Cool Crosby

Crosby, a very cool, laid-back German shepherd, checks into the Hound Hotel and teaches Alfie a lesson in patience.

The seventh volume in Knopf’s critically acclaimed Complete Lyrics series, published in Johnny Mercer’s centennial year, contains the texts to more than 1,200 of his lyrics, several hundred of them published here for the first time. Johnny Mercer’s early songs became staples of the big band era and were regularly featured in the musicals of early Hollywood. With his collaborators, who included Richard A. Whiting, Harry Warren, Hoagy Carmichael, Jerome Kern, and Harold Arlen, he wrote the lyrics to some of the most famous standards, among them, “Too Marvelous for Words,” “Jeepers Creepers,” “Skylark,” “I’m Old-Fashioned,” and “That Old Black Magic.” During a career of more than four decades, Mercer was nominated for the Academy Award for Best Song an astonishing eighteen times, and won four: for his lyrics to “On the Atchison, Topeka, and the Santa Fe” (music by Warren), “In the Cool, Cool, Cool of the Evening” (music by Carmichael), and “Moon River” and “Days of Wine and Roses” (music for both by Henry Mancini). You’ve probably fallen in love with more than a few of Mercer’s songs–his words have never gone out of fashion–and with this superb collection, it’s easy to see that his lyrics elevated popular song into art.

This is the first book to examine the various uses of the Arthurian legend in Hollywood film, covering films from the 1920s to the present. The authors use five representational categories: intertextual collage (or cult film); melodrama, which focuses on the love triangle; conservative propaganda, pervasive during the Cold War; the Hollywood epic; and the postmodern quest, which commonly employs the grail portion of the legend. Arguing that filmmakers rely on the audience's rudimentary familiarity with the legend, the authors show that only certain features of the legend are activated at any particular time. This fascinating study shows us how the legend has been adapted and how through the popular medium of Hollywood films, the Arthurian legend has survived and flourished.

Crosby, Stills & Nash created some of the most indelible songs and beautiful harmonies of the late 1960s and early 1970s: “Suite: Judy Blue Eyes,” “Woodstock,” “Teach Your Children.” This copiously illustrated account of the trio's personal and musical history tells the story behind the songs. Longtime CSN chronicler Dave Zimmer, with the full cooperation of the band, traces all of the performers from their musical roots to their first song together in L.A.'s storied Laurel Canyon; from their addition of Neil Young to Woodstock; and through their stormy years of creative conflicts, reunions, and reconciliations. This new edition has been fully reconfigured and updated to celebrate the trio's 40th anniversary and to accommodate over 300 photos, as well as Crosby, Stills, Nash & Young's controversial Living with War tour.

The body of a young woman is discovered buried in the vineyard at St. Peter Seminary. Within hours the Chief Investigator for the Boulder County Sheriff's Office identifies the remains and announces that he'd put the killer behind bars years ago. Case Closed But did he? Doc Martini follows a trail of rumors and clues that at first cast doubt on the deputy's claim and then point suspicion at the priests living in the protective arms of the seminary. What dark secrets are the Sheriff and the seminary hiding? A dozen or more priests exiled behind the stone walls. Secrets or Rumors? That's the puzzle Doc and his partners must piece together in spite of a local politician intent on keeping some of the pieces off the playing board. Larry D. Bergsgaard retired after nearly thirty years in law enforcement where he served as a Special Agent with the United States Department of Treasury and the Minnesota Bureau of Criminal Apprehension. Mr. Bergsgaard's experiences as a law enforcement officer span from SWAT to international corporate fraud inquiries; from dignitary protection to covert operations; from undercover narcotics probes to domestic terrorist investigations. Since retiring, Mr. Bergsgaard volunteers with the Pima County Sheriff's Department. During all those years, Agent Bergsgaard truly was as Theodore Roosevelt termed it, "the man who is actually in the arena, whose face is marred by dust and sweat and blood." Mr. Bergsgaard writes from an inspiring lake view in Northern Minnesota and from a winter home overlooking the splendid Santa Rita Mountains in Southern Arizona. He is the author of the Doc Martini series which has met with outstanding success and comments from readers and critics such as, "this novel elevates Bergsgaard to the level of great espionage writers, the likes of John Le Carre and Fredrick Forsyth." (Ned Lord) "There are writers who aspire to be cops; there are cops who would like to become writers. Rarely is either successful at both. If he was as good at law enforcement as he is at writing, Bergsgaard would appear to be the exception." (Bill Henry)

I have completed this manuscript Just Remember This, or as American Pop Singers 1900-1950+, about music before the 1950s in America. It perhaps offers knowledge and insights not previously found in other musical reference books. I have moreover been working on this book very meticulously over the past twelve-plus years. It started as a bit of fun and gradually became serious as I began to listen along with the vocalists of popular music, of the era before 1950, essentially just before the dawn of rock and roll. If you can call it that! Indeed genre and labeling of American music started here, and then from everywhere. While the old adage of always starting from somewhere could be noted in every century, the 1900s had produced the technology. Understanding the necessity, more so, finds a curiosity on the part of a general public hungry for entertainment, despite 6 day work weeks, World War I, the Great Depression, and World War II.

Readers have the chance to meet the Pittsburgh Penguins, one of the wildest, wackiest, most wonderful sports franchises that ever waddled its way across North America. If Penguins fans are not shedding tears of sadness, they are crying for joy or simply laughing so hard they cannot stop. No franchise has survived more near-death experiences than this one, which twice went bankrupt and many times escaped the threat of relocation. In 1975, things were so tough that players had their postgame oranges taken away. Nevertheless, they have persevered. Known across the league as lovable losers for its first 24 years, the team began the climb to the top in the 1990s, winning the Stanley Cup twice in that decade and again in 2009 and 2016. In Tales from the Pittsburgh Penguins Locker Room, sportswriter Joe Starkey takes fans inside the locker rooms, onto the team buses (including the one defenseman Bryan “Bugsy” Watson hijacked), and behind the personalities that have shaped Penguins hockey since 1967.

The author of the magisterial A Biographical Guide to the Great Jazz and Pop Singers now approaches the great singers and their greatest work in an innovative and revelatory way: through considering their finest albums, which is the format in which this music was most resonantly organized and presented to its public from the 1940s until the very recent decline of the CD. It is through their albums that Ella Fitzgerald, Frank Sinatra, Peggy Lee, Sarah Vaughan, Nat King Cole, Judy Garland, and the rest of the glorious honor roll of jazz and pop singers have been most tellingly and lastingly appreciated, and the history of the album itself, as Will Friedwald sketches it, can now be seen as a crucial part of musical history. We come to understand that, at their finest, albums have not been mere collections of individual songs strung together arbitrarily but organic phenomena in their own right. A Sinatra album, a Fitzgerald album, was planned and structured to show these artists at their best, at a specific moment in their artistic careers. Yet the albums Friedwald has chosen to anatomize go about their work in a variety of ways. There are studio and solo albums: Lee’s Black Coffee, June Christy’s Something Cool, Cassandra Wilson’s Belly of the Sun. There are brilliant collaborations: famous ones—Tony Bennett and Bill Evans, Louis Armstrong and Oscar Peterson—and wonderful surprises like Doris Day and Robert Goulet singing Annie Get Your Gun. There are theme albums—Dinah Washington singing Fats Waller, Maxine Sullivan singing Andy Razaf, Margaret Whiting singing Jerome Kern, Barb Jungr singing Bob Dylan, and the sublime Jo Stafford singing American and Scottish folk songs. There are also stunning concert albums like Ella in Berlin, Sarah in Japan, Lena at the Waldorf, and, of course, Judy at Carnegie Hall. All the greats are on hand, from Kay Starr and Carmen McRae to Jimmy Scott and Della Reese (Della Della Cha Cha Cha). And, from out of left field, the astounding God Bless Tiny Tim. Each of the fifty-seven albums discussed here captures the artist at a high point, if not at the expected moment, of her or his career. The individual cuts are evaluated, the sequencing explicated, the songs and songwriters heralded; anecdotes abound of how songs were born and how artists and producers collaborated. And in appraising each album, Friedwald balances his own opinions with those of musicians, listeners, and critics. A monumental achievement, The Great Jazz and Pop Vocal Albums is an essential book for lovers of American jazz and popular music.