An irresistible insider’s account of one of Hollywood’s most vital and storied eras.



Hollywood, the psychedelic years.

Bart recalls his tumultuous tenure as Vice President of Paramount, a once-proud studio struggling to adjust to changing audience tastes in the late sixties and seventies. Bart came to the picture business via an untraditional route—he had previously worked as a reporter for the New York Times—and his rise would be inextricably linked with that of Robert Evans, the famously brash and sybbaritic former apparel executive who had charmed his way into the Hollywood elite after an undistinguished acting career. Together, Bart and Evans, under the supervision of their voluable and impetuous corporate master, Charles Bluhdorn, would make Paramount an exemplar of the “new” Hollywood, championing innovative, era-defining projects including The Godfather, Chinatown, Rosemary’s Baby, and Love Story. It was a bumpy ride, and Bart drolly dishes on bad behavior both behind and in front of the camera, marveling at the ability of great cinema to survive the egos, private agendas, bad behavior, and appalling stupidity that run rampant in the highest echelons of the industry. Bart’s behind-the-scenes reminiscences of the productions of such legendary productions is insightful and endlessly diverting for any fan of the period’s films, and he limns the personalities and career arcs of such luminaries as Warren Beatty, Clint Eastwood, Robert Redford, and Francis Ford Coppola with a wealth juicy details and good humor. Infamous Players stands as a sort of cheeky, breezy companion to Peter Biskinds epic Easy Riders, Raging Bulls, which documents the same period…but Bart’s account is faster, more personal, and more fun.

An irresistible insider’s account of one of Hollywood’s most vital and storied eras.

Pub Date: May 3, 2011

ISBN: 978-1-60286-139-8

Page Count: 304

Publisher: Weinstein Books

Review Posted Online: April 5, 2011

Kirkus Reviews Issue: April 15, 2011

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Stricter than, say, Bergen Evans or W3 ("disinterested" means impartial — period), Strunk is in the last analysis...



Privately published by Strunk of Cornell in 1918 and revised by his student E. B. White in 1959, that "little book" is back again with more White updatings.

Stricter than, say, Bergen Evans or W3 ("disinterested" means impartial — period), Strunk is in the last analysis (whoops — "A bankrupt expression") a unique guide (which means "without like or equal").

Pub Date: May 15, 1972

ISBN: 0205632645

Page Count: 105

Publisher: Macmillan

Review Posted Online: Oct. 28, 2011

Kirkus Reviews Issue: May 1, 1972

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Noted jazz and pop record producer Thiele offers a chatty autobiography. Aided by record-business colleague Golden, Thiele traces his career from his start as a ``pubescent, novice jazz record producer'' in the 1940s through the '50s, when he headed Coral, Dot, and Roulette Records, and the '60s, when he worked for ABC and ran the famous Impulse! jazz label. At Coral, Thiele championed the work of ``hillbilly'' singer Buddy Holly, although the only sessions he produced with Holly were marred by saccharine strings. The producer specialized in more mainstream popsters like the irrepressibly perky Teresa Brewer (who later became his fourth wife) and the bubble-machine muzak-meister Lawrence Welk. At Dot, Thiele was instrumental in recording Jack Kerouac's famous beat- generation ramblings to jazz accompaniment (recordings that Dot's president found ``pornographic''), while also overseeing a steady stream of pop hits. He then moved to the Mafia-controlled Roulette label, where he observed the ``silk-suited, pinky-ringed'' entourage who frequented the label's offices. Incredibly, however, Thiele remembers the famously hard-nosed Morris Levy, who ran the label and was eventually convicted of extortion, as ``one of the kindest, most warm-hearted, and classiest music men I have ever known.'' At ABC/Impulse!, Thiele oversaw the classic recordings of John Coltrane, although he is the first to admit that Coltrane essentially produced his own sessions. Like many producers of the day, Thiele participated in the ownership of publishing rights to some of the songs he recorded; he makes no apology for this practice, which he calls ``entirely appropriate and without any ethical conflicts.'' A pleasant, if not exactly riveting, memoir that will be of most interest to those with a thirst for cocktail-hour stories of the record biz. (25 halftones, not seen)

Pub Date: May 1, 1995

ISBN: 0-19-508629-4

Page Count: 224

Publisher: Oxford Univ.

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: March 1, 1995

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