{"product_id":"kiss-tomorrow-goodbye-the-barbara-payton-story-second-edition-hardback","title":"KISS TOMORROW GOODBYE: THE BARBARA PAYTON STORY (SECOND EDITION) (hardback)","description":"\u003cp\u003e\r\n\t\u003cspan style=\"font-size:14px;\"\u003e\u003cfont face=\"Arial,Helvetica,sans-serif\" color=\"black\"\u003e\u003cspan style=\"font-weight: bold;\"\u003e\u003cem\u003eBest Book of the Year - Classic Images, 2007\u003cbr\u003e\r\n\tBest Cover of the Year - Classic Images, 2007\u003c\/em\u003e\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-style: italic;\"\u003eKiss\r\n Tomorrow Goodbye: The Barbara Payton Story\u003c\/span\u003e is the heartbreaking saga of\r\n the wild and free-spirited actress who hit Hollywood in the late 1940s,\r\n equipped with little more than a suitcase full of dreams, a ravenous \r\nhunger for fame and a devastating beauty---only to see each one of her \r\ndreams destroyed by a disastrous private life that led her straight \r\nthrough the gates of Hell.\u003cbr\u003e\u003cbr\u003eGutsy, vulnerable--and doomed--Barbara\r\n Payton blazed across the motion picture stratosphere in record-time, \r\nonly to collapse in a catastrophic free-fall from which she would never \r\nrecover. \u003c\/font\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003cdiv\u003e\n\u003chr\u003e\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\u003cstyle\u003e\n\u003c!--\n \/* Font Definitions *\/\n@font-face\n\t{font-family:Arial;\n\tpanose-1:2 11 6 4 2 2 2 2 2 4;\n\tmso-font-charset:0;\n\tmso-generic-font-family:auto;\n\tmso-font-pitch:variable;\n\tmso-font-signature:3 0 0 0 1 0;}\n \/* Style Definitions *\/\np.MsoNormal, li.MsoNormal, div.MsoNormal\n\t{mso-style-parent:\"\";\n\tmso-margin-top-alt:auto;\n\tmargin-right:0in;\n\tmso-margin-bottom-alt:auto;\n\tmargin-left:0in;\n\tmso-add-space:auto;\n\tmso-pagination:widow-orphan;\n\tfont-size:12.0pt;\n\tfont-family:Arial;\n\tmso-fareast-font-family:\"Times New Roman\";\n\tmso-bidi-font-family:Arial;}\np.MsoNormalCxSpFirst, li.MsoNormalCxSpFirst, div.MsoNormalCxSpFirst\n\t{mso-style-parent:\"\";\n\tmso-style-type:export-only;\n\tmso-margin-top-alt:auto;\n\tmargin-right:0in;\n\tmso-margin-bottom-alt:auto;\n\tmargin-left:0in;\n\tmso-add-space:auto;\n\tmso-pagination:widow-orphan;\n\tfont-size:12.0pt;\n\tfont-family:Arial;\n\tmso-fareast-font-family:\"Times New Roman\";\n\tmso-bidi-font-family:Arial;}\np.MsoNormalCxSpMiddle, li.MsoNormalCxSpMiddle, div.MsoNormalCxSpMiddle\n\t{mso-style-parent:\"\";\n\tmso-style-type:export-only;\n\tmso-margin-top-alt:auto;\n\tmargin-right:0in;\n\tmso-margin-bottom-alt:auto;\n\tmargin-left:0in;\n\tmso-add-space:auto;\n\tmso-pagination:widow-orphan;\n\tfont-size:12.0pt;\n\tfont-family:Arial;\n\tmso-fareast-font-family:\"Times New Roman\";\n\tmso-bidi-font-family:Arial;}\np.MsoNormalCxSpLast, li.MsoNormalCxSpLast, div.MsoNormalCxSpLast\n\t{mso-style-parent:\"\";\n\tmso-style-type:export-only;\n\tmso-margin-top-alt:auto;\n\tmargin-right:0in;\n\tmso-margin-bottom-alt:auto;\n\tmargin-left:0in;\n\tmso-add-space:auto;\n\tmso-pagination:widow-orphan;\n\tfont-size:12.0pt;\n\tfont-family:Arial;\n\tmso-fareast-font-family:\"Times New Roman\";\n\tmso-bidi-font-family:Arial;}\n@page Section1\n\t{size:8.5in 11.0in;\n\tmargin:1.0in 1.0in 1.0in 1.0in;\n\tmso-header-margin:.5in;\n\tmso-footer-margin:.5in;\n\tmso-paper-source:0;}\ndiv.Section1\n\t{page:Section1;}\n--\u003e\u003c\/style\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003ci\u003e\u003cspan style=\"font-size:10.5pt;color:black\"\u003e\r\n\u003c\/span\u003e\u003c\/i\u003e\u003c\/b\u003e\u003cspan style=\"font-size:10.5pt;color:black\"\u003eBearManor\r\nMedia is proud to announce the long-awaited second edition of the authoritative\r\nand popular biography, \u003ci style=\"mso-bidi-font-style:normal\"\u003eKiss Tomorrow\r\nGoodbye: The Barbara Payton Story\u003c\/i\u003e. Even against a backdrop of today's\r\ncelebrity excess, Payton remains unchallenged as Hollywood's quintessential\r\ncautionary tale. Her public escapades, scandals, wrong turns, and eventual\r\ntragic demise still fuel articles in print and on the Internet, but John\r\nO'Dowd's riveting biography remains the gold standard for detail and authenticity.\r\nO'Dowd spent over ten years researching, interviewing, writing and aggregating\r\na huge photo archive on the tragic, stunningly beautiful film noir actress.\u003cbr\u003e\r\n\u003cbr\u003e\r\nEarly on, Payton was considered by critics to have acting talent that could\r\nhave made her a major star. During her steep rising trajectory, she was the\r\nmink-swathed lover of Bob Hope, Marlon Brando, George Raft, Guy Madison and\r\nmany others. She co-starred with James Cagney in the hit film, \u003ci style=\"mso-bidi-font-style:normal\"\u003eKiss Tomorrow Goodbye\u003c\/i\u003e, but the irascible\r\nJack Warner also punished her with the title role in \u003ci style=\"mso-bidi-font-style:\nnormal\"\u003eBride of the Gorilla\u003c\/i\u003e (the film remains a cult classic, thanks to\r\nPayton's smoldering beauty and dead-on game performance).\u003cbr\u003e\r\n\u003cbr\u003e\r\nEventually, Payton's mythic, self-directed fury destroyed all opportunities and\r\nsecond chances. Alcohol addiction and lurid concurrent affairs with tough-guy\r\ngigolo Tom Neal (\u003ci style=\"mso-bidi-font-style:normal\"\u003eDetour\u003c\/i\u003e) and suave\r\nsecond-leading man Franchot Tone delivered mortal career wounds. She provided\r\nreliable cover grist for the sleazerag \u003ci style=\"mso-bidi-font-style:normal\"\u003eConfidential\u003c\/i\u003e\r\nand managed to attract the predatory wrath of all three \"hag\r\ncolumnists,\" Hedda Hopper, Louella Parsons and Florabel Muir. Within a few\r\nyears, Payton had plummeted from $10,000 per week stardom to $5-a-trick\r\nprostitution along the boulevards of Hollywood's \"dream dump.\" As her\r\ndescent deepened, she dictated a rambling, barely coherent autobiography, \u003ci style=\"mso-bidi-font-style:normal\"\u003eI Am Not Ashamed\u003c\/i\u003e, to a hack writer in\r\nexchange for a few cases of rotgut wine. At age 39, her road dead-ended from\r\nliver and heart failure.\u003c\/span\u003e\u003cspan style=\"mso-bookmark:_GoBack\"\u003e\u003cspan style='font-family:\"Times New Roman\";mso-bidi-font-family:\"Times New Roman\"'\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\r\n\r\n\r\n\u003cdiv class=\"MsoNormal\" style=\"margin:0in;margin-bottom:.0001pt;\ntext-align:center\" align=\"center\"\u003e\u003cspan style=\"mso-bookmark:_GoBack\"\u003e\u003cspan style='font-family:\n\"Times New Roman\";mso-bidi-font-family:\"Times New Roman\"'\u003e\r\n\r\n\u003chr width=\"100%\" size=\"2\" align=\"center\"\u003e\r\n\r\n\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\r\n\r\n\r\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-bookmark:_GoBack\"\u003e\u003cb\u003e\u003ci\u003e\u003cspan style=\"font-size:10.5pt;color:black\"\u003eJohn O'Dowd pulls no punches in covering\r\nan often appalling story, but he reinforces lurid facts with an insight and\r\nempathy that Barbara Payton would have doubtless appreciated deeply while she\r\nlived.A second volume on Barbara's life and career, titled \u003c\/span\u003e\u003c\/i\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cspan style=\"mso-bookmark:_GoBack\"\u003e\u003cb\u003e\u003cspan style=\"font-size:10.5pt;color:black;\nmso-bidi-font-style:italic\"\u003eBarbara Payton: A Life in Pictures\u003ci\u003e is now in\r\nprogress. It will contain over 250 rare and previously unpublished photos of\r\nBarbara, along with commentary by John O'Dowd, Barbara's son, John Lee Payton,\r\nand family member Jan Redfield.  \u003c\/i\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cspan style=\"mso-bookmark:_GoBack\"\u003e\u003cspan style='font-family:\"Times New Roman\";\nmso-bidi-font-family:\"Times New Roman\"'\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\r\n\r\n\u003cp class=\"MsoNormal\" style=\"margin:0in;margin-bottom:.0001pt\"\u003e\u003cspan style=\"mso-bookmark:_GoBack\"\u003e\u003cb\u003e\u003ci\u003e\u003cspan style=\"font-size:10.5pt;color:black\"\u003eA\r\nfilm project based on the BearManor Media book, \u003c\/span\u003e\u003c\/i\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cspan style=\"mso-bookmark:_GoBack\"\u003e\u003cb\u003e\u003cspan style=\"font-size:10.5pt;color:black;\nmso-bidi-font-style:italic\"\u003eKISS TOMORROW GOODBYE: THE BARBARA PAYTON STORY\u003ci\u003e,\r\nis currently underway in Los Angeles!!\u003c\/i\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cspan style=\"mso-bookmark:_GoBack\"\u003e\u003cspan style='font-family:\"Times New Roman\";\nmso-bidi-font-family:\"Times New Roman\"'\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\r\n\r\n\u003cspan style=\"mso-bookmark:_GoBack\"\u003e\u003c\/span\u003e\r\n\r\n\u003cdiv class=\"MsoNormal\" style=\"margin:0in;margin-bottom:.0001pt;\ntext-align:center\" align=\"center\"\u003e\u003cspan style='font-family:\"Times New Roman\";mso-bidi-font-family:\n\"Times New Roman\"'\u003e\r\n\r\n\u003chr width=\"100%\" size=\"2\" align=\"center\"\u003e\r\n\r\n\u003c\/span\u003e\u003c\/div\u003e\n\u003cspan style=\"font-size:14px;\"\u003e\u003cstrong\u003eBOOK POINTS\u003c\/strong\u003e\u003c\/span\u003e\u003cspan style=\"font-size:14px;\"\u003e\u003cstrong\u003e by Laura Wagner\u003c\/strong\u003e\u003c\/span\u003e\u003cdiv\u003e\n\u003cp\u003e\u003cspan style=\"font-size:14px;\"\u003eForget\r\n everything you’ve previously read about actress and party girl Barbara \r\nPayton. Throw aside your preconceived notions about her personality and \r\nmotives. After reading John O’Dowd’s dramatic, fair and insightful \u003cstrong\u003eKiss Tomorrow Goodbye: The Barbara Payton Story\u003c\/strong\u003e,\r\n with a foreword by Barbara’s son, John Lee Payton ($29.99, BearManor \r\nMedia softcover), you will have to do some serious rethinking.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size:14px;\"\u003eThis\r\n could not have been an easy task for Mr. O’Dowd. Today, Barbara Payton \r\n(1927-67) is not remembered for her accomplished performances in \u003cem\u003eTrapped\u003c\/em\u003e (1949) and Cagney’s \u003cem\u003eKiss Tomorrow Goodbye\u003c\/em\u003e (1950), or her camp classic, \u003cem\u003eBride of the Gorilla\u003c\/em\u003e (1951), or, even, that she acted alongside Gregory Peck (\u003cem\u003eOnly the Valiant\u003c\/em\u003e,\r\n 1951). No, as good as Payton was in these films, her reputation rests \r\non two things: the Franchot Tone\/Tom Neal brawl for her affections, and \r\nher outrageous 1960s memoir, \u003cem\u003eI\u003c\/em\u003e \u003cem\u003eAm Not Ashamed\u003c\/em\u003e, where it was revealed that she became a prostitute when her movie days ended.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size:14px;\"\u003eBut\r\n to base your judgment of Payton on these two things would be too \r\nnarrow-minded, too simplistic. She wasn’t evil, as many have made her \r\nout to be. She was human. She made mistakes.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size:14px;\"\u003eBut\r\n I only partially agree with the author that Hollywood was mostly to \r\nblame. The town didn’t exactly chew her up and spit her out. Hollywood \u003cem\u003ewas\u003c\/em\u003e\r\n brutal, and never forgave her, but her mistakes were of her own making.\r\n O’Dowd knows her faults and your wrong decisions and is unflinching \r\nabout them, but the urge to make Hollywood an “evil town” springs up \r\nmore than once. (“First, Hollywood takes your body. Then, it takes your \r\nsoul. Once it has both of those things, it has no use for you anymore.”)\r\n Yes, Hollywood contributed to her downfall, but it wasn’t the \u003cem\u003ecause\u003c\/em\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size:14px;\"\u003eBe\r\n that as it may, one can’t help but feel sorry for Barbara Payton, and \r\nin this book O’Dowd has done a truly remarkable thing. Other authors \r\nhave taken the standard, accusatory stance, defining her character by \r\nfocusing on her scandals. O’Dowd, on the other hand, seems to see into \r\nher soul, bringing out the good side so seldom (if ever) mentioned. This\r\n insight is sadly missing in other profiles of Payton. O’Dowd makes us \r\ncare for this lady, so that when her downfall comes so early in her \r\nlife, you feel compassion for her. Even during all the problems with the\r\n law, our sympathy is still with her. Payton is shown to be hopelessly \r\nstuck, unable to escape the life she made for herself.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size:14px;\"\u003eO’Dowd’s\r\n ability to make us see Barbara Payton as a human being is impressive. \r\nTo do this, he not only had to break out of the stereotypical mold used \r\nby others, but also he had to go that extra mile in his research and \r\nwriting. His extra effort pays off big time, elevating his text far \r\nabove the tabloid-style writing that dominates too many celebrity bios.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size:14px;\"\u003eA\r\n big, big plus is the collection of interviews the author conducted in \r\nthe nearly ten years he researched this book. He interviewed family \r\nmembers, co-workers, and acquaintances, resulting in an almost \r\nastonishing day-by-day record of what Payton was doing. I know from \r\nexperience that people close to controversial subjects tend to clam up. \r\nIn this day and age of sensationalized biographies, who’s to know how an\r\n author will handle the information he is given? It’s a credit to John \r\nO’Dowd’s skills as a writer, coupled with his personal sensitivity, that\r\n he was trusted with the inside stories he gets here. It says a lot that\r\n Barbara’s son, who has remained silent all these years, decided to not \r\nonly be interviewed, but also wrote the touching foreword.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size:14px;\"\u003eO’Dowd\r\n strikes a balance that is very rare, especially considering the \r\nalcohol, sex, drugs, hot tempers, suicide attempts, “frantic” searches \r\nfor attention, and crime that make up much of this book. Remarkably, you\r\n never feel as if O’Dowd is exploiting Barbara. \u003cem\u003eHere it is,\u003c\/em\u003e he says, \u003cem\u003ethis is what happened\u003c\/em\u003e, \u003cem\u003ebut, wait\u003c\/em\u003e, \u003cem\u003ehere are the reasons why\u003c\/em\u003e. It all adds up to a real page-turner, but one that is a thought-provoking, cautionary tale.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size:14px;\"\u003eThis\r\n is quite a feat for a nearly 500-page book. As good as it is, however, \r\nit is not perfect. There’s some repetition, especially near the end. \r\nAfter she passes away, O’Dowd goes on for almost thirty more pages so \r\neveryone who knows her can again tell us their opinions about her. It \r\ndoesn’t seriously hamper the text, but it was too much for me. However, \r\nJohn O’Dowd is a good writer, and although I found this part \r\nsuperfluous, it was all very well written.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size:14px;\"\u003e      \r\n The photos, over 200 of them, many never before published, are simply \r\nmagnificent. I especially enjoyed the photos of some of the places \r\n(bars, motels, etc.) where Barbara hung out. I recall someone \r\ncomplaining online that Barbara wasn’t in these shots. However, I found \r\nthe often-dirty-looking places eerily atmospheric and fascinating.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size:14px;\"\u003eI\r\n couldn’t have predicted my reaction to this book. All I’ve ever known \r\nabout Barbara was what others knew: She was a bad girl. After all, \r\ndidn’t she destroy both Franchot Tone’s and Tom Neal’s lives? Didn’t \r\nthat “vixen” play the two against each other? After reading this, \r\nhowever, I finally saw the whole picture. And, I must say, I saw Barbara\r\n not as the one-dimensional figure the newspapers painted of her as, but\r\n as a directionless person who just made those wrong decisions. No other\r\n book or article has managed this on Payton. Especially with her sad, \r\nheart-wrenching relationship with her son, you understand what was \r\nhappening with her.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size:14px;\"\u003eWith a \r\nlife like Barbara’s, a biographer could have been tempted to gloss over \r\nher work. After all, her career was not that important even to her in \r\nthe beginning. But, O’Dowd discusses each film, with the right amount of\r\n details (no excessive plots, thank goodness): \u003cem\u003eSilver Butte\u003c\/em\u003e (1949), \u003cem\u003ePecos Pistol\u003c\/em\u003e (1949\u003cem\u003e), \u003c\/em\u003e\u003cem\u003eOnce More, My Darling\u003c\/em\u003e (1949), \u003cem\u003eTrapped\u003c\/em\u003e (1949), \u003cem\u003eKiss Tomorrow Goodbye\u003c\/em\u003e (1950), \u003cem\u003eDallas\u003c\/em\u003e (1950), \u003cem\u003eOnly the Valiant\u003c\/em\u003e (1950), \u003cem\u003eDrums in the Deep South\u003c\/em\u003e (1951), \u003cem\u003eBride\u003c\/em\u003e \u003cem\u003eof the Gorilla\u003c\/em\u003e (1951), \u003cem\u003eFour Sided Triangle\u003c\/em\u003e (1952), \u003cem\u003eBad Blonde\u003c\/em\u003e (1952), \u003cem\u003eRun for the Hills\u003c\/em\u003e (1953), \u003cem\u003eThe Great Jesse James Raid\u003c\/em\u003e (1953), and \u003cem\u003eMurder Is My Beat\u003c\/em\u003e (1955). I like the way he handled the films, especially in regard to her performances. I disagreed with his assessment of \u003cem\u003eBad Blonde\u003c\/em\u003e, but reveled in his lively report on the campy \u003cem\u003eRun for the\u003c\/em\u003e \u003cem\u003eHills\u003c\/em\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size:14px;\"\u003eAnother\r\n indication of the intelligence of O’Dowd’s writing is seen in his \r\nfairness to the people in Barbara’s life. Onetime husband Franchot Tone \r\nand boyfriend Tom Neal are not pitted against each other here. While \r\nothers depict Tom Neal as a bad force in her life, O’Dowd treats him \r\nimpartially, giving us both the good and the bad. Tone, too, could have \r\ncome across as a stodgy obstacle between the love Payton and Neal’s \r\nshared for each other. Frankly, this is how these two men are always \r\nportrayed by other writers. For insight into Neal, O’Dowd interviewed \r\nhis nephew who stayed with Neal and Payton. For Franchot Tone, O’Dowd \r\nhad the good fortune to be assisted by his official biographer, Lisa \r\nBurks. (Lisa’s book on Tone will be released sometime in late 2008 by \r\nBearManor Media.) I was greatly impressed by the insight that both the \r\nnephew and Lisa possess.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size:14px;\"\u003eBarbara\r\n Payton had plenty of troubles in her life. She does not need more \r\ncriticism from unfeeling enemies who routinely condemn her. One author \r\neven calls Barbara “a monster” and has the audacity to compare her to \r\nHitler! Clearly, she needs a champion, and she gets a good one in John \r\nO’Dowd.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size:14px;\"\u003eThen you have the \r\nheartfelt words of her son, who well remembers the loving mother who was\r\n taken away from him. I am not embarrassed to say that I got choked up \r\nreading his foreword and his memories of his loving mother. “I think \r\nabout her in some way, every single day,” John Lee Payton says. “In my \r\nmind there is little notice today of the tortured movie star, or the \r\nruin visited upon her. There is only the simple love a child feels for \r\nhis mother, a kind of awe and wonder, and a yearning to return once more\r\n to that sweet embrace, to feel her happy kiss and the secure certainty \r\nof being held safe within her arms. These are the feelings I have for my\r\n mother, and nothing, or no one, can touch them.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size:14px;\"\u003eAnother\r\n family member says, “No matter how short her fame, and no matter how \r\nshort her life, Barbara has had a long lasting effect on the people who \r\nreally knew her.” This is the enduring message here. The beauty of this \r\nbook is found in the way the author allows her family’s love to shine \r\nthrough the horrors of her life. I respect and admire John O’Dowd for \r\nfinding the light in the darkness. Barbara Payton’s emotionally-draining\r\n life finally makes sense. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cspan style=\"font-size: 14px;\"\u003eFrom Van Helsing's Journal\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size:14px;\"\u003eUndertaken\r\n with the complete cooperation of Payton's estate and featuring a \r\nforeword penned by her son, Kiss Tomorrow Goodbye neither \r\nsensationalizes nor trivializes the life of this tormented and \r\nirrevocably damaged soul. Despite an obvious empathy for his subject \r\nO'Dowd manages to tread a fine line between partisan and impartial, and \r\nmakes no effect either to moralize or sugarcoat the degradation of \r\nPayton's final years. He quotes both from extensive interviews with \r\nPayton's surviving friends, family, co-stars and associates, as well as \r\nfrom abundant contemporary source material, and in doing so paints the \r\ndefinitive picture of this singular, sad life.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 14px;\"\u003eO'Dowd's\r\n book is dotted with some 250 photographs, many of them extremely rare, \r\ndetailing every phase of Payton's turbulent existence. Those taken in \r\n1949 and 1950 prove a heartrending counter to later shots depicting the \r\ndissolute starlet's descent into alcoholism; gone is the confident, \r\nstunningly beautiful actress whose lasting success is all but assured, \r\nand in her stead sits a plump, waxen and slightly stunned looking \r\nfigure, one who, perhaps, never fully came to terms with the cruel and \r\nunexpected twist the last decade of her life would take.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 14px;\"\u003eBarbara\r\n Payton spent a few all-too-short years in the limelight, and the bulk \r\nof her remaining years enshadowed in addiction and self-loathing. The \r\npresent work more than atones for previous biographical missteps, such \r\nas Payton's tawdrily ghostwritten 1963 memoir \u003cem\u003eI Am Not Ashamed\u003c\/em\u003e,\r\n and is, to paraphrase its author, most definitely a book that needed to\r\n be written. Though it is a harrowing and by no means easy journey, this\r\n comprehensive exploration of the film industry's seamy underbelly \r\nultimately stands as one of the most well-crafted and solidly researched\r\n celebrity biographies of recent memory, and a deftly compelling \r\ndissection of one Hollywood dream that more closely resembled a \r\nnightmare.\u003c\/span\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cem\u003e\u003cspan style=\"font-size:14px;\"\u003eVisit this book's official website\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cspan style=\"font-size: 14px;\"\u003e\u003cfont face=\"Arial,Helvetica,sans-serif\" color=\"black\"\u003eReview from Digital Retribution\u003c\/font\u003e\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cspan style=\"font-size:14px;\"\u003eReview in the Canyon News\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cspan style=\"font-size:14px;\"\u003eAnother Review from the Canyon News\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cspan style=\"font-size: 14px;\"\u003eWatch the book trailer on YouTube\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cspan style=\"font-size: 14px;\"\u003eArticle in The Bay Area Reporter\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cspan style=\"font-size: 14px;\"\u003eReview from Plan 9 Crunch blog\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cspan style=\"font-size: 14px;\"\u003eArticle from the Standard Examiner\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cdiv id=\"watch-description-text\" class=\"\"\u003e\n\u003cp id=\"eow-description\"\u003e\u003cem\u003eJim Junot interviews John O'Dowd, author of Kiss Tomorrow Goodbye: The Barbara Payton Story\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cem\u003eReview from BlogCritics\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cem\u003eFrom the Duluth News Tribune: Cloquet native shot to fame in 1950s, then quickly fell to the depths\u003cbr\u003e\u003c\/em\u003e\u003cem\u003e \u003c\/em\u003e\u003cbr\u003e\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\u003cstyle\u003e\n\u003c!--\n \/* Font Definitions *\/\n@font-face\n\t{font-family:\"Cambria Math\";\n\tpanose-1:2 4 5 3 5 4 6 3 2 4;\n\tmso-font-charset:0;\n\tmso-generic-font-family:auto;\n\tmso-font-pitch:variable;\n\tmso-font-signature:-536870145 1107305727 0 0 415 0;}\n@font-face\n\t{font-family:Calibri;\n\tpanose-1:2 15 5 2 2 2 4 3 2 4;\n\tmso-font-charset:0;\n\tmso-generic-font-family:auto;\n\tmso-font-pitch:variable;\n\tmso-font-signature:-536870145 1073786111 1 0 415 0;}\n \/* 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