Richard Goldstein – författare

"A stupendous feat of reportage." -Ron Powers, cowriter of Flags of Our Fathers Praise for Desperate Hours "Goldstein''s book is packed with detail. . . . This description of the Doria''s sinking is especially moving." -The New York Times "A stupendous feat of reportage. Goldstein has virtually put us into lifeboats and sent us hurtling into the North Atlantic on the night of July 25, 1956." -Ron Powers, cowriter, Flags of Our Fathers, and author of Dangerous Water and Tom and Huck Don''t Live Here Anymore On an extraordinary summer''s night in 1956, in a fog off Nantucket, the world-renowned ocean liner Andrea Doria collided with the Swedish liner Stockholm and, eleven hours later, tragically sank. But in that brief time the Doria became, after the Titanic, the most storied vessel of the century, as nearly 1,700 people were saved in an unforgettable rescue punctuated by countless acts of heroism amid confusion, terror, and even cowardice. In the tradition of Walter Lord''s A Night To Remember, Desperate Hours re-creates the ill-fated voyage, from the passengers'' parting waves at Genoa, to their last evening highball in the Doria''s lavish lounge, to the unbelievable realization that catastrophe was imminent. Richard Goldstein draws from dozens of interviews, court documents, memoirs, and reports that relate never-before-told stories. He also presents technical findings that shed light on the blame for the disaster. The result is a definitive history of a fateful day, a legendary liner, and a deadly shipwreck now considered by scuba divers to be the Mount Everest of the deep.

This book tells the epic thousand-year story of Britain’s Jewish community, the country’s oldest minority group, replete with the dark episodes of persecution and expulsion, but also with positive periods of acceptance and toleration.Some Jews came as wealthy traders, others as desperate refugees; some had to lead secret lives, and others in different times stood shoulder to shoulder with the rest of the nation against threats to the British way of life, which included the Nazis.The impact of Jewish culture on daily life – on language, on food, on religion, art and business – has been inestimable, and this book is a fully illustrated introduction and fitting tribute.

This book tells the epic thousand-year story of Britain''s Jewish community, the country''s oldest minority group, replete with the dark episodes of persecution and expulsion, but also with positive periods of acceptance and toleration. Some Jews came as wealthy traders, others as desperate refugees; some had to lead secret lives, and others in different times stood shoulder to shoulder with the rest of the nation against threats to the British way of life, which included the Nazis. The impact of Jewish culture on daily life – on language, on food, on religion, art and business – has been inestimable, and this book is a fully illustrated introduction and fitting tribute.

This book tells the epic thousand-year story of Britain''s Jewish community, the country''s oldest minority group, replete with the dark episodes of persecution and expulsion, but also with positive periods of acceptance and toleration. Some Jews came as wealthy traders, others as desperate refugees; some had to lead secret lives, and others in different times stood shoulder to shoulder with the rest of the nation against threats to the British way of life, which included the Nazis. The impact of Jewish culture on daily life – on language, on food, on religion, art and business – has been inestimable, and this book is a fully illustrated introduction and fitting tribute.

In 1961, Richard Goldstein saw Bob Dylan perform for the first time at Carnegie Hall. Rock music was in its infancy, and revolution was in the air. Criticism of the genre didn''t yet exist but, as it began to change music and politics for ever, the serious discussion of rock became a thriving institution. Aged just twenty-two in 1966, and the first rock critic in New York, Goldstein became a pivotal figure in the industry. Forging close relationships with huge names – Jim Morrison, Brian Wilson and Janis Joplin to name just three – his life became a whirlwind of politics, sex and rock and roll. Another Little Piece of My Heart is an unparalleled document of rock and revolution.

In 1961, Richard Goldstein saw Bob Dylan perform for the first time at Carnegie Hall. Rock music was in its infancy, and revolution was in the air. Criticism of the genre didn’t yet exist but, as it began to change music and politics for ever, the serious discussion of rock became a thriving institution. Aged just twenty-two in 1966, and the first rock critic in New York, Goldstein became a pivotal figure in the industry. Forging close relationships with huge names – Jim Morrison, Brian Wilson and Janis Joplin to name just three – his life became a whirlwind of politics, sex and rock and roll. Another Little Piece of My Heart is an unparalleled document of rock and revolution.

In the stirring signature number from the 1944 Broadway musical On the Town, three sailors on a 24-hour search for love in wartime Manhattan sing, "New York, New York, a helluva town." The Navy boys’ race against time mirrored the very real frenzy in the city that played host to 3 million servicemen, then shipped them out from its magnificent port to an uncertain destiny. This was a time when soldiers and sailors on their final flings jammed the Times Square movie houses featuring lavish stage shows as well as the nightclubs like the Latin Quarter and the Copacabana; a time when bobby-soxers swooned at the Paramount over Frank Sinatra, a sexy, skinny substitute for the boys who had gone to war. Richard Goldstein’s Helluva Town is a kaleidoscopic and compelling social history that captures the youthful electricity of wartime and recounts the important role New York played in the national war effort. This is a book that will prove irresistible to anyone who loves New York and its relentlessly fascinating saga. Wartime Broadway lives again in these pages through the plays of Lillian Hellman, Robert Sherwood, Maxwell Anderson, and John Steinbeck championing the democratic cause; Irving Berlin’s This Is the Army and Moss Hart’s Winged Victory with their all-servicemen casts; Rodgers and Hammerstein’s Oklahoma! hailing American optimism; the Leonard Bernstein–Jerome Robbins production of On the Town; and the Stage Door Canteen. And these were the days when the Brooklyn Navy Yard turned out battleships and aircraft carriers, when troopships bound for Europe departed from the great Manhattan piers where glamorous ocean liners once docked, where the most beautiful liner of them all, the Normandie, caught fire and capsized during its conversion to a troopship. Here, too, is an unseen New York: physicists who fled Hitler’s Europe spawning the atomic bomb, the FBI chasing after Nazi spies, the Navy enlisting the Mafia to safeguard the port against sabotage, British agents mounting a vast intelligence operation. This is the city that served as a magnet for European artists and intellectuals, whose creative presence contributed mightily to New York’s boisterous cosmopolitanism. Long before 9/11, New York felt vulnerable to a foreign foe. Helluva Town recalls how 400,000 New Yorkers served as air-raid wardens while antiaircraft guns ringed the city in anticipation of a German bombing raid. Finally, this is the story of New York’s emergence as the power and glory of the world stage in the wake of V-J Day, underlined when the newly created United Nations arose beside the East River, climaxing a storied chapter in the history of the world’s greatest city.

In the stirring signature number from the 1944 Broadway musical On the Town, three sailors on a 24-hour search for love in wartime Manhattan sing, "New York, New York, a helluva town." The Navy boys’ race against time mirrored the very real frenzy in the city that played host to 3 million servicemen, then shipped them out from its magnificent port to an uncertain destiny. This was a time when soldiers and sailors on their final flings jammed the Times Square movie houses featuring lavish stage shows as well as the nightclubs like the Latin Quarter and the Copacabana; a time when bobby-soxers swooned at the Paramount over Frank Sinatra, a sexy, skinny substitute for the boys who had gone to war. Richard Goldstein’s Helluva Town is a kaleidoscopic and compelling social history that captures the youthful electricity of wartime and recounts the important role New York played in the national war effort. This is a book that will prove irresistible to anyone who loves New York and its relentlessly fascinating saga. Wartime Broadway lives again in these pages through the plays of Lillian Hellman, Robert Sherwood, Maxwell Anderson, and John Steinbeck championing the democratic cause; Irving Berlin’s This Is the Army and Moss Hart’s Winged Victory with their all-servicemen casts; Rodgers and Hammerstein’s Oklahoma! hailing American optimism; the Leonard Bernstein–Jerome Robbins production of On the Town; and the Stage Door Canteen. And these were the days when the Brooklyn Navy Yard turned out battleships and aircraft carriers, when troopships bound for Europe departed from the great Manhattan piers where glamorous ocean liners once docked, where the most beautiful liner of them all, the Normandie, caught fire and capsized during its conversion to a troopship. Here, too, is an unseen New York: physicists who fled Hitler’s Europe spawning the atomic bomb, the FBI chasing after Nazi spies, the Navy enlisting the Mafia to safeguard the port against sabotage, British agents mounting a vast intelligence operation. This is the city that served as a magnet for European artists and intellectuals, whose creative presence contributed mightily to New York’s boisterous cosmopolitanism. Long before 9/11, New York felt vulnerable to a foreign foe. Helluva Town recalls how 400,000 New Yorkers served as air-raid wardens while antiaircraft guns ringed the city in anticipation of a German bombing raid. Finally, this is the story of New York’s emergence as the power and glory of the world stage in the wake of V-J Day, underlined when the newly created United Nations arose beside the East River, climaxing a storied chapter in the history of the world’s greatest city.

For most of its history, the American gay movement has been part of the democratic Left. Gay liberation's founders were Communists, and its activist core is still overwhelmingly progressive. But in recent years, a more affluent group of gay men has begun to make its mark. Though they are a minority in the queer community (which includes people of all races, classes and genders), conservatives have become the loudest gay voices in the mainstream media. With their withering contempt for feminism and radical politics, these 'gayocons' are changing the movement's public image. Unless their rise is met by a persuasive critique, they may also alter its heart and soul.Homocons offers such a critique. It describes how the gay Right agenda differs from the one the queer community has long embraced. Never abandoning its analysis of the complex relationship between homosexuals and liberal society, the book examines the conflict between liberationists and assimilationists that has raged since the Stonewall era, and explores how political success tipped the balance and facilitated the rise of the gay Right. Finally this book offers an alternative to gay conservatism grounded in queer humanism, a distinct sensibility that has been a major force in progressive thought for more than a century.