Kicking and Dreaming: A Story of Heart, Soul, and Rock and Roll by Ann and Nancy Wilson with Charles R. Cross

Once upon a time I had about a hundred eBooks housed in a library connected to an online retailer. If you know the site of which I speak, you know they folded at the turn of the year and gave customers a short window of opportunity to download and save. I managed to get twenty books to safety but unfortunately one of them wasn't my copy of Kicking and Dreaming: A Story of Heart, Soul, and Rock and Roll, which I had purchased a few years back with the intent of reviewing here. I'm slowly working to replace what I lost, what I remember buying, anyway.

Not unlike the reading of the book, I seem to fall behind where Heart is concerned. I had become aware of their existence in the early 80s but didn't give thought to the singles out at the time. "Tell It Like It Is" and "This Man is Mine" were a bit too doo-wop and ballad-y for my tastes then, despite Ann's killer vocals, and I hadn't realized these songs weren't necessarily representative of the overall Heart sound. Then by the mid-80s they'd launched into this MTV, male-gaze video era with the gold corsets, big hair, and bouncing boobies before a backdrop of flashpots and lightning. It appeared a bit much, but that was the point of the 80s - excess for success, and Heart was a 70s band pushed to take those extremes to stay relevant and solvent. In a way it worked, because the frequent radio play encouraged me to seek out their earlier hits. It wasn't until a few years ago, though, I took the opportunity to see them live - both shows post-Hall of Fame victory laps. My daughter and I loved them, but with these recent family fallouts happening I fear there won't be other concerts.

Well, I got a replacement copy of the book. Upon finally reading it I find it's presented in "oral history" format with Ann and Nancy on a round robin storytelling pattern. There are a few books reviewed here that employ this writing method (VJ, Starting Over, Nothin' To Lose) and while it's not my favorite style I find it's effective when you have several voices in the chorus. Oral history books risk a breakdown of cohesion in telling a story, but more perspectives help to create a large picture and a better sense of time and setting, even if dates aren't exact. But for a few "guest shots" in this book - collaborators and former bandmates - the book is mostly Ann and Nancy, which is appropriate in a way, considering they are the most visible faces in Heart. For years I used to think Heart was strictly a duo. Shows what I know.

Kicking and Dreaming tells the evolution of the Wilson sisters' career in their own words, starting with a shared mobile military-family childhood, through thankless gigs in Canadian bars and early battles with their first label. Similar to points in lives like Lita Ford's, the sisters contended with sexism in the industry (even from female execs - e.g. the corset years) and not-always faithful companions. They have great anecdotes to share, particularly about early touring years and the struggle to become known for original work rather than covers. One such story about John Mellancamp may encourage you to whack him upside the head when you see him next.

For everything interesting in Ann and Nancy's journey, though, I tended to be pulled away from it at times due to the book's presentation. I note there's a third author listed and I'm not sure of his purpose, given the spots of spelling and syntax errors throughout the book. Other reviewers have noted continuity errors - incorrect release dates and such - but if I don't intimately know a band's discography I'm willing to forgive such things. Memories may challenge us, and I got the impression Kicking and Dreaming came out as a transcript with a perfunctory polish.

I appreciate Heart more than I did in my youth. Rock music is a male-dominated industry and I suppose we're conditioned to gravitate more toward male artists. Ann and Nancy challenged that norm early on by fronting a band, writing songs and playing their instruments. We see more women leading groups as a result, and if more are able to catch breaks in this business they may have the women in Heart to credit. Kicking and Dreaming is a rich history with rough spots, but worth reading.

Rating: B-

Kathryn Lively is slowly recovering.

Spring Reading: Mama and Junior

Remember me? Yes, it's been quite a while since I last opined on a rock star memoir. Believe me when I say I hadn't intended to let Chez BTRU go stale, and though people who advise on the proper way to live as a blogger tell you not to explain long absences, I feel I owe one.

Since starting this blog I've posted reviews every other month - sometimes the gap is wider, but I deliver something. After posting my last review in June I had another book in my TBR and plans for a summer vacation of reading. Then in July, on the day we woke to leave for our trip, we were told my mother-in-law died. Helping to settle her affairs took the rest of the summer.

Fall brought school, more estate stuff, and the day job. During Christmas vacation I felt enough time had passed that I could resume reading and blogging...then I got laid off. The day after Christmas, no less. I lost January looking for work, and February and March dealing with two separate health crises in the immediate family.

So 2016 took some family, a job I loved, and all the cool celebrities, and the gloom left me sliding into 2017 with little desire to do anything. We're almost into April and I'm once again working to resume a productive life - productive in the things I enjoy. This past week I went book shopping and found a few gems to share.

Book Riot clued me in to California Dreamin' by Pénélope Bagieu, a graphic novel covering the first two-thirds of the life of Cass Elliot. As one fourth of the harmonious 60s group The Mamas and the Papas, Cass offered an amazing voice to the music scene. I'm not a die-hard fan, but I could probably name about a dozen hits off the top of my head as they were one of the more important bands of the era, bridging folk to pop and offering serious competition to the British invasion. Had Cass lived, I don't doubt she'd have continued a successful post-Mama career, if not in music then some hybrid of stage, cabaret and TV - hell, maybe a cartoon spinoff from that Scooby Doo special she did. She'd have been a riot on Twitter, too.

Bagieu's illustrative biography is more of a serial in that Cass's story (from early to age to the cusp of TM&TP's breakthrough) is told from the perspectives of the important supporting players in her life. Her sister gets a chapter, then her school BFF, collaborators, would-be lovers and rivals chime in to reveal the evolution of Ellen Cohen to Cass Elliot. Bagieu's artwork is loose and lush, not completely detailed scene for scene, but she gives enough distinction for each person portrayed - Cass's wide-eyed awe, John Phillips' austerity, Michelle's pixie beauty, and Denny Doherty's shaggy hippie charm. It's like Bagieu sketched out Cass's story as gently as possible, as though to provide some comfort to the young woman who put up with so much BS throughout her short life. I enjoyed reading Dreamin', but I would advise if you want to read this spend the money and buy it in print. Reading graphic novels via Kindle, even through the web reader, is a pill.

Rating: A

~

I picked up Matt Birkbeck's Deconstructing Sammy after seeing it marked down through an eBook deal newsletter. It's not so much a biography of Sammy Davis, Jr. as it is a cautionary tale. I've read similar stories about entertainers, how one can generate millions of dollars over a storied career yet have nothing to show for it by the end. You can have an amazing voice, dance on ceilings without wires, and recite Shakespeare to make people cry, but if you don't have any money sense you're toast. TL;DR - If you want to major in drama, minor in business and read everything you sign.

Deconstructing is the more the story of Albert "Sonny" Murray, a former federal prosecutor whose involvement in settling Davis' IRS entanglements came at the behest of family and friends on behalf of Davis' widow, Altovise. Similar to the aftermath of James Brown's death, as told in James McBride's Kill 'Em and Leave (reviewed here), Davis died with his estate in dire straits, and survivors fighting over rights to exploit. Altovise wanted her Hollywood lifestyle back, Sammy's daughter wanted a musical made, but until the IRS got theirs nobody got anything.

Fixing the seemingly impossible fell to Murray, and as you read you may want to root for him the most, considering how the deeper he gets into Davis' "afterlife" the more unpleasant surprises await him. Davis proves as interesting in death as he did alive, in every sense surrounded by people stuffing their pockets. Birkbeck balances the timelines of Davis' life of extravagance and strife with Murray's determination to finish a job and frustrations in bringing his parents to financial solvency by helping to save their inn - the first in the Poconos to cater to black tourists. It's fascinating to read.

As I write this I'm not yet finished with the book. I wanted to contribute to the blog, and these titles seem to go together in that each tells a bittersweet story, in that you wonder what could have been with a longer life for Cass and a broader legacy for Sammy, a huge star in his time who hasn't enjoyed the exposure of a Sinatra or Elvis after his passing, but certainly warrants it. For now I'm giving the book a B but that rating might change when I finish.

Kathryn Lively is back...for now.

Living Like a Runaway by Lita Ford

When it comes to band histories, I like to read differing viewpoints from band members. It's why you'll find reviews of 3/4ths of KISS here, and when I first heard about Lita Ford's book I couldn't wait for it. Looking back at my review of Cherie Currie's Neon Angel and thinking about the Runaways movie, I wondered if I might have been unfair to Lita. Aside from her two big hits I know little of her solo career, and that movie barely portrayed her as anything beyond an uncooperative banshee. Subsequent reading about The Runaways' history, in particular a harrowing account by Jackie Fox (TW: rape) left me willing to give Lita the benefit of the doubt when I read her book.

Now, if you've followed up on recent news about Lita, you'll know this book had been delayed because reasons. Many speculate her ex-husband is involved, and toward the end of the book Lita touches on some of the conflicts that split her family. I don't know the real reason for the delay - be it post-marital gag orders or dissatisfaction with ghostwriters - but the book's out and nearly matches Cherie's in terms of explicitness and cautionary anecdotes.

Unlike Neon Angel, Living Like a Runaway (AMZ) devotes only half the book to the Runaways. We are guided through a very supportive family to guitar lessons and discovery by Kim Fowley to a brief period of hard work and little, if any compensation. Lita stresses in this time (and pretty much through the entire book) about how serious she is about playing the guitar and striving to shatter ceilings and stereotypes. In a way, that's good. Metal and hard rock needed Lita Ford, and aspiring female musicians needed to see Lita in a position where she could give the old masters like Iommi and Blackmore and (insert your guitar god here) a run for their money. Lita tells her story with pride, but I get the impression it comes at the expense of others. She claims to be the only member of The Runaways serious about music, and while she's welcome to that opinion one can argue for Joan Jett and her multi-decade career.

The second half of Runaway covers the struggle to stay on top amid misogyny and apathy in the music business. I don't doubt Lita here. Cyndi Lauper's memoir covers similar frustrations with labels and managers who didn't necessarily have her best interests in mind. Even hiring a female manager - Sharon Osbourne, no less - didn't solve problems in this regard. You can't help but feel for a woman who can garner the Grammy nods and critic praise yet keeps tapping that ceiling. She claims people didn't know what to do with her. Uh, put her on stage and let her play?

Runaway is also full of juicy, sometimes sexy and sometimes squicky, hell-yeah-rock-and-roll moments. I won't reveal the conquests - have to leave something to the imagination - but they come in spurts and asides as though Lita's trying to balance the business side with the glitter. You may come away with a lower opinion of certain people in her life; I certainly did.

Living Like a Runaway is not a bad book, not a great book, either. Between the horrors of Kim Fowley and the ex-husband she doesn't name (Wikipedia it if you must know) and the Spinal Tap-esque road stories it will jerk your emotions. I still think Lita should go into the Hall of Fame as a Runaway, if not as a solo act. Maybe this will help.

Rating: C

Kathryn Lively is not the Queen of Metal. Maybe the Queen of Meh.

Kill 'Em and Leave: Searching For James Brown and the American Soul by James McBride

First things first: James McBride wrote an excellent, excellent memoir called The Color of Water. Go read it.

Second, don't expect a traditional biography when you open Kill 'Em and Leave (AMZ). Authors of biographies concern themselves with facts, typically in chronological order. That's not to say McBride isn't interested in the truth about James Brown; this book features input from many people involved in Brown's inner circle and some on the fringes: musicians, money men, friends and family. How McBride presents what truth he finds happens in a narrative that's personal and evokes an almost spiritual journey.

Explaining James Brown equates, one could argue, to trying to explain what Jesus actually looked like. Different versions of the Brown story/legend exist because, as we see in McBride's book, it's how Brown wanted it. For a man who enjoyed the spotlight, he craved the mystery and privacy just as much. The title of this book comes from advice Brown was fond of giving and sticking to: knock their socks off, and go. Kill 'em and leave. As McBride writes, "James Brown's status was there wasn't no A-list. He was the list." Watch any clip of him on YouTube and try to argue.

McBride's narrative reminded me in part of Citizen Kane and Midnight in the Garden of Good and Evil, in the respect that you have a person searching for story, looking for an answer (What was Rosebud? Who was the real James Brown?) and in the process you come across a variety of people whose interpretations not only magnify the legacy of the subject, but make them people you want to know better. McBride talks to the last surviving member of The Flames, Brown's early group; his first wife Velma; the man who helped save Brown from the IRS; surrogate son Al Sharpton; and Miss Emma, a devoted friend for decades. Their stories are raw and engaging and bring pieces of Brown's life together like a puzzle we're amazed to see at the end. It's more than a story about one the great soul singers, it's a history of black music and a social commentary about how we treat people, and how we revere some after death...and how greed makes us blind to the need of others. The story of James Brown after his death - the multiple funerals, the fight over his estate, the midnight visit from Michael Jackson - would make one hell of a movie on it own.

This is a book that will stay with you. It's awesome. Just read it.

Rating: A

ARC received from NetGalley.

Kathryn Lively feels good, like she knew that she should.

Interlude: Read and To Read

If you're curious about the inner workings here at Chez BTRU, I'm happy to take a few moments to talk/write about it. If you've hung out for a while, you realize it's not a regularly updated blog. I stick to reviews of books about popular music and artists here, but as a reader I don't limit myself to this type of non-fiction. I tend to choose books that interest me as a reader and wannabe historian, and as I work in the industry I read to keep up on current releases and "buzz" books. Often that takes me into fiction, outside of this realm. Once I get my hands on a book fitted for this blog, I'm going to give it my full attention.

With this blog, too, I strive to review recent releases - books no more than a year old. So if you've wondered why I haven't reviewed a certain title, say Neil Peart's first books or something else, that's why. In time, though, I'd like to look into older books maybe for round-up posts about a particular topic/artist. There are a few things I'd like to do with this blog to make it more interactive.

For now, though, here's what I've read lately and what you can look forward to in the future:

Read: Frank: The Voice by James Kaplan
Amazon

I read the second book of Kaplan's two-part Sinatra bio first (reviewed here). Having done this, I think if you haven't read either book you should read The Voice first if you want to better appreciate it. Reading Sinatra: The Chairman first, I found I enjoyed the second book more because I saw this era of Sinatra's life as more interesting - this despite the rapid drop-off in 80-90s Sinatra history.

In The Voice, there's so much to muddle through and it's not all happy. To me the book didn't really start rolling until he met Ava, and right when it gets to a pivotal moment in his life, the book's over.

If you're really that interested in Frank's first thirty years, pick it up. You may appreciate The Chairman more for it. Rating: C+

To Read: Kill 'Em and Leave: Searching for James Brown and the American Soul by James McBride
Amazon
I read McBride's The Color of Water  many years ago. Excellent book. Pick it up if you haven't yet.

From the blurb: Kill 'Em and Leave is more than a book about James Brown. Brown's rough-and-tumble life, through McBride's lens, is an unsettling metaphor for American life: the tension between North and South, black and white, rich and poor. McBride's travels take him to forgotten corners of Brown's never-before-revealed history: the country town where Brown's family and thousands of others were displaced by America's largest nuclear power bomb-making facility; a South Carolina field where a long-forgotten cousin reveals, in the dead of night, a fuller history of Brown's sharecropping childhood, which until now has been a mystery. McBride seeks out the American expatriate in England who co-created the James Brown sound, visits the trusted right-hand manager who worked with Brown for forty-one years, and sits at the feet of Brown's most influential nonmusical creation, his "adopted son," the Reverend Al Sharpton. He reveals the stirring visit of Michael Jackson to the Augusta, Georgia,funeral home where the King of Pop sat up all night with the body of his musical godfather, spends hours talking with Brown's first wife, and reveals the Dickensian legal contest over James Brown's valuable estate, a fight that has destroyed careers, cheated children out of their educations, cost Brown's estate millions in legal fees, sent Brown's trusted accountant, David Cannon, to jail for a crime for which he was not convicted, and has left James Brown's body to lie for more than eight years in a gilded coffin on his daughter's front lawn in South Carolina.

To Read: Fleetwood Mac on Fleetwood Mac Interviews and Encounters by Sean Egan
Amazon

I've wanted to get in a Fleetwood Mac book here for some time. I had my hands on Mick Fleetwood's memoir a while ago but for some reason didn't finish it. Will have to try again.

From the Blurb: Fleetwood Mac was a triumph from the beginning—their first album was the UK’s bestselling album of 1968. After some low points—when founder Peter Green left, some fans felt that the band continuing was sacrilege—Lindsey Buckingham and Stevie Nicks joined, and the band’s 1977 album Rumoursbecame one of history's immortals, a true classic that remained in the charts for years and public affection forever. In the press, the ethereal Californian Stevie Nicks, the tormented rocker Lindsey Buckingham, the dignified English rose Christine McVie, the blunt-speaking John McVie, and the loquacious Mick Fleetwood have all regularly been astoundingly candid. This collection of interviews across the entirety of Fleetwood Mac’s career features articles from such celebrated publications as Crawdaddy, New Musical Express, Circus,Creem, Mojo, Goldmine, Classic Rock, Blender, and Elle, as well as interviews that have never previously appeared in print. In it, readers will learn the Fleetwood Mac story from the band members’ own mouths, and experience it contemporaneously rather than through hindsight.

~

So that's what I have on deck, and of course I'm still waiting for Lita Ford's book...if and when.

2113: Stories Inspired By the Music of Rush by Kevin J. Anderson and Josh McFetridge, eds.

Buy 2113 on Amazon.

Andy Rooney said, "Writers never retire." Drummers...well, it happens and it's not always voluntary. We know Neil Peart can't rock the solos forever, short of having bionic arms installed (don't think somebody hasn't suggested it), and if you've read recent interviews you know what's on his mind. Family. Writing. Somewhere he's said he hoped to adapt Clockwork Angels the novel to film. So yeah, he's not going anywhere in a sense.

While I didn't love the Clockwork Angels novel, I think there's strong potential in a film. Tighten the story and give it to right director, and I'll go see it. I haven't yet read the followup, because to be honest 2113 intrigued me more. Multi-author anthologies, for me, are a mixed bag in terms of quality, but this being a collection of stories - 16 of which are inspired by Rush songs - proved too tempting to resist.

Of the 18 authors included in the book, I've read three prior, including Kevin J. Anderson and Mercedes Lackey (I'd read somewhere she based the character Dirk from the Valdemar novels on Geddy Lee). Most die-hard fans have searched the Internet to read "A Nice Morning Drive" by Richard S. Foster, which inspired Neil to write "Dead Barchetta." It is part of this collection, and Fritz Leiber's "Gonna Roll the Bones" is the other reprint.

So we have 18 stories, each connected to a specific Rush song. The cover and roster suggest all science fiction, and you'll find everything from hard SF to futuristic drama here, but 2113 also showcases some paranormal mystery and noir. For the most part, Easter eggs of Rush lyrics are scarce - which suits me fine. The stories flow nicely, much like in Rush albums where the individual songs connect to form an all-encompassing concept.

Highlights for me in 2113 include:

"On the Fringes of the Fractal" by Greg Van Eekhout - Futuristic YA about loyalty and friendship, a willingness to sacrifice social standing for a friend.

"A Patch of Blue" by Ron Collins - Another theme of "deviating from the norm," as one Rush song goes, where creators in two different realms take similar paths for what they believe is right.

"The Burning Times, V2.0" by Brian Hodge - Like Fahrenheit 451 crossed with Harry Potter; a young fights censorship and as a result has to save himself.

"The Digital Kid" by Michael Z. Williamson - A dreamer's journey to overcome disability.

"Some Are Born to Save the World" by Mark Leslie - The story of a superhero's mortality.

I won't reveal which songs inspired which stories. As noted in the book's introduction, one doesn't need to be familiar with Rush's music to enjoy the book. That the majority of the contributing authors have backgrounds in SFF keep the stories cohesive. A fair number of Rush fans I know enjoyed Clockwork Angels, but I think they will appreciate this book as much, if not more.

My only nitpick with this collection: only one female author in the bunch. If the boys sanction this as a franchise, perhaps 2114 could feature a few more women writers. Lady Rush fans do exist.

Rating: A-

Kathryn Lively is a lady Rush fan.

Beatlebone by Kevin Barry

Somewhere in the middle of Beatlebone (AMZ) the author squeezes in an interlude which explains the research that went into authenticating John Lennon's voice for this story, and the history behind Dorinish Island as once owned by the singer. Once you get to this part of the book you may think one of two things: 1) Uh, shouldn't something like this appear at the tail end of the story, like an Afterword?, or 2) Oh, thank God.

This is not to say the prose of Beatlebone will leave your eyes crossed. It's uniquely told, stream of conscious narrative married with rapid exchanges of dialogue, and given the focus of the book it's an appropriate presentation. I think that Barry's interlude in the middle works because it's unexpected, much like the things John experiences in this story, and perhaps unconsciously Barry tipped toward a similar "intermission" gag in the movie Help!

So it's 1978. Lennon hasn't cut a record of original material in about four years. He has a toddler at home and an island on the Western coast of Ireland, bought in the late 60s. He gets the idea if he spends a few days on this deserted floating rock and employs some Primal Scream therapy and chain smoking he'll rejuvenate his creativity. Getting there, though, is half the battle, most of the headache, and all over a trip more surreal than the back-masking on "Strawberry Fields Forever." Seems some of the locals are in no hurry to help John get to where he wants to go. In his de facto guide Cornelius, John find camaraderie and irritation in the same package. Cornelius wants to feed John blood pudding (not on a macrobiotic's menu) and drag him to a pub and help him dodge the press with a quick hideout in a hotel full of "ranters."

John just wants to get to the "fucken" island. What happens from there, a lost "album" spilling from John's mind like coming down from a magnificent high, is at once lyrical and bizarre. Makes you want to go back and find In His Own Write and Spaniard in the Works to see how they compare.

Barry writes in his interlude how he sees most Lennon-centric fiction as "character assassinations." It's easier to do when your subject can't speak up, but Beatlebone aims for an introspective John who doesn't treat everybody like crap. If you're looking for a more traditional narrative this book might drive you nuts, but it's worth the read if you can hold on.

Rating: B

Kathryn Lively did get to cross Abbey Road, but doesn't Scream.

Sinatra: The Chairman by James Kaplan

I hear the term problematic fave often now. It's applied to people largely admired for their achievements, talents, etc., yet for all the praise comes the reminder these people aren't saints. Oh, you like Joe Rock Singer, don't you? You realize he'd trade his first born for a bag of crack in a heartbeat, right? I'm not saying Sinatra would have done that, but as we celebrate the 100th anniversary of his birth it's interesting to see all the tributes and memorials when in the back of some minds there's that voice, and it's not booming out "Come Fly With Me."

It's saying, Well, you know what he was like...

Problematic fave.

I can't say Frank Sinatra was a bad person. He did bad things, many of which are documented in Sinatra: The Chairman (AMZ) and in other bios. He also did many great things, acts of charity and kindness to friends and strangers. After another hundred years I doubt we'll have the man completely figured out.

My mother's family was Sicilian. I grew up with Sinatra on the stereo during the holidays. Beyond that, my knowledge of the man amounted to sensationalist bytes read in the supermarket tabloids found in my grandmother's house - each anecdote involved Frank in some night club or bar and a waitress getting his drink order wrong.

"I want that broad fired!" he said. And she was. That's how every story ended. I, young and newly feminist, even with little background on the circumstances that resulted in this juicy gossip, sympathized with the women who lost jobs over this and pictured a winding line of sequined dresses and ostrich plumes wrapped around the unemployment office on The Strip. I pictured children of single moms, reliant on tips for food and clothing, wondering over their next meal because some guy who hadn't had a hit record in years got all pissy about extra ice and Jim Beam in his rocks glass instead of Jack.

I vowed if for some reason I got a job as a cocktail waitress I would never serve the man a drink, ever. I take that back. I wanted to purposely get a job as a cocktail waitress and wait for my time. Come at me, old man. 

Closest I ever got to Sinatra was in 1993 at the Coliseum in Jacksonville for one of his last concerts. Still ambivalent about the man and music (come on, early 90s, we were trying to get REM tickets), but we went because Sinatra.

Jon Pinette (RIP) opened with his uproarious act. Shirley Maclaine followed and killed. The Voice finished and it held up, although haltingly. He was slightly stooped and relied on teleprompters, but the crowd cheered him all the while. My mother later said of the show that she saw him tearing up at the last ovation. What the crowd gave, he needed.

And just like that, I felt for him.

~

When I picked up Sinatra: The Chairman I didn't realize it's actually a Part Two. I opened the book to the aftermath of Sinatra's Oscar win for From Here to Eternity and am thinking, "Um, there was stuff before this, right?" Author Kaplan had written Frank: The Voice several years prior, and that book covered the life from birth through his first official "comeback" in the early 50s. What you get in Chairman is the rest of the story, of which twenty or so years are meticulously detailed. This is the genesis of the Clan, what later became the Rat Pack. This is the juxtaposition of professional successes in film and music and personal turmoil (losing Ava, Kennedy snubs). Every drink toasted, every woman romanced, every nerve set on edge due to Sinatra's impatience for retakes and rehearsals.

Chairman clocks in at close to a thousand pages, of which a hundred or so comprise the appendix. I'm reading at a steady clip, more than halfway through and curious how Kaplan handles the rest of Sinatra's life and is there room. If you want to read up on exploits post-Eternity through the mid-60s - struggling to stay relevant during Beatlemania, mediocre vanity film projects, Mia Farrow - you have a goldmine here. It's once the next decade begins, though, Kaplan seems to run out of gas. We go from a steadily detailed bio to a summary of Frank's sunset. Granted, one wouldn't consider the last twenty years of his life the peak of his productivity, but the bio at that point reads like a rapid downhill roll and gives it an all-too abrupt end. Did Kaplan strive to meet the centenary deadline or did he figure we weren't interested in the later years?

I did enjoy this book. My rating would be higher if not for the drop-off in the last quarter of Sinatra's life. I'm sure there's enough material to warrant a third part of the story if Kaplan were willing to commit to it.

Rating: B-

Kathryn Lively once visited Sinatra park in Hoboken. It's nice.

I'll Never Write My Memoirs by Grace Jones

In my memory, Grace Jones never played on the mainstream radio stations in Jacksonville, Florida in the 70s-80s - not when I listened. I get the impression after reading I'll Never Write My Memoirs (AMZ / BN / KOBO) that this wouldn't have bothered Grace. Her albums and songs have charted in the US, and with greater success in other countries, but like with many acts it took the launch of MTV to introduce me to this slender cat woman in gray, creeping up a staircase in impossible heels and barking out "Demolition Man" like she ordered you to listen. Grace Jones was and remains badass.

When I saw this book you bet I put on the brakes and got a copy. Anybody who survived Studio 54, industry discrimination, and Dolph *drool* Lundgren has a hell of a story to tell, and while going in with my own perception of Grace the entertainer I came away with a higher respect for Grace the person. This book, presented in the "as told to" format through rock journalist Paul Morley, ebbs and flows through her life in a colorful narrative, and unlike previous memoirs I've read where one senses a reluctance to confess, Grace lays it all out. One will hear legends of Studio 54 where Grace walked around naked - this book has that feel. There's no shame in revealing moments of shyness, anger (justifiable at that, particularly when people try to screw you come payday), and frustration (we can't hire you because XYZ). Grace makes no bones about her influence in music, either - I'm still trying to figure out the mysterious "Doris" she speaks of, an entertainer wanting to emulate and collaborate. I have it narrowed to two possible suspects.

If you are stickler for timelines, know that Grace warns early on how she doesn't keep track of time. Not good if you're The Doctor, but one expects a person like Grace Jones to remain timeless. Her story may hop around but not enough to distract. It's a fun ride with bittersweet memories of people from an era long gone and a strong message: you deserve compensation for your talents.

Rating: B+

Kathryn Lively has never been to Studio 54.