékok: A ""Voyage"" into the Child's Musical Mind Stefano Melis (Conservatorio di musica ""L. Canepa"" di Sassari) 13 Arracher la figure au figuratif: la musique vocale de György Kurtág Alvaro Oviedo (Université Paris 8, Vincennes Saint-Dénis) 14 Dirges and Ditties: György Kurtág's Latest Settings of Poetry by Anna Akhmatova Julia Galieva-Szokolay (Royal Conservatory of Music, Toronto) 15 Interpreting György Kurtág and George Crumb: Through the Looking Glass Dina Lentsner (Capital University, Columbus, Ohio) The Presence of the Past and Memory in Contemporary Music 16 György Kurtág et Walter Benjamin : considérations sur l'aura dans la musique Jean-Paul Olive (Université Paris 8, Vincennes Saint-Dénis) 17 What Presence of the Past? Artistic Autobiography in György Kurtág's Music Ulrich Mosch (Paul Sacher Foundation) 18 ""Listening to inner voices"": István Anhalt's Sonance•Resonance (Welche Töne?) Alan Gillmor (Carleton University) 19 Music Written from Memory in the Late Work of István Anhalt Friedemann Sallis (University of Calgary) Final Word 20 On Doubleness and Life in Canada: An Interview with István Anhalt The Contributors Index

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Book SynopsisSOMEWHERE FOR ME: A BIOGRAPHY OF RICHARD RODGERS

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