In 1963, sisters Barbara Ann and Rosa Hawkins and their cousin Joan Marie Johnson traveled from the segregated South to New York City under the auspices of their manager, former pop singer Joe Jones. With their wonderful harmonies, they were an immediate success. To this day, the Dixie Cups' greatest hit, ""Chapel of Love,"" is considered one of the best songs of the past sixty years. The Dixie Cups seemed to have the world on a string. Their songs were lively and popular, singing on such topics as love, romance, and Mardi Gras, including the classic ""Iko Iko."" Behind the stage curtain, however, their real-life story was one of cruel exploitation by their manager, who continued to harass the women long after they finally broke away from his thievery and assault. Of the three young women, no one suffered more than the youngest, Rosa Hawkins, who was barely out of high school when the New Orleans teens were discovered and relocated to New York City. At the peak of their success, Rosa was a naive songstress entrapped in a world of abuse and manipulation. Chapel of Love: The Story of New Orleans Girl Group the Dixie Cups explores the ups and downs of one of the most successful girl groups of the early 1960s. Telling their story for the first time, in their own words, Chapel of Love reintroduces the Louisiana Music Hall of Famers to a new audience.

In What a Difference a Day Makes: Women Who Conquered 1950s Music, Steve Bergsman highlights the Black female artists of the 1950s, a time that predated the chart-topping girl groups of the early 1960s. Many of the singers of this era became wildly famous and respected, and even made it into the Rock ’n’ Roll Hall of Fame. However, there were many others, such as Margie Day, Helen Humes, Nellie Lutcher, Jewel King, and Savannah Churchill, who made one or two great records in the 1950s and then disappeared from the scene. The era featured former jazz and blues singers, who first came to prominence in the 1940s, and others who pioneered early forms of rock ’n’ roll. In a companion volume, Bergsman has written the history of white women singers of the same era. Although song styles paralleled, the careers of Black and white female singers of the period ran in very different directions as the decade progressed. The songs of African American vocalists like Dinah Washington and Etta James were R&B segregated or covered by pop singers in the early and mid-1950s but burst into prominence in the last part of the decade and well into the 1960s. White singers, on the other hand, excelled in the early 1950s but saw their careers decline with the advent of rock music. In this volume, Bergsman takes an encyclopedic look at both the renowned and the sadly faded stars of the 1950s, placing them and their music back in the spotlight.

In All I Want Is Loving You: Popular Female Singers of the 1950s, author Steve Bergsman focuses on the white, female artists of the 1950s, a time that predated the chart-topping girl groups of the early 1960s. These popular performers, many of whom graduated out of the big bands of the 1940s, impacted popular music in a huge way. As the last bastion of traditional pop and the last sirens of swing, they undeniably shined in the spotlight. Yet these singers’ fame dimmed relatively quickly with the advent of rock ’n’ roll. A fortunate few, like Doris Day, Patti Page, Peggy Lee, and Debbie Reynolds, experienced some of their biggest hits in the late 1950s, and Eydie Gormé broke out in the 1960s. The luckiest, including Dinah Shore and Rosemary Clooney, ventured to television with varying degrees of success. Others would become major attractions at nightclubs in Las Vegas or, like Teresa Brewer, shift into the jazz world. Though the moment did not last, these performers were best-selling singers, darlings of the disk jockeys, and the frenetic heartbeat of fan clubs during their heyday. In a companion volume, Bergsman has written the history of African American women singers of the same era. These Black musicians transitioned more easily as a new form of music, rock ’n’ roll, skyrocketed in popularity. In both books, Bergsman reintroduces readers to these talented singers, offering a thorough look at their work and turning up the volume on their legacy.

One of the most successful and daring real estate developments in U.S. history was the building of Levittown, Long Island, in 1947. Although it became the prototype modern suburb, it was more reviled than appreciated during the first three decades of its existence. Intellectuals and critics attacked Levittown unmercifully, essentially calling it a boring environment that crushed the spirit of its population. Popular authors, such as Richard Yates, author of Revolutionary Road, used the modern suburb as a metaphor for creative sterility. When Pete Seeger sang, "Little boxes on the hillside, Little boxes made of tickytacky; Little boxes on the hillside, little boxes all the same," everyone knew he was talking about Levittown and all that it begot. As it turned out, the intellectuals and the critics got it all so very wrong from the start. Not only wasn't Levittown dullsville, but a surprising number of creative people passed through here, including songwriter Ellie Greenwich, singers Eddie Money and Billy Joel, Zippie The Pinhead cartoonist Bill Griffith, children's book illustrator Jon Buller, radio host John Gambling, TV political commentator Bill O'Reilly, Maureen Tucker and Sterling Morrison of the Velvet Underground (the house band for Andy Warhol's factory), and Steve Bergsman, journalist and author. Steve Bergsman grew up in Levittown during those early years and looking back now as an aging baby boomer, he thought it a wonderful place to have spent a childhood. Growing Up Levittown: In a Time of Conformity, Controversy and Cultural Crisis is a love letter to this quintessential suburb. Juxtaposed against a prevailing history of criticism and literary slander, Growing Up Levittown is a memoir of a happy childhood.

R&B singer's life cut short too soon The tale of Johnny Ace starts in the late 1940s as a young man returns from the Navy to his hometown of Memphis to try and figure out what to do with his life. The man, Johnny Alexander, will eventually make his way to Beale Street, the epicenter of the blues culture in the United States, successfully launch his recording career as Johnny Ace, and battle against his record company, owned by African-American music mogul Don Robey. Along the way, he'll cross paths with musical giants such as B.B. King, Ike Turner, Bobby Bland, Roscoe Gordon, Johnny Otis, Junior Parker, Rufus Thomas and Big Mama Thornton. Eventually Johnny Ace works his way to the fateful concert in the Houston Auditorium, where a moment of violence ends his life. Did Johnny Ace think he could beat Russian roulette one more time? Or, did something else happen in that backstage dressing room crowded with girlfriends, record people, and a very angry Don Robey? The Death of Johnny Ace is based on the life of a real person, rhythm & blues singer Johnny Ace, whose meteoric career was cut short by his unexpected death. He allegedly blew his brains out playing Russian roulette just before he was to appear on stage at a Christmas concert in 1954. Although largely forgotten now, Johnny Ace was the biggest star in R&B, a teen idol, in the early 1950s.

The Ultimate Guide to Buying and Selling Property Like the Experts
How do the world's most successful developers--from Donald Trump to Sam Zell--make the most of every real estate transaction? The answers are found throughout Maverick Real Estate Investing. In this one-of-a-kind book, you'll learn the secrets to making a good deal, using other people's money, establishing cash flow targets, finding the best locations, getting top legal and tax counsel, overcoming negative responses, selling at the right time, and much more. It's must reading for every aspiring real estate titan, and will give you the tools necessary to make every deal a profitable one.
"Steve Bergsman's profiles of some of the most successful investors of our time give an illustrative and illuminating insight into how the best in the business have consistently managed their risk . . . and raised their returns. If you want to make it in the competitive world of real estate investing, read this book "
--Dale Anne Reiss, Global and Americas Director of Real Estate, Hospitality, and Construction Services, Ernst & Young
"For the novice--and even the experienced--investor in real estate, Steve Bergsman's book contains lots of worthwhile ideas. Better still, it clearly explains how to implement them. Easy to read and insightful, it's one of the better how-to investment guides around."
--Richard Rescigno, Managing Editor, Barron's
"I have been reading Steve Bergsman's insightful real estate reporting and commentary for over a decade. He is one of the best real estate writers in America, as evidenced by his captivating analysis in Maverick Real Estate Investing, where he melds personalities and investing principles into a very good read."
--Jonathan L. Kempner, President and Chief Executive Officer Mortgage Bankers Association

In All I Want Is Loving You: Popular Female Singers of the 1950s, author Steve Bergsman focuses on the white, female artists of the 1950s, a time that predated the chart-topping girl groups of the early 1960s. These popular performers, many of whom graduated out of the big bands of the 1940s, impacted popular music in a huge way. As the last bastion of traditional pop and the last sirens of swing, they undeniably shined in the spotlight. Yet these singers’ fame dimmed relatively quickly with the advent of rock ’n’ roll. A fortunate few, like Doris Day, Patti Page, Peggy Lee, and Debbie Reynolds, experienced some of their biggest hits in the late 1950s, and Eydie Gormé broke out in the 1960s. The luckiest, including Dinah Shore and Rosemary Clooney, ventured to television with varying degrees of success. Others would become major attractions at nightclubs in Las Vegas or, like Teresa Brewer, shift into the jazz world. Though the moment did not last, these performers were best-selling singers, darlings of the disk jockeys, and the frenetic heartbeat of fan clubs during their heyday. In a companion volume, Bergsman has written the history of African American women singers of the same era. These Black musicians transitioned more easily as a new form of music, rock ’n’ roll, skyrocketed in popularity. In both books, Bergsman reintroduces readers to these talented singers, offering a thorough look at their work and turning up the volume on their legacy.

In What a Difference a Day Makes: Women Who Conquered 1950s Music, Steve Bergsman highlights the Black female artists of the 1950s, a time that predated the chart-topping girl groups of the early 1960s. Many of the singers of this era became wildly famous and respected, and even made it into the Rock ’n’ Roll Hall of Fame. However, there were many others, such as Margie Day, Helen Humes, Nellie Lutcher, Jewel King, and Savannah Churchill, who made one or two great records in the 1950s and then disappeared from the scene. The era featured former jazz and blues singers, who first came to prominence in the 1940s, and others who pioneered early forms of rock ’n’ roll. In a companion volume, Bergsman has written the history of white women singers of the same era. Although song styles paralleled, the careers of Black and white female singers of the period ran in very different directions as the decade progressed. The songs of African American vocalists like Dinah Washington and Etta James were R&B segregated or covered by pop singers in the early and mid-1950s but burst into prominence in the last part of the decade and well into the 1960s. White singers, on the other hand, excelled in the early 1950s but saw their careers decline with the advent of rock music. In this volume, Bergsman takes an encyclopedic look at both the renowned and the sadly faded stars of the 1950s, placing them and their music back in the spotlight.