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Golf My Way

First published more than 20 years ago, "Golf My Way" has helped thousands of golf enthusiasts improve their game and enjoy the sport. Bringing to the book the same devoted concentration and intelligence that have carried him to the pinnacle of golf, Nicklaus offers in-depth, A-Z details on the game as he plays it. Illustrations, many in color.

Written in the early '70s, Golf My Way is the first of the truly modern instructionals mixing physics and kinesiology with theory and technique. The writing's a little dense, but the illustrations are quite good, and some of the mental exercises nothing less than revolutionary. If there's a caveat to Golf My Way, it's that Jack's way works for Jack's game, and may not mesh with yours. Then again, this is the book that introduced Ernie Els to golf, and look what he's done.

Hollywood's "sarong girl" Dorothy Lamour made no claims to be a great actress, but few stars of the screen's vintage years are regarded with greater affection. She is remembered with such warmth for three reasons: as star of a string of jungle pictures, clad in the sarong that was to become her trademark; as one of the four most popular pin-ups of the Second World War (along with Betty Grable, Lana Turner and Rita Hayworth); and as co-star with Bing Crosby and Bob Hope of the phenomenally successful "Road" films - only the James Bond movies have been more profitable as a lengthy sequence. Lamour was also a seductively sultry singer who introduced several song standards, and became an adept comedienne.

Born Mary Leta Dorothy Slaton in 1914 in New Orleans, she started performing songs at charity shows from the age of four and at 14 won a beauty contest as Miss New Orleans. Taking her stepfather's surname Lambour, she moved to Chicago and worked in a department store as an elevator-girl while trying to break into show business. Singing in a talent contest she was spotted by the band-leader Herbie Kaye, who signed her as vocalist and changed her name to Lamour.

In 1935 they were married. Kaye's former college chum Rudy Vallee introduced Lamour to the owner of the famed New York nightspot the Stork Club and she was signed to sing there. This led to more club work, radio performances and her screen debut in a two-reel short, The Stars Can't Be Wrong (1936). Moving to Hollywood for a regular spot (billed as "the sultry songstress of the airwaves") on NBC Radio, she was given a screen test by Paramount and cast in The Jungle Princess (1936). As a naive native girl, with only a tiger and a chimpanzee as friends, she rescues a stranded hunter (Ray Milland) who teaches her English and saves her from villainous natives. Lamour introduced a song hit, Frederick Hollander and Leo Robin's "Moonlight and Shadows", and clothed only in a sarong, her long black hair caressing her shoulders, scored an instant hit with the public, who made the modest film a surprising smash hit.

Lamour's next role was a supporting one in Swing High, Swing Low (1937) but her song in it, "Panamania" , was another hit. In Mamoulian's High, Wide and Handsome (1937) she again had a minor role but sang Kern and Hammerstein's "The Things I Want". The director John Ford, preparing to film The Hurricane for the producer Sam Goldwyn, suggested Lamour for the role of Samura, daughter of a native chief, and Goldwyn traded his contract star Joel McCrea with Paramount to secure her. She again scored a great personal success and had another hit song with her recording of the film's theme tune, "The Moon of Manakoora".

Paramount, now convinced that Lamour and a sarong were a winning combination, starred her in Her Jungle Love (1938), as a native girl who rescues a stranded aviator (Milland again). He teaches her English ("What is this word `Kiss'?" she asks him) and rescues her from crocodiles, an earthquake and a power-crazy villain. Though Lamour's jungle films were fantastic and formulaic they were colourful, amusing pieces of pure escapism which the public loved.

Now a top star, Lamour was borrowed by Fox to star with Tyrone Power in the gangster melodrama Johnny Apollo (1940), singing two fine songs with lyrics by Frank Loesser, "This is the Beginning of the End" and "Dancing for Nickels and Dimes", the latter perform-ed in a fetching urchin outfit that Lamour hated. Paramount next put her back in the jungle for Typhoon (1940) with Robert Preston, another enormous hit.

Then came one of the most fortuitous pieces of casting in screen history. The screenwriters Don Hartman and Frank Butler had adapted an old script of Paramount's as a tropical adventure-comedy entitled The Road to Mandalay for Fred MacMurray and Jack Oakie, who turned it down. George Burns and Gracie Allen also rejected it before the producer William LeBaron thought of Hope and Crosby, who already had a well-publicised comic feud going on their respective radio shows. The tropical setting made Lamour the perfect choice for heroine. Retitled Road to Singapore (1940), the first of a legendary series went into production.

With the aid of their radio gag-writers Barney Dean and Monty Brice the two male leads were soon improvising material and ad-libbing to an extent that initially perplexed Lamour. "I was trying to follow the script but just couldn't get my lines out," she said later. "Finally, I realised that I should just get the general idea of a scene rather than learn the words by heart, then go along with the boys." Said Hope, "Dottie is one of the bravest gals in pictures. She stands there before the camera and ad-libs with Crosby and me knowing that the way the script is written she'll come second or third best, but she fears nothing."

The mixture of a

This is a gold mine in the Barbour Valley near Pemberton that was worked in the early days

The Li Li Kel

From the valley the trail is virtually impossible to find. It's the easiest thing in the world to walk right across it without even knowing it's there. It becomes a little easier to detect when it starts to zig zag up the mountain, but it's overgrown and it's easy to lose. It leads up into the alpine to about sixty four hundred feet. To the Li Li Kel gold mine.
A huge pile of busted up rock signals the entrance to the first addit. The rock used to be inside the mountain. Now it's a pile of rubble sitting below the opening of the mine. Rotting timbers frame the entrance which stares out at Grizzly Pass.
Light gauge rusted rails that once guided ore cars lead into the darkness. The tunnel heads straight into the rock, then bends, then bends again. The floor is wet and it gets cold very quickly. Eighty feet or so into the mine the opening has vanished. The tunnel is about six feet wide and eight feet high. Other tunnels appear at right angles to the main tunnel, some deep enough to have required ventilation - there are still the remains of rusting pipes mounted to the ceiling. Soggy, empty dynamite boxes appear intermittently.
The tunnel begins to narrow, then it stops altogether. The tracks run right to the blank rock wall. The only way to go on is to go back.
Out into the sunlight and air again the trail leads through the alpine flora to the old camp. The remains of the log cabins and later plywood structures lie in a clearing. The cabins were crushed years ago by the huge snowloads of many winters. Rusty bedsprings, wash-tubs, and paper-thin rusted cans dot the site. Miners must have gathered in these cabins, in this clearing, after work and examined the result of each days work. Some days there must have been gold. Some days nothing but blisters. The view the miners had from these cabins, looking out as they did across the valley to the long rusty coloured ridge on the other side, and the mountain peaks beyond, is spectacular.
The trail leads up again, to another tunnel. This one sits just below the rugged alpine bowl that is part of the top of the mountain. Here the view looking up at the peak is as grand as the view in the other direction, across the valley. Beneath the black hole that is the mine entrance another pile of crushed rock is piled. To climber's right of the opening lie hundreds of plywood boxes. Each box is about six feet long. Each is divided into three compartments. Each compartment holds a core sample.
Some of the cores are a light green color. Others are darker green. A few are absolutely stunning, consisting of pure white quartz.
An ore car sits just inside the tunnel mouth. It still seems to work just fine, though it screeches some when it's rolled. It is constructed in such a way that it could be taken apart, carried many miles, then reassembled. This one was carried from the train tracks at 72 Mile all the way up to the mine. As were the rails it rolls on. As was everything else up there. The stoves, the dynamite, the beds, the food...everything. That was back when the trail was new, and easy to find.
Back in September of 1924 C.E. Cairnes of the Geological Survey spent some time investigating the Pemberton area. At the time people were staking areas near the head of the Lillooet Lake, also on Owl Creek, and also near the head of Tenquille Creek. Properties up the Tenquille Lake drainage included the Crown group, the Wonder Claim, and the Silver Bell and Gold King groups. Men working the area included Tom Moffat, Jim Blac, Phil White, Tom Lewis (remembered because he carried a pillow into the bush), Thomas Simington, and John Jack (after whom a trail was named which locals used for expeditions to Tenquille Lake for many years). Pete Peterson spent so much time on Sun God that the mountain is still referred to by long-time residents as Mount Peterson.
By 1929 most of the Tenquille Creek area had been staked. Miners had to complete a hundred dollars worth of work in order to hold each claim. Although some of the mines produced enough gold to make the undertaking worthwhile, none of the miners in this area ever got rich.
After the Second World War some of the claims were tried again. There are a few discarded forty-five gallon fuel drums left near the deserted camp, mute evidence of the helicopters that replaced the horses. The second rush didn't last long.
The mountains are quiet now. There are no miners up there digging into the rock, hoping that the next swing of the hammer, the next dynamite charge, will reveal that precious yellow ore they'd been through so many hardships to find. There are still people looking though. The motherlode could still be up there. Somewhere...

A detailed plan for conquering the FEAR that sabotages swings and ruins psyches, from the pioneering psychologist whose techniques have benefited Davis Love III, Justin Leonard, and numerous other world-class golfers.
As Jack Nicklaus once observed, fear is the golfer’s greatest enemy, inspiring Tiger Woods to "refuse" to give in to this debilitating emotion. It can turn professionals into jelly and dominate the games of most amateurs. It alters swing paths, causes “tap-in” putts to go awry, and transforms a golfer from a brilliant shot-maker on the practice range into an incompetent hack on the course.

Most golfers understand this, but do not have the tools to overcome it. That’s where Dr. Gio Valiante comes in. A pioneering sports psychologist, Valiante has studied the sources of an athlete’s fear, investigated the physiological and neurological impact of fear on performance, and, most important of all, developed a groundbreaking program for conquering it. With Valiante's help and by applying Fearless Golf, Justin Leonard went from three consecutive missed cuts to three consecutive top tens, and Chad Campbell recently moved from 98th in the world to 7th. Davis Love III went from zero wins in 2002 to four wins in 2003, and Chris DiMarco made the 2004 Ryder Cup Team.

Emphasizing the need to replace a fixation-on-results with a commitment to mastery of one’s body and one's mind, Valiante’s approach will not only help golfers reach their true potential, it will make playing every round fun again. Through concrete confidence and mastery drills, he presents specific ways readers can break free of fear’s grasp and perform at their best—even under the most extreme pressure.

With detailed quotes and anecdotes given exclusively to Dr. Valiante from the best players in the game—including Jack Nicklaus, Ernie Els, and other tour professionals, Fearless Golf is the ultimate guide to the mental game, the hottest topic in golf today.

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