Just months before her death, Marilyn Monroe gave a young photographer his big break, and this is his story "You're already famous, now you're going to make me famous," photographer Lawrence Schiller said to Marilyn Monroe as they discussed the photos he was about to shoot of her. "Don't be so cocky," Marilyn replied, "photographers can be easily replaced." The year was 1962, and Schiller, 25, was on assignment for Paris Match magazine. He already knew Marilyn -- they had met on the set of Let's Make Love -- but nothing could have prepared him for the day she appeared nude during a swimming pool scene for the motion picture Something's Got to Give . Marilyn & Me is an intimate story of a legend before her fall and a young photographer on his way to the top. Schiller's original text and extraordinary photographs--over two thirds of which have never or rarely been published --take us back to that time, and to the surprising connection that allowed Marilyn to bond with a kid from Brooklyn, a kid with a lot of ambition but very little experience. Now, 50 years later, TASCHEN is publishing Lawrence Schiller's story as a signed, numbered monograph limited to 1,962 copies, for the year of Monroe's untimely death. Schiller's is a story that has never been told before, and he tells it with tact, humor, and compassion. The result is a real and unexpected portrait that captures the star in the midst of her final struggle. Collector's Edition of 1,712 numbered copies (books numbered No. 251-1,962) signed by the photographer. Also available in two Art Editions of 125 copies , each with an original photograph The book and clamshell box are covered in a custom woven duchesse silk from one of the world's most distinguished silk mills, Taroni , of Como, Italy Printed on archival paper Four foldouts, with one gatefold measuring a full 110 cm (44 in.) across Translation booklet of the text available in German, French and Spanish with purchase upon request

Soon to Be a Major Motion Picture is the life story of one of the most important activists of the 20th century. Hoffman's book opens with his reflections on his suburban Jewish upbringing & early rebelliousness & goes on to recount his involvement in the student movement at Berkeley in the early 1960s, the anti-war demonstrations of the late '60s & early '70s, & his years as a fugitive from the American justice system. Along the way he gives behind-the-scenes details about the events at the 1968 Democratic Convention in Chicago & subsequent Chicago Seven trial, his "levitation" of the Pentagon, & his friendships with Jerry Rubin, Bobby Seale, Allen Ginsberg & many others. Insightful, funny & often moving, Soon to Be a Major Motion Picture is a self-portrait of a radical taking stock of his life's work.

In this new series of books: James the Brother of Jesus and the Dead Sea Scrolls I, renowned biblical scholar Robert Eisenman revisits the subject of James the brother of Jesus connecting him even more effectively, not only to the Leadership of Early Christianity in Palestine, but to the Dead Sea Scrolls in Palestine too. In a more reader-friendly format that compresses the results of his several previous works, Eisenman uses the Dead Sea Scrolls and early Church texts to create the most comprehensive picture of Jesus' brother James conceivable. The private specialist and enthusiastic aficionado will not want to miss it. The James, Eisenman presents, is the pivotal Opposition Jewish Leader leading up to the fall of the Temple and beyond in the First Century. As a typical Essene or Dead Sea Scrolls sectarian, James wears only linen, bathes daily in cold water, was a vegetarian, and is a life-long Nazirite; but he and the Party, the New Testament attests he led, are also "zealous for the Law" and insist on "Circumcision". Moreover Eisenman makes compelling arguments that James not Peter -- whoever he was and however he existed -- and certainly not Paul, was the true heir to his brother Jesus and the Leader of early Christianity everywhere. Eisenman will also cover subjects like "the Brothers of Jesus as Apostles," "the New Covenant in the Land of Damascus," and Paul's almost mortal attack on James in the Temple. Eisenman's work will also extend to the competition between Paul and James in Antioch and over the conversion of Queen Helen of Adiabene and her two sons in Northern Syria, who not only led the 'famine relief" efforts ascribed to Paul in Acts, but also gave the fabulous golden candelabra depicted as booty from the Temple on the Arch of Titus in Rome. Eisenman will show the figure of James to have been so influential and highly-regarded in the Jerusalem of his day that his death was the capstone event that led up to the Jewish Revolt against Rome. In this series, Eisenman's revelations will extend far beyond these examples. Adapted from a lifetime of research, James the Brother of Jesus and the Dead Sea Scrolls, both I and II, will complete the task of rescuing James from the oblivion into which he was cast either intentionally or via benign neglect. His conclusion will therefore definitively bear on the problem of "the Historical Jesus": "Who and whatever James was, so was Jesus."

Text extracted from opening pages of book: HAROLD BAUER W W NORTON & COMPANY INC New York Qslluslraiions Facing Page Harold Bauer at the age of ten 30 Concert announcement of Nikita's Russian tour with Harold Bauer as pianist . 31 The Paderewski picture 31 Harold Bauer, Fritz Kreisler, and Pablo Casals 62 Harold Bauer and Ossip Gabrilowitsch 62 Paris, 1912 63 Medal of the society La Trompette 63 Harold Bauer 158 Musicians at Moszkowski Benefit, 1922 159 Harold Bauer, from the bust by Brenda Putnam 190 Harold Bauer 191 re j f ace I NEVER INTENDED TO WRITE THE STORY OF MY LIFE, AND I neither know nor care whether I shall be believed when I say that this writing has been the most abominable and tedious chore that I ever undertook What happened is this: my very dear and distinguished friend, the late Carl Engel, president of G. Schirmer, Inc., wished to pay me a compliment on the occasion of my sev entieth birthday. Since he had always been amused by my relation of little incidents in my long career, he got me to write some of them down, then put them together with inimitable skill and charm, and published the result in the Musical Quarterly. This created a great deal of comment, and the next thing was that Warder Norton asked me to write a whole book about myself. I rejected his suggestion with horror, but I went to tea with him and his wife, and, as a consequence of their skillful and delicate flattery, I was undone. Even so, the book would never have been completed without the gentle and incessant nagging of my wife. The time has come for me to express my acknowledg ments to everyone concerned in this perpetration, and I hereby do so, peevishly, with the fervent hope that they will allleave me alone in future. It remains only for me to add, now that I notice the curi ously abrupt fashion in which this book starts, that I was born near London on April 28, 1873. H. B. ne MY EARLIEST REACTION TO MUSIC, AS FAR AS I CAN RECALL, was one of fascinated terror. Even at this far-distant time, it almost makes my flesh creep when I think of the huge faces of adults bending over me, or over one of my sisters, and emitting the strange sound which, I was later to learn, is called singing. The music was not confined to noises coming from human faces, however, for there was also the unfor gettable sound solemn and yet piercing of the shiny brass instruments played in the street by a group of shabby men called the German Band. In addition, there was the Italian barrel-organ grinder, accompanied sometimes oh, bliss by a monkey; an occasional violinist; a man who played a bright yellow clarinet; two men in Highland cos tume, one of whom danced to the playing of the bagpipes ( the most exciting sound in the world, I think) by his com panion. Then the music of the street cries ( Chinaware cheap and Jubilee Coal Blocks provided the themes, later on, 9] for a juvenile sonata), and finally, the god of musicians, a glorious individual who went about with a dozen different instruments distributed over his person, playing them all at the same time. That, to me, was real magic; and I longed unspeakably to grow up and conquer my fear of the sounds, so that I could wield the power he possessed some day I suppose it was this mingled feeling of fear and ambition that made me try to find the notes of a tune which had alarmed me to the extent of wanting to hide under the table. After I had pickedout the notes, I did not mind it so much. It was the opening of Brahms' piano quintet, and I am still a little afraid of it. On my fourth birthday, I decided that the time had come for me to do something important, so I composed a polka which contained exactly eight measures quite enough, I considered, for a beginning, a middle, and an end. How it was that this babyish little thing stuck in my mind I am un able to say, but it came back to me about half a century later, when Ossip and Clara Gabrilowitsch told me almost tear fully that their daughter Nina showed not