Features a complete account of the author's twelve-hour interview with Bernstein one year before the classical music personality's death in 1990.

Celebrating Leonard Bernstein's centenary with an intimate and detailed look at the public and private life of the Maestro written by his former assistant. Foreword by Broadway legend Harold Prince. "An affectionate portrait of an eminent musician who was driven by demons." —Kirkus Reviews "Harmon’s personable and warm account of what it was like to work for one of the twentieth century’s musical giants casts new light on Bernstein and his world." —Booklist "This multifaceted perspective gives readers plenty of salacious gossip paired with insight into Leonard Bernstein’s remarkable artistic achievements later in life." —Library Journal On the Road is a colorfully written, unforgettably entertaining and unputdownable book, and is available just in time for LB’s 100th birthday. Unreservedly recommended. —Fanfare Magazine Leonard Bernstein reeked of cheap cologne and obviously hadn't showered, shaved, or slept in a while. Was he drunk to boot? He greeted his new assistant with "What are you drinking?" Yes, he was drunk. Charlie Harmon was hired to manage the day-to-day parts of Bernstein's life. There was one additional responsibility: make sure Bernstein met the deadline for an opera commission. But things kept getting in the way: the centenary of Igor Stravinsky, intestinal parasites picked up in Mexico, teaching all summer in Los Angeles, a baker's dozen of young men, plus depression, exhaustion, insomnia, and cut-throat games of anagrams. Did the opera get written? For four years, Charlie saw Bernstein every day, as his social director, gatekeeper, valet, music copyist, and itinerant orchestra librarian. He packed (and unpacked) Bernstein's umpteen pieces of luggage, got the Maestro to his concerts, kept him occupied changing planes in Zurich, Anchorage, Tokyo, or Madrid, and learned how to make small talk with mayors, ambassadors, a chancellor, a queen, and a Hollywood legend or two. How could anyone absorb all those people and places? Because there was music: late-night piano duets, or the Maestro's command to accompany an audition, or, by the way, the greatest orchestras in the world. Charlie did it, and this is what it was like, told for the first time.

'Beautifully put-together with wonderfully crafted, full-on flavour recipes for everyone. A proper family feast of a cookbook!' Tom Kerridge ‘This is a gorgeous book.’ Nigella Lawson ‘Lennie and Jessie are as madly entertaining to read as they are to be around. They are also brilliant storytellers so every recipe is as personal as it could be: a classic Jewish chopped liver served on Friday night dinners, aromatic Beef Stifado eaten on Greek holidays or an orange and pistachio cake created by son and brother. I adore this family.’ Yotam Ottolenghi ‘This book encapsulates humour, kindness, bucket loads of love and, most importantly, good food. I’m so happy to have the Ware family in my life and in my kitchen.’ Sam Smith 'damned good food' The Telegraph ‘Mum. Guess what?’ ‘What Jessie?’ ‘We’ve written a cookbook’. ‘I know darling! Do you think anyone will want to buy it?’ ‘Well, it’s the recipes we’ve made our guests – the really good ones. Like the Sausage and Bean Casserole we made Ed Sheeran, the Drunken Crouton and Kale Salad we made Yotam Ottolenghi and the two Blackberry and Custard Tarts we served Nigella.' 'You ate a whole one before she arrived, darling.' 'It’s a bloody good recipe mum.' Cooking through Table Manners is like having Jessie and Lennie at the table with you: brash, funny and full of opinions. In true Ware style, their cookbook is divided into Effortless, A Bit More Effort, Summertime, Desserts and Baking (thanks to Jessie’s brother Alex), Chrismukkah (Christmas, Hanukkah and celebrations) and, of course, Jewish-ish Food. These delicious, easy dishes are designed for real people with busy and sometimes chaotic lives with the ultimate goal of everyone eating together so unfiltered chat can flourish.

A choose-your-own-ending tale of a distinguished lobster and a fateful dinner party When invited to a fancy dinner party, Lenny brings thoughtful gifts for the hosts and enthusiasm for whatever's in store. But when he's greeted with a pot of boiling water and lobster bibs, Lenny [and readers] must quickly decide: should he stay or go? This laugh-out-loud text by bestselling author Michael Buckley and his 10-year-old son Finn is stunningly accompanied by illustrations that demonstrate Catherine Meurisse's flare for the dramatic. Ages 4-7

Radical Chic and Mau-Mauing the Flak Catchers is classic Tom Wolfe, a funny, irreverent, and "delicious" (The Wall Street Journal) dissection of class and status by the master of New Journalism The phrase 'radical chic' was coined by Tom Wolfe in 1970 when Leonard Bernstein gave a party for the Black Panthers at his duplex apartment on Park Avenue. That incongruous scene is re-created here in high fidelity as is another meeting ground between militant minorities and the liberal white establishment. Radical Chic provocatively explores the relationship between Black rage and White guilt. Mau-Mauing the Flak Catchers, set in San Francisco at the Office of Economic Opportunity, details the corruption and dysfunction of the anti-poverty programs run at that time. Wolfe uncovers how much of the program's money failed to reach its intended recipients. Instead, hustlers gamed the system, causing the OEO efforts to fail the impoverished communities.

The intimate memoir of Leonard Bernstein and his family, that helped inspire the new movie Maestro The oldest daughter of revered composer/conductor Leonard Bernstein offers a rare look at her father on the centennial of his birth in a deeply intimate and broadly evocative memoir The composer of On the Town and West Side Story, chief conductor of the New York Philharmonic, television star, humanitarian, friend of the powerful and influential, and the life of every party, Leonard Bernstein was an enormous celebrity during one of the headiest periods of American cultural life, as well as the most protean musician in twentieth century America. But to his eldest daughter, Jamie, he was above all the man in the scratchy brown bathrobe who smelled of cigarettes; the jokester and compulsive teacher who enthused about Beethoven and the Beatles; the insomniac whose 4 a.m. composing breaks involved spooning baby food out of the jar. He taught his daughter to love the world in all its beauty and complexity. In public and private, Lenny was larger than life. In Famous Father Girl, Bernstein mines the emotional depths of her childhood and invites us into her family’s private world. A fantastic set of characters populates the Bernsteins’ lives, including: the Kennedys, Mike Nichols, John Lennon, Richard Avedon, Stephen Sondheim, Jerome Robbins, and Betty (Lauren) Bacall. An intoxicating tale, Famous Father Girl is an intimate meditation on a complex and sometimes troubled man, the family he raised, and the music he composed that became the soundtrack to their entwined lives. Deeply moving and often hilarious, Bernstein’s beautifully written memoir is a great American story about one of the greatest Americans of the modern age.

(Amadeus). With style, wit, and expertise, Leonard Bernstein shares his love and appreciation for music in all its varied forms in The Infinite Variety of Music , illuminating the deep pleasure and sometimes subtle beauty it offers. He begins with an "imaginary conversation" with George Washington entitled "The Muzak Muse," in which he argues the values of actively listening to music by learning how to read notes, as opposed to simply hearing music in a concert hall. The book also features the reproduction of five television scripts from Bernstein on the influence of jazz, the timeless appeal of Mozart, musical romanticism, and the complexities of rhythmic innovation. Also included are Bernstein's analyses of symphonies by Dvorak, Tchaikovsky, Beethoven, and Brahms, a rare reproduction of a 1957 lecture on the nature of composing, and a report on the musical scene written for the New York Times after his sabbatical leave from directorship of the New York Philharmonic during the 1964-65 season.