Bolt’s debut memoir captures the life and loves of a woman who set off to Hollywood with a dream to meet Burt Reynolds and became a stuntwoman.
In Decatur, Illinois, “The Soybean Capital of the World,” a young Boltstruggled after her parents’ divorce. As she came of age, she began to learn how to take care of herself due to her father’s quick temper and her mother’s mental illness. While living with her dad and frequenting Decatur’s pubs alongside him, the junior high schoolerbecame attracted to his adult friend Jerry.Bolt’s narration goes on to reflect her development from a sharp yet naïve child to a rebellious, stubborn teen. A high school dropout at 16,Bolt succeeded at driving solo to California with nothing but a borrowed Eagles eight-track tape, a giant stuffed frog, and $250 in her pocket. She worked the graveyard shift at a 7-Eleven to take advantage of opportunities as a movie extra during the day. Along the way, Bolt navigated the seedy world of auditions, headshots, and casting scams but ended up discovering a passion for stunts. Driven by a dream to star in a movie with movie star Reynolds, Bolt dexterously juggled her priorities while also figuring out where she stood when it came to her impassioned relationship with a married cop. In this debut memoir, Bolt offers a poignant, dynamic, and charming tale of love. As it rolls along, she offers anecdotes that may make some readers nostalgic for the Hollywood of decades past. At one point, she points out that her third grade teacher wrote on the girl’s report card, “Catches on slowly, but then understands well,” which will also likely apply to readers of the memoir, as paragraph by paragraph, the author’s narrative threads don’t seem to immediately and obviously tie together. But although her tales seem a tad disjointed at times, they do satisfyingly weave themselves together in the end. (Includes black-and-white and color family photos.)
A somewhat-scattered but engagingly nostalgic showbiz remembrance.
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").
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)