“What’s the point of being Irish anyway if you don’t think the world will break your heart?” asks Jack Kennedy. He is spellbound by a song about Ireland’s neverland of dreams: “How Are Things in Glocca Morra?” No one better knew the real JFK’s dreams and passions than Lem Billings, a prep-school roommate who made himself “sidekick everlasting.” The late Peter Collier had the great fortune to obtain oral histories from Billings himself, and they became the basis for a vivid biographical novel in Lem’s voice. On assignment with the Hearst newspapers, Jack goes with Lem to Hollywood, that neverland of dreams he loves for “the feeling that something might happen.” Things do. Communists and gangsters vie for control of the unions. There are labor strikes, blackmail, assassinations. And there are glamorous actresses. Joseph Kennedy Sr. hovers oppressively over his son and aims to derail his romance with Valentina, survivor of an Italian prison camp and daughter of a mobster. The world breaks Jack’s heart, and he dives into politics with steely purpose. But the interlude in Hollywood sends ripples through the Kennedys’ lives. When Lem gets the news of JFK’s assassination, he instantly thinks of Val’s father—a man whose middle name is vendetta. Billings never got the answers he sought about Jack’s death. As for his intimate knowledge of the Kennedys, he remained ever discreet, but left a trove of recollections to be opened by a later generation. Conveyed through Collier’s lively and imaginative prose, they illuminate shadowy corners of an extraordinary American saga.

Boys' Life is the official youth magazine for the Boy Scouts of America. Published since 1911, it contains a proven mix of news, nature, sports, history, fiction, science, comics, and Scouting.

In its 114th year, Billboard remains the world's premier weekly music publication and a diverse digital, events, brand, content and data licensing platform. Billboard publishes the most trusted charts and offers unrivaled reporting about the latest music, video, gaming, media, digital and mobile entertainment issues and trends.

The life story of the man who gave Dorothy and her Oz companions something to sing about

In its 114th year, Billboard remains the world's premier weekly music publication and a diverse digital, events, brand, content and data licensing platform. Billboard publishes the most trusted charts and offers unrivaled reporting about the latest music, video, gaming, media, digital and mobile entertainment issues and trends.

More than 150 years after its original publication, Bartlett's Familiar Quotations has been completely revised and updated for its eighteenth edition. Bartlett's showcases a sweeping survey of world history, from the times of ancient Egyptians to present day. New authors include Warren Buffett, the Dalai Lama, Bill Gates, David Foster Wallace, Emily Post, Steve Jobs, Jimi Hendrix, Paul Krugman, Hunter S. Thompson, Jon Stewart, Elizabeth Kubler-Ross, Barack Obama, Che Guevara, Randy Pausch, Desmond Tutu, Julia Child, Fran Leibowitz, Harper Lee, Nassim Nicholas Taleb, Patti Smith, William F. Buckley, and Robert F. Kennedy. In the classic Bartlett's tradition, the book offers readers and scholars alike a vast, stunning representation of those words that have influenced and molded our language and culture.

In an age of ubiquitous music and countless new songs releasing every minute, the Great American Songbook endures. After all, the Songbook—that sprawling canon of popular songs, standards, and show tunes from roughly the 1920s through the 1950s—is a foundational text of American pop music. Rare indeed is the song that doesn’t in some way draw on this magnificent corpus, and rare is the person who hasn’t heard at least a few of its most enduring melodies. Nonetheless, the Songbook is broader and deeper than most listeners can imagine, and on the margins, the question of whether this or that song should be included is the source of regular arguments among scholars and buffs alike. Attempting to plumb its depths can be a daunting prospect. Enter Steven Suskin, who has been writing about music since the days that Rodgers, Arlen, and Berlin still roamed the streets of Manhattan. In this carefully curated and cheerfully opinionated guidebook, Suskin surveys 201 of the most significant selections from the Songbook, ranging from celebrated masterpieces to forgotten gems. Year by year, he puts songwriters and their contributions in their context, and explains what makes each song such a distinctive treat—whether felicitous melody, colorful harmony, compositional originality, or merely the sheer, irreducible joy of listening to it. Old and new favorites await all readers of this painstakingly compiled, enthusiastically written catalog.

In its 114th year, Billboard remains the world's premier weekly music publication and a diverse digital, events, brand, content and data licensing platform. Billboard publishes the most trusted charts and offers unrivaled reporting about the latest music, video, gaming, media, digital and mobile entertainment issues and trends.

Simply Broadway is a collection of classic hits from the greatest Broadway musicals. These selections have been carefully arranged by Dan Coates for Easy Piano, making them accessible to pianists of all ages. Phrase markings, articulations, fingering, pedaling and dynamics have been included to aid with interpretation, and a large print size makes the notation easy to read. Titles: * And All That Jazz * Anything Goes * Diamonds Are a Girl’s Best Friend * Don’t Rain on My Parade * Ease On Down the Road * Heart * Hey There * How Are Things in Glocca Morra? * How Could I Ever Know? * I Could Have Danced All Night * I Won’t Grow Up * If Ever I Would Leave You * Mack the Knife * Not While I’m Around * Ragtime * So In Love * Summertime * Together Wherever We Go. 80 pages.

"Mrs. Oscar Hammerstein, so the story goes, once overheard someone praise "Ol' Man River" as a "great Kern song." "I beg your pardon," she said, "But Jerome Kern did not write 'Ol' Man River.' Mr. Kern wrote dum dum dum da; my husband wrote ol' man river." It's easy to understand her frustration. While the years between World Wars I and II have long been hailed as the "golden age" of American popular song, it is the composers, not the lyricists, who always usually get top billing. "I love a Gershwin tune" too often means just that-the tune-even though George Gershwin wrote many unlovable tunes before he began working with his brother Ira in 1924. Few people realize that their favorite "Arlen" songs each had a different lyricist-Ted Koehler for "Stormy Weather," Yip Harburg for "Over the Rainbow," Johnny Mercer for "That Old Black Magic." Only Broadway or Hollywood buffs know which "Kern" songs get their wry touch from Dorothy Fields, who would flippantly rhyme "fellow" with "Jello," and which of Kern's sonorous melodies got even lusher from Otto Harbach, who preferred solemn rhymes like "truth" and "forsooth." Jazz critics sometimes pride themselves on ignoring the lyrics to Waller and Ellington "instrumentals," blithely consigning Andy Razaf or Don George to oblivion"--