This story begins in Colma, California. Colma is a small town south of San Francisco, California. There were many adventures, which took a diamentrically opposite course of action My life was surrounded with ups and downs. My story becomes a living nighmare for me the flasback's became more terrifying and the nightmares came more realistic. The story will mystify you It will become more confusing, with all the bizarre endings. Two girl friends died, one was murdered When I was a rookie police officer, I was inadvertently involved with a serial killer Two years later, from 1972 to 1975, I was involved with the mob. I had no other choice was I a crooked cop? If I didn't cooperate with them, I wouldn't be alive today I found out later, there was a conspiracy against me Not only I go t fired as a policeman, later I got arrested. Later on, I made my miracle comeback in politics. I made California history, by winning the town election When both of my parents died, I inherited millions of dollars which changed my life drastically Do you believe all these events happened to one person. That is unbelievable Life is unpredictable and mysterious, if I did not get arrested in 1976 and four years later made my miracle comeback in politics. This book never would have been written. I have a unique way of writing. I continue to talk to the reader thoughout the story. This special writing technique keeps the reader involved in my story. When I lived in Reno, Nevada, I started betting ten or twenty thousand dollars a day. The casino workers started calling me "cowboy." That name became famous in northern Nevada The "cowboy" was involved in many terrifying and dangerous events. The fear and sensations throbbing through my body, made me a dangerous man. Especially, when I became a bounty hunter. I was a gun collector. Therefore, I had many weapons I believed it was my duty to go after the person that murdered my girl friend and I knew who he was My story will keep you in suspense from the beginning to the end. The rise and fall of a legend The "cowboy" will always be a legend in northern Nevada. The name "cowboy" will live forever If you are a book reader, you must read this book. I promise you will not regret it

"Do you think you could teach Rock Hudson to talk like you do?"

The question came from famed Hollywood director George Stevens, and an affirmative answer propelled Bob Hinkle into a fifty-year career in Hollywood as a speech coach, actor, producer, director, and friend to the stars. Along the way, Hinkle helped Rock Hudson, Dennis Hopper, Carroll Baker, and Mercedes McCambridge talk like Texans for the 1956 epic film "Giant." He also helped create the character Jett Rink with James Dean, who became a best friend, and he consoled Elizabeth Taylor personally when Dean was killed in a tragic car accident before the film was released.

A few years later, Paul Newman asked Hinkle to do for him what he'd done for James Dean. The result was Newman's powerful portrayal of a Texas no-good in the Academy Award-winning film "Hud" (1963). Hinkle could--and did--stop by the LBJ Ranch to exchange pleasantries with the president of the United States. He did likewise with Elvis Presley at Graceland. Good friends with Robert Wagner, Hinkle even taught Wagner's wife Natalie Wood how to throw a rope. He appeared in numerous television series, including "Gunsmoke, Bonanza, Dragnet, and Walker, Texas Ranger." On a handshake, he worked as country music legend Marty Robbins's manager, and he helped Evel Knievel rise to fame.

From his birth in Brownfield, Texas, to a family so poor "they could only afford a tumbleweed as a pet," Hinkle went on to gain acclaim in Hollywood. Through it all, he remained the salty, down-to-earth former rodeo cowboy from West Texas who could talk his way into--or out of--most any situation. More than forty photographs, including rare behind-the-scenes glimpses of the stars Hinkle met and befriended along the way, complement this rousing, never-dull memoir.

At one gilded moment in history, his fame was so great that he was known the world over by his nickname alone: Rubi. Pop songs were written about him. Women whom he had never met offered to leave their husbands for him. He had an eye for feminine beauty, particularly when it came with great wealth: Barbara Hutton, Doris Duke, Eva Peron, and Zsa Zsa Gabor. But he was a man's man as well, polo player and race-car driver, chumming around with the likes of Joe Kennedy, Frank Sinatra, Oleg Cassini, Aly Khan, and King Farouk. He was also a jewel thief, and an intimate of one of the world's most bloodthirsty dictators. And when he died at the age of fifty-six--wrapping his sports car around a tree in the Bois de Boulogne--a glamorous era of white dinner jackets at El Morocco and celebrity for its own sake died along with him.

He was one of a kind, the last of his breed. And in The Last Playboy, author Shawn Levy brings the giddy, hedonistic, and utterly remarkable story of Porfirio Rubirosa to glorious Technicolor life.

Roxane Head Dinkin, PhD, a clinical psychologist practicing in Bradenton, Florida, who has long dealt with the problems of infertile women, and history professor Robert J. Dinkin have created an informative book showcasing seven prominent women who struggled with infertility and became creative powerhouses in a variety of fields. Unable to have children themselves, the Dinkins utilized their combined expertise and discovered how these seven women had worked through their infertility issues and honed their creativity to more fully utilize their talents: Juliette Low, founder of the Girl Scouts of the USA Joy Adamson, wildlife conservationist and author of "Born Free" Josephine Baker, entertainer and adoptive mother of twelve Frida Kahlo, innovative artist Emma Goldman, anarchist and birth-control advocate Ruth Benedict, leading anthropologist Marilyn Monroe, film star and sexual icon

Infertility produces a profound loss for women who hold the expectation that they will reproduce. "Infertility and the Creative Spirit" clearly illustrates the connection between the desire and inability to have children and lasting accomplishments in other areas of life, showing how infertile women contribute to the next generation.

Are you a country music fan, or a blues, folk, jazz, or rock fan? Better make that "Are you a music fan?"

This is a true story of man - a real pioneer - who was driven to capture the music that came to form the basis of today's popular music. Art Satherley is referred to in many a biographies of stars from yesteryear.

He was born in 1889 in Bristol, England. This Bristolian travelled the southern states of America recording real American music. He said it was like the music from home. No place was too far or too distant for him to take his primitive recording equipment. He used school halls log cabins, hotels, anywhere - even a funeral parlour - as locations to record. Blues artists such as Ma Rainy, Blind Lemon Jefferson, and W. C. Handy were on his recording log, this list could be a hundred names long. Then, there were the hillbilly, down-home country folk, another long list of now legendary names, ranging from Gene Autry to Roy Acuff to Marty Robbins, that Art Satherley was responsible for.

Arthur worked for the great inventor Thomas Edison at the Wisconsin Chair ompany before being installed as recording manager at the company's record-pressing plant called the New York Recording Laboratory, which included Paramount records as one of its labels. Uncle Art Satherley eventually became vice president of Columbia Records, retiring in 1952, and the history and development of the recording industry are intertwined with Art's captivating professional journey

Uncle Art's story is told in it's entirety for the first time in Uncle Art by a fellow Bristolian and musician Alan John Britton. Britton includes his own background and the discovery of this fascinating story. It includes Arthur's childhood and schooling and some history of Bristol and the important role that the city's port played in the movement of settlers and trade to the New World.

In an acting career of more than seventy years, Hollywood legend Maureen O'Hara came to be known as "the queen of Technicolor" for her fiery red hair and piercing green eyes. She had a reputation as a fiercely independent thinker and champion of causes, particularly those of her beloved homeland, Ireland. In "'Tis Herself, " O'Hara recounts her extraordinary life and proves to be just as strong, sharp, and captivating as any character she played on-screen.
O'Hara was brought to Hollywood as a teenager in 1939 by the great Charles Laughton, to whom she was under contract, to costar with him in the classic film The Hunchback of Notre Dame. She has appeared in many other classics, including "How Green Was My Valley, Rio Grande, The Quiet Man, " and "Miracle on 34th Street." She recalls intimate memories of working with the actors and directors of Hollywood's Golden Age, including Laughton, Alfred Hitchcock, Tyrone Power, James Stewart, Henry Fonda, and John Candy. With characteristic frankness, she describes her tense relationship with the mercurial director John Ford, with whom she made five films, and her close lifelong friendship with her frequent costar John Wayne. Successful in her career, O'Hara was less lucky in love until she met aviation pioneer Brigadier General Charles F. Blair, the great love of her life, who died in a mysterious plane crash ten years after their marriage.
Candid and revealing, "'Tis Herself" is an autobiography as witty and spirited as its author.

Choice Magazine (a major library review magazine): "After an introductory section on the history of the piano, particularly as reflected in and influenced by works of the major composers for the instrument, this interesting and informative book describes various compositional "schools," from Austro-German, French, and Italian through English, American, Russian, Spanish, Japanese, and others. This section constitutes a brief course in music history beginning with the Renaissance. ... The body of the work consists of historical and stylistic sketches of 17 composers, with brief remarks about several works of each, and lists of selected works, ending with a complete work or movement. These sketches are exceptionally well written, assuming an intelligent reader, and convey a great deal of information concisely.... this book contains much well-organized and useful material. For libraries serving serious amateur pianists, high school upward. ****************** Booklist (The book review magazine of the American Library Association): This authoritative volume will make a solid addition to the public library music collection. After offering a brief opening chapter on the evolution of the piano as instrument and the changing styles of technique, author Pat Hammond provides opinionated but well-reasoned analyses of the works of the major piano composers, with focus on the Baroque era (Bach and Handel), the Classical age (Haydn, Mozart Beethoven), Romanticism (Schubert, Chopin Liszt, and others), Impressionism (Debussy) and Modernism (Bartok). This book's unique feature is its inclusion of musical examples of each composer's work, which are meant to be played as one reads along. Pertinent biographical material is also featured for the great masters. Appendixes include a suggested twentieth-century piano repertoire and a bibliography. Piano music - Bibliography ******************* Clavier Magazine "Compiled and annotated by Patricia Fallows-Hammond. Suitable as a reference source, this handbook supplies concise biographical and stylistic sketches of composers and annotation of selected compositions. ... Fallows-Hammond has a knack for setting and maintaining an appropriate level of sophistication. Writing in a crisp, direct style, she steers the student toward complicated subjects and gives them a palpable hold on them. To explain the concept of the concerto grosso, for example, she explains that, "In Handel's time, Concerto Crosso meant a small group of instruments playing in contrast to a larger body of strings." Her synopsis of the development of sonata form is equally apt....Commentary on the composers is well-researched and written at a uniform level of detail that will make it useful to a wide audience....Fallows-Hammond does a good job of compiling accurate information on the composers she has chosen. If the contents of the book serve your purposes, you will find this handbook a handy reference source. " **************** The American Organist "The author has created a self-instruction course which gives information about the evolution of the piano and changing styles in piano technique, and then discusses topics with emphasis on special composers: ..... Piano students seeking background information will profit from this book. Recommended for public libraries." ******************** Keyboard Magazine "Patricia Fallow-Hammond's 302 page study embraces the proposition that historical context is an important, and frequently neglected, element in building an understanding of classical repertoire. .... she has assembled a fairly basic catalogue of keyboard works, arranged chronologically by composer, and preceded each list with a short biography relating milestones from each composer's life. ....... Her decision to further enlighten the reader with short samples of their handiwork is a happy extra addition. Her efficiency at summarizing and packaging that line is what makes her debut in print a success."