Skylark is the story of the tormented but glorious life and career of Johnny Mercer, and the first biography of this enormously popular and influential lyricist. Raised in Savannah, Mercer brought a quintessentially southern style to both his life in New York and to his lyrics, which often evoked the landscapes and mood of his youth ("Moon River", "In the Cool, Cool, Cool of the Evening"). Mercer also absorbed the music of southern blacks--the lullabies his nurse sang to him as a baby and the spirituals that poured out of Savannah's churches-and that cool smooth lyrical style informed some of his greatest songs, such as "That Old Black Magic". Part of a golden guild whose members included Cole Porter and Irving Berlin, Mercer took Hollywood by storm in the midst of the Great Depression. Putting words to some of the most famous tunes of the time, he wrote one hit after another, from "You Must Have Been a Beautiful Baby" to "Jeepers Creepers" and "Hooray for Hollywood." But it was also in Hollywood that Mercer's dark underside emerged. Sober, he was a kind, generous and at times even noble southern gentleman; when he drank, Mercer tore into friends and strangers alike with vicious abuse. Mercer's wife Ginger, whom he'd bested Bing Crosby to win, suffered the cruelest attacks; Mercer would even improvise cutting lyrics about her at parties. During World War II, Mercer served as Americas's troubadour, turning out such uplifting songs as "My Shining Hour" and "Ac-cent-tchu-ate the Positive." He also helped create Capitol Records, the first major West Coast recording company, where he discovered many talented singers, including Peggy Lee and Nat King Cole. During this period, he also began an intense affair with Judy Garland, which rekindled time and again for the rest of their lives. Although they never found happiness together, Garland became Mercer's muse and inspired some of his most sensuous and heartbreaking lyrics: "Blues in the Night," "One for My Baby," and "Come Rain or Come Shine." Mercer amassed a catalog of over a thousand songs and during some years had a song in the Top Ten every week of the year--the songwriting equivalent of Joe DiMaggio's hitting streak--but was plagued by a sense of failure and bitterness over the big Broadway hit that seemed forever out of reach. Based on scores of interviews with friends, family and colleagues, and drawing extensively on Johnny Mercer's letters, papers and his unpublished autobiography, Skylark is an important book about one of the great and dramatic characters in 20th century popular music.

John Herndon “Johnny” Mercer (1909–76) remained in the forefront of American popular music from the 1930s through the 1960s, writing over a thousand songs, collaborating with all the great popular composers and jazz musicians of his day, working in Hollywood and on Broadway, and as cofounder of Capitol Records, helping to promote the careers of Nat “King” Cole, Margaret Whiting, Peggy Lee, and many other singers. Mercer’s songs—sung by Bing Crosby, Billie Holiday, Judy Garland, Frank Sinatra, Ella Fitzgerald, Tony Bennett, Lena Horne, and scores of other performers—are canonical parts of the great American songbook. Four of his songs received Academy Awards: “Moon River,” “Days of Wine and Roses,” “On the Atchison, Topeka, and the Santa Fe,” and “In the Cool, Cool, Cool of the Evening.” Mercer standards such as “Hooray for Hollywood” and “You Must Have Been a Beautiful Baby” remain in the popular imagination. Exhaustively researched, Glenn T. Eskew’s biography improves upon earlier popular treatments of the Savannah, Georgia–born songwriter to produce a sophisticated, insightful, evenhanded examination of one of America’s most popular and successful chart-toppers. Johnny Mercer: Southern Songwriter for the World provides a compelling chronological narrative that places Mercer within a larger framework of diaspora entertainers who spread a southern multiracial culture across the nation and around the world. Eskew contends that Mercer and much of his music remained rooted in his native South, being deeply influenced by the folk music of coastal Georgia and the blues and jazz recordings made by black and white musicians. At Capitol Records, Mercer helped redirect American popular music by commodifying these formerly distinctive regional sounds into popular music. When rock ’n’ roll diminished opportunities at home, Mercer looked abroad, collaborating with international composers to create transnational songs. At heart, Eskew says, Mercer was a jazz musician rather than a Tin Pan Alley lyricist, and the interpenetration of jazz and popular song that he created expressed elements of his southern heritage that made his work distinctive and consistently kept his music before an approving audience.

An intimate biography of the great songwriter, this is also a deeply affectionate memoir by one of Johnny Mercer’s best friends. “Moon River,” “Laura,” “Skylark,” ”That Old Black Magic,” “One for My Baby,” “Accentuate the Positive,” “Satin Doll,” “Days of Wine and Roses,” “Something’s Gotta Give”—the honor roll of Mercer’s songs is endless. Both Oscar Hammerstein II and Alan Jay Lerner called him the greatest lyricist in the English language, and he was perhaps the best-loved and certainly the best-known songwriter of his generation. But Mercer was also a complicated and private man. A scion of an important Savannah family that had lost its fortune, he became a successful Hollywood songwriter (his primary partners included Harold Arlen and Jerome Kern), a hit recording artist, and, as co-founder of Capitol Records, a successful businessman, but he remained forever nostalgic for his idealized childhood (with his “huckleberry friend”). A gentleman, a nasty drunk, funny, tender, melancholic, tormented—Mercer was a man immensely talented yet plagued by self-doubt, much admired and loved but never really understood. In music historian and songwriter Gene Lees, Mercer has his perfect biographer, who deals tactfully but directly with Mercer’s complicated relationships with his domineering mother; his tormenting wife, Ginger; and Judy Garland, who was the great love of his life. Lees’s highly personal examination of Mercer’s life is sensitive as only the work of a friend of many years could be to the conflicts in Mercer’s nature. And it is filled with insights into Mercer’s work that could come only from a fellow lyricist (whose own lyrics were much admired by Mercer). A poignant, candid, revelatory portrait of Johnny.

'An adrenalin-fuelled, gritty story of heroism on the frontline in Afghanistan' - Andy McNab Unflinching and laced with wry humour, Johnny Mercer's We Were Warriors is an action-packed account of his journey from young commando to a captain with one of the most pressurized and skilled jobs in the army. A captain in 29 Commando, Johnny Mercer served in the army for twelve years. On his third tour of Afghanistan he was a Joint Fires Controller, with the pressurized job of bringing down artillery and air strikes in close proximity to his own troops. Based in an area of northern Helmand that was riddled with Taliban leaders, he walked into danger with every patrol, determined to protect them. Then one morning, in brutal close quarter combat, everything changed . . . In We Were Warriors Johnny takes us from his commando training to the heat, blood and chaos of battle. With brutal honesty, he describes what it is like to risk your life every day, pushing through the fear that follows watching your friends die. He took the fight back to the enemy with a relentless efficiency that came at a high personal cost. Back in the UK, seeing the inadequate care available for veterans and their families, he was inspired to run for Parliament in the hope he could improve their plight. 'This is NOT the stereotypical account of war, it's without doubt the best first hand account in a war zone I've ever read.' – Tom Marcus, ex MI5 Surveillance Officer, author of Soldier, Spy

NATIONAL BESTSELLER • A modern classic of true crime, set in a most beguiling Southern city—now in a 30th anniversary edition with a new afterword by the author “Elegant and wicked . . . might be the first true-crime book that makes the reader want to book a bed and breakfast for an extended weekend at the scene of the crime.”—The New York Times Book Review Shots rang out in Savannah’s grandest mansion in the misty, early morning hours of May 2, 1981. Was it murder or self-defense? For nearly a decade, the shooting and its aftermath reverberated throughout this hauntingly beautiful city of moss-hung oaks and shaded squares. In this sharply observed, suspenseful, and witty narrative, John Berendt skillfully interweaves a hugely entertaining first-person account of life in this isolated remnant of the Old South with the unpredictable twists and turns of a landmark murder case. It is a spellbinding story peopled by a gallery of remarkable characters: the well-bred society ladies of the Married Woman’s Card Club; the turbulent young gigolo; the hapless recluse who owns a bottle of poison so powerful it could kill every man, woman, and child in Savannah; the aging and profane Southern belle who is the “soul of pampered self-absorption”; the uproariously funny drag queen; the acerbic and arrogant antiques dealer; the sweet-talking, piano-playing con artist; young people dancing the minuet at the black debutante ball; and Minerva, the voodoo priestess who works her magic in the graveyard at midnight. These and other Savannahians act as a Greek chorus, with Berendt revealing the alliances, hostilities, and intrigues that thrive in a town where everyone knows everyone else. Brilliantly conceived and masterfully written, Midnight in the Garden of Good and Evil is a sublime and seductive reading experience.

"In 2010 Captain Johnny Mercer was on his third tour of Afghanistan in an area of Helmand that was seeing some of the heaviest fighting of the campaign. A Joint Fires Controller, with the pressurized job of bringing down artillery and air strikes in close proximity to his own troops, he walked into danger with every patrol, determined to protect them. Then one morning, in brutal close-quarter combat, everything changed ... In We were warriors Johnny describes what it is like to risk your life every day, to push through the fear that follows watching your friends die. He took the fight back to the enemy at huge personal cost. Back in the UK, seeing the inadequate care available for his men, he ran for Parliament in the hope he could improve their plight"--Back cover

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