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Kids, Wait Till You Hear This!
“Kids, Wait Til You Hear This” is the autobiography of EGOT icon Liza Minnelli. This fascinating, untold story reveals the intimate truth of the only child born to Hollywood legends Vincent Minnelli and Judy Garland. For the first time, here is Liza up Raw, strong, sexy, hilarious and heartbreaking. Liza decided at the age of 16 that “sympathy is my mother’s business. I give people joy.” That veil of joy, however, masks a lifelong struggle with Substance Use Disorder, hunger for love, broken marriages, multiple miscarriages, and hospitalizations—the highs and lows of unparalleled artistic success and lifelong friendships, as well as chronic anxiety and the threat of financial ruin. Despite every challenge, Liza’s is a life wrapped in laughter. Today at nearly 80, she opens her heart, mind and memories, sharing secrets we never knew. Liza’s book celebrates supreme artistry and, more importantly, her human rights activism. “It’s time to tell the truth, Liza says, “and help people heal, as I have, one day at a time.”
448 pages, Hardcover
First published March 10, 2026
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May 24, 2026
I feel at least four times more gay after completing LIza Minnelli's long-awaited memoir, Kids, Wait Till you Hear This!. And I was pretty gay before. Not because I spent several days steeped in Liza's world of the musical theater, as costumed by Halston and scored by Kander and Ebb, though I did come away with a slight case of Fosse neck. Not because Liza has seemingly slept with more gay men than I ever could. No, it was because Liza's memoir was a hypodermic of high camp, plunged straight into my grateful little heart.
Pianist Michael Feinstein, Liza's most persistent friend of Dorothy (and yes, one of her past lovers), sets the book's tone by spending his introduction crabbing about Kristen Wiig's SNL sketch, "Liza Minnelli Tries to Turn Off a Lamp." He doesn't care what you or anyone else thinks. It's not funny. Wiig isn't funny. And SNL or anyone else who's imitated Liza over the years should owe her royalties, dammit. Liza joins his disgruntlement world tour before page ten, damning Lady Gaga as a malignant saboteur and promising an autobiography full of truth telling, error correcting, and score settling. Boy, does she deliver, especially on the last front.
Kids is the kind of memoir with passages that read along the lines of "I heard the screams the night my chum Cheryl Turner daughter of Lana murdered her stepfather, but that is not my story to tell,” then later call back to these lurid words when infant Liza accidentally kicks Mama (that would be renowned actress Judy Garland, to the likes of you) in the head and describes Judy's outrage as, "but it wasn’t as bad as the screams from Lana Turner’s house.” Ouch. That's a literary choice. It's the kind of memoir in which Liza, fresh from her Oscar-winning performance in Cabaret, joins the cast of Lucky Lady and encounters nothing but rudeness and abuse from co-star Gene Hackman—then more or less concludes with (I'm paraphrasing, but not by much) "He was horrible to me! Horrible! I was really really really sad years later when he starved to death after his wife passed away, winky-face emoji, crossed-fingers emoji, face with halo emoji."
Savage!
It's also the kind of book in which Liza's feud with Lady Gaga at the 2022 Oscars occupies more real estate than the making and reception of all her post-Cabaret movies combined. And that's kind of a pity, because although I thrilled every time Liza sharpened her nails to take out someone who wronged her (the section about final husband David Gest is brutal), I mostly was hoping for her lively take on the art she created in the wake of sequins and heavy perfume she left through the last six decades.
The books earliest chapters, particularly those that delve into her often fraught relationship with Garland, are the most satisfying. By the time Liza's independent enough to be having a streetside brawl with her lover Martin Scorsese about having slept with Mikhail Baryshnikov (Liza: "Who wouldn't?!"), while Liza's current husband was right there watching, the messiness was beginning to make me check out, a little.
But along the way are hundreds of camp little moments, such as the glamorous weekly Monday-night Hollywood parties Liza would throw that simply everybody attended— Whoopi, Anjelica, Janet, Rosie, Roddy, Mizrahi, Quentin, Madonna—to enjoy the buffet that she served from elegant Elsa Peretti-designed sterling silver bowls piled high with…KFC. Or the time she invented the moonwalk and taught it to Michael Jackson. Or the time she, and I quote, "crunked it up" to a Mary J. Blige song. More than once she gets the details wrong: the Donna Summer smash single wasn't "Hot Love." It was "Hot Stuff," Liza.
But Liza's determination to appear omnipresent in over a half-century of popular culture and to remain ever-current and hip (she is such a fan of Chappell Roan, y'all) lends this enjoyable, gossipy memoir an edge of unreality as artificial and exaggerated as Ms. Minnelli's eyelashes.
Pianist Michael Feinstein, Liza's most persistent friend of Dorothy (and yes, one of her past lovers), sets the book's tone by spending his introduction crabbing about Kristen Wiig's SNL sketch, "Liza Minnelli Tries to Turn Off a Lamp." He doesn't care what you or anyone else thinks. It's not funny. Wiig isn't funny. And SNL or anyone else who's imitated Liza over the years should owe her royalties, dammit. Liza joins his disgruntlement world tour before page ten, damning Lady Gaga as a malignant saboteur and promising an autobiography full of truth telling, error correcting, and score settling. Boy, does she deliver, especially on the last front.
Kids is the kind of memoir with passages that read along the lines of "I heard the screams the night my chum Cheryl Turner daughter of Lana murdered her stepfather, but that is not my story to tell,” then later call back to these lurid words when infant Liza accidentally kicks Mama (that would be renowned actress Judy Garland, to the likes of you) in the head and describes Judy's outrage as, "but it wasn’t as bad as the screams from Lana Turner’s house.” Ouch. That's a literary choice. It's the kind of memoir in which Liza, fresh from her Oscar-winning performance in Cabaret, joins the cast of Lucky Lady and encounters nothing but rudeness and abuse from co-star Gene Hackman—then more or less concludes with (I'm paraphrasing, but not by much) "He was horrible to me! Horrible! I was really really really sad years later when he starved to death after his wife passed away, winky-face emoji, crossed-fingers emoji, face with halo emoji."
Savage!
It's also the kind of book in which Liza's feud with Lady Gaga at the 2022 Oscars occupies more real estate than the making and reception of all her post-Cabaret movies combined. And that's kind of a pity, because although I thrilled every time Liza sharpened her nails to take out someone who wronged her (the section about final husband David Gest is brutal), I mostly was hoping for her lively take on the art she created in the wake of sequins and heavy perfume she left through the last six decades.
The books earliest chapters, particularly those that delve into her often fraught relationship with Garland, are the most satisfying. By the time Liza's independent enough to be having a streetside brawl with her lover Martin Scorsese about having slept with Mikhail Baryshnikov (Liza: "Who wouldn't?!"), while Liza's current husband was right there watching, the messiness was beginning to make me check out, a little.
But along the way are hundreds of camp little moments, such as the glamorous weekly Monday-night Hollywood parties Liza would throw that simply everybody attended— Whoopi, Anjelica, Janet, Rosie, Roddy, Mizrahi, Quentin, Madonna—to enjoy the buffet that she served from elegant Elsa Peretti-designed sterling silver bowls piled high with…KFC. Or the time she invented the moonwalk and taught it to Michael Jackson. Or the time she, and I quote, "crunked it up" to a Mary J. Blige song. More than once she gets the details wrong: the Donna Summer smash single wasn't "Hot Love." It was "Hot Stuff," Liza.
But Liza's determination to appear omnipresent in over a half-century of popular culture and to remain ever-current and hip (she is such a fan of Chappell Roan, y'all) lends this enjoyable, gossipy memoir an edge of unreality as artificial and exaggerated as Ms. Minnelli's eyelashes.
March 28, 2026
A legend with so many mistakes makes for a great biography- unless you make a mistake with this one as well.
The first half is where the gold is. Her troubled relationship with her mother, her career high with Cabaret, and her crazy romantic life (with Peter Sellers and Martin Scorsese, among others) are always entertaining, with both the good and the bad.
The second half, less so. Her struggle with her addiction repeats itself. And right at the end of the biography, Liza makes a mistake: she attacks Lady Gaga for something that most people who have seen the Oscars appearance cannot blame her for. The controversy around the use of AI for the audiobook and the limited promotion for the book confirm that she is in the wrong. Her medical condition is serious, and her appearances can look good only with a lot of editing and/or a lot of help from her friend, Michael Feinstein.
I really don’t understand why this chapter is in the book. It makes Liza look like she is in denial about her medical condition and that, unfortunately, people around her cannot even tell her this truth.
Unfortunately, it leaves a bad taste because, once again, it feels like Liza is telling a lie. The question is: who is this lie for, since it doesn’t fool the public?
The first half is where the gold is. Her troubled relationship with her mother, her career high with Cabaret, and her crazy romantic life (with Peter Sellers and Martin Scorsese, among others) are always entertaining, with both the good and the bad.
The second half, less so. Her struggle with her addiction repeats itself. And right at the end of the biography, Liza makes a mistake: she attacks Lady Gaga for something that most people who have seen the Oscars appearance cannot blame her for. The controversy around the use of AI for the audiobook and the limited promotion for the book confirm that she is in the wrong. Her medical condition is serious, and her appearances can look good only with a lot of editing and/or a lot of help from her friend, Michael Feinstein.
I really don’t understand why this chapter is in the book. It makes Liza look like she is in denial about her medical condition and that, unfortunately, people around her cannot even tell her this truth.
Unfortunately, it leaves a bad taste because, once again, it feels like Liza is telling a lie. The question is: who is this lie for, since it doesn’t fool the public?
April 22, 2026
Liza could certainly belt out a song. She is a noted icon. In her own right? Probably, but had big shoes to fill at the time.
The title of her book sounds like something she would say. :)
The title of her book sounds like something she would say. :)
April 20, 2026
Oh this was so raw, so honest and utterly captivating. Liza will make you laugh, and make you cry in the same chapter. She talks directly to the reader which always makes me smile, and thanks us for our lifelong support. I couldn’t love Liza any more than I do after reading this… her life sure has been a Cabaret, and I wish her many more healthy ajnd happy years to come.
March 24, 2026
4.5 Stars!
"When people start writing about your personal life instead of your art, you have crossed a line that can never be uncrossed."
Liza Minnelli is the "Original Nepo Baby" being the daughter of classic Hollywood director Vincent Minnelli and the legendary and iconic Judy Garland. She's become a icon in her own right..I mean she's an EGOT( Emmy, Grammy, Oscar, Tony) winner.
She didn't really have a childhood. Her mother was dealing with addiction and money issues and her father(she doesnt say anything about it) was probably gay. Liza has dealt with her own money and substance abuse problems. And shes also had experience with being married to gay men. Liza's love life was chaotic as Hell and so entertaining to read about. She's also had to deal with tons of health issues. But shes 80 and still kicking (just not as high). Liza is a born entertainer and storyteller. She makes the most traumatic and sad things sound darkly hilarious.
"I'm going to be a great star. That is, if booze and sex don't get me first."
I had so much fun reading this book and the audiobook is probably even better because she narrates it herself. I highly recommend this book.....Also watch Arrested Development and Cabaret.
"When people start writing about your personal life instead of your art, you have crossed a line that can never be uncrossed."
Liza Minnelli is the "Original Nepo Baby" being the daughter of classic Hollywood director Vincent Minnelli and the legendary and iconic Judy Garland. She's become a icon in her own right..I mean she's an EGOT( Emmy, Grammy, Oscar, Tony) winner.
She didn't really have a childhood. Her mother was dealing with addiction and money issues and her father(she doesnt say anything about it) was probably gay. Liza has dealt with her own money and substance abuse problems. And shes also had experience with being married to gay men. Liza's love life was chaotic as Hell and so entertaining to read about. She's also had to deal with tons of health issues. But shes 80 and still kicking (just not as high). Liza is a born entertainer and storyteller. She makes the most traumatic and sad things sound darkly hilarious.
"I'm going to be a great star. That is, if booze and sex don't get me first."
I had so much fun reading this book and the audiobook is probably even better because she narrates it herself. I highly recommend this book.....Also watch Arrested Development and Cabaret.
May 21, 2026
If my mother's superpower was wringing sympathy from a crisis, mine was trying to make everyone feel better.I have moments when I think I'm something of a failure as a gay man. For instance, now... when I've just finished reading her memoir and I'm thinking, 'I just don't get Liza Minnelli.'
Of course, I'm exaggerating; gay men can be known for that. ~ or to 'heighten reality'. (It's part of our charm.) But, for me, it's just that I can't place Liza in my personal gallery of gay icons.
I've always thought her talented - and have recognized the strength in some of her best screen performances ('Cabaret', 'The Sterile Cuckoo', 'New York, New York', 'Stepping Out'). But her sidecar style as an entertainer is not something I've been much drawn to. Although I had plenty of opportunities, I've never seen her perform live.
This is in contrast to, say, a performer like Bette Midler (who I *have* seen live). Preferring one over the other can simply be a matter of (esp. music) taste (which usually can't be explained well) - but I've always thought of Midler as a performer who pulls people *in*... as opposed to someone like Liza (not that there's anyone like Liza), who enjoys 'throwing a party' in a performance yet still seems to be keeping an audience at arm's length.
As she says above, she has always wanted to make an audience "feel better". But most audiences don't go to concerts to feel better. They go to feel drawn in by the performer, to be thereby transfixed, transported to the performer's world. I'm not doubting that some audiences have experienced that through Liza. I just never have. And that puzzles me.
As does her memoir. I gather from what she has written that she was encouraged to see autobiography as an opportunity to 'come clean' and 'set the record straight' - even though the story we've had up to now has not been all that inaccurate (certainly not to the extent that Liza claims).
She states that she inherited drug / alcohol dependency from her mother. I believe her. That happens; it's tragic, and Liza is certainly to be applauded for surviving the tragedy daily - for picking herself up and for starting all over again, as many times as she has.
That said, Liza also states that, for most of her life, she managed herself and her relationships through a kind of deceit - a kind of hiding away that lingered in stark contrast to a 'good-time girl' facade. It's a sort of schizophrenic process, even though she has never otherwise been schizophrenic. And I'm sure that - along with the drugs and alcohol - it took its toll. No one can be 'on' 24/7 - yet it seems that Liza felt forced into that very position, even as she was doing her best to cultivate it.
Reading about all of this in her memoir, I felt sorry for Liza - a sentiment she would clearly loathe, since she refers to herself as a 'survivor'. Yet it's not so much that I pity her as much as I recognize the singular trap that came to dominate her life.
The book's title notwithstanding, there's not much in the memoir that is particularly unknown to us. We do get more examples of just how much of a struggle it has been for Liza to continue through on the rough and rocky road to sobriety.
At the same time, the reader gets the impression that this 'memoir' thing is a whole new experience to Liza in more than one way. It seems to feel new to her to reveal who she is. The sense of having largely lived in a bubble - and of being an intensely private person - is there. Liza has learned to protect herself, so - to a degree - she is doing that.
Occasionally I wasn't convinced by her perspective - i.e., her view of the Studio 54 period; although I'm surprised she could remember anything at all about that 'chaotic' chapter. Conversely, I found myself admiring when she was particularly candid - i.e., her takedown of husband #4, David Gest. As well as her fiery reaction to the rudeness / insensitivity of Lady Gaga and the Academy itself when she appeared at the Oscars in 2022. I would have liked much more of this kind of 'opening up' throughout the book in general. ~ not to read Liza being bitchy, but to get her perspective.
I rarely read celebrity memoirs - and I read this one because my best friend sent it to me (I think, I hope) as a sort of 'entertainment'. My reservations aside, I found it an instructive read. (The difference between 'memoir' and 'self-analysis' makes for a fine line indeed.)
It ends on a singular plateau of hope. And, overall, I would say it was a brave attempt on Liza's part. I don't use the word 'attempt' lightly. In what she writes, Liza is certainly *in there*. Onstage, Liza has always been known for her utter lack of reserve. In addressing the 'kids', a sharper hold on that attitude would have served the memoir well.
April 25, 2026
Liza Minnelli has given us an incredible gift with this memoir and I loved reading every page. Her journey has been something else and she is still living it! I'm a big fan and, even if you aren't, I highly recommend it.
March 16, 2026
I first came across Liza Minnelli when I was about fifteen years old. My English teacher (incidentally, we later became colleagues and we now mutually follow one another on Goodreads—she knows who she is!) was surprised to discover that Liza Minnelli’s mother was Judy Garland, another late-teen discovery of mine.
It was perhaps surprising that I hadn’t made the connection earlier, because my parents were great admirers of the Golden Age of Hollywood and its larger-than-life personalities — figures such as Elizabeth Taylor, Judy Garland, Vivien Leigh, Marlon Brando, and even the global pop phenomenon Michael Jackson — and, of course, Liza Minnelli herself.
Believe it or not, my parents intensely disapproved of almost all teenage shows, but Turner Classic Movies was a firm household favourite and definitely on what I jokingly referred to as the “Mugabe and Bush approved watch list.”
Neither of us (i.e., Lucy and I) could quite understand the fuss about Liza Minnelli at the time, even though I had feverishly read The Andy Warhol Diaries when I was in Sixth Form.
As everyone now knows, I was more of a Barbra Streisand fan. Still, it's worth noting that Barbra Streisand is referenced quite a lot in Liza's memoir which probably shouldn't come as a surprise as Liza and Barbra both began their careers in the early 1960s, both appeared on The Judy Garland Show in 1963, are both recipients of the EGOT (Emmy, Grammy, Oscar, and Tony) so one has to give credit where it is deservedly due!
However, an eager viewing of Cabaret—a copy of which I was grateful to find in my school library (I was fortunate to have remarkable librarians who nourished and nurtured my cultural curiosities)—proved fundamental in shaping my fascination with Germany’s Weimar era, the works of Christopher Isherwood, and the exploration of political and social questions through film and literature more broadly.
Fun fact: the role of Sally Bowles was originally created on Broadway by the great theatre legend Julie Harris in I Am a Camera. Harris later spent seven years playing the wonderfully eccentric country singer Liliemae Clements on Knots Landing, a spin-off of Dallas, which I have very much enjoyed watching over the last few years.
So the years went by, and I continued to maintain a rather cursory interest in the world of Liza Minnelli until, on a cool Thursday evening last week (12 March—coincidentally Liza’s 80th birthday), I decided it was finally time to cast aside my fifteen-year-old judgement. I picked up a copy of Minnelli’s memoir, Kids, Wait Till You Hear This!, and began reading it that same evening.
What can I say? It has been an absolute corker of a memoir.
Raw, emotional, circumspect, and gossipy in equal measure, it is a very true, no-holds-barred account of the complexities of childhood trauma and tragedy, the legacy of substance misuse and a narcissistic mother, and an equally loving father.
It also offers wonderful insight into the creative process behind so many of her films and roles, and the resilience that has allowed Minnelli—despite profound health challenges—to survive and endure.
Above all, the memoir reveals her magnetic personality and the enduring truth that kindness can still shine through, no matter what you may be going through.
Even though Barbra Streisand’s legendary 1,100-page magnum opus, My Name Is Barbra, will likely remain the gold standard of show-business memoirs, Minnelli’s captivating and often moving book (in which she references Barbra quite a lot!) comes remarkably close.
Indeed, in its raw emotional honesty and courage, Minnelli’s memoir may even surpass it.
For that reason, Kids, Wait Till You Hear This! is, without question, my memoir of the year.
In the meantime, I think I might go back and watch Cabaret and New York, New York with a fresh pair of eyes to see what all the fuss was about!
It was perhaps surprising that I hadn’t made the connection earlier, because my parents were great admirers of the Golden Age of Hollywood and its larger-than-life personalities — figures such as Elizabeth Taylor, Judy Garland, Vivien Leigh, Marlon Brando, and even the global pop phenomenon Michael Jackson — and, of course, Liza Minnelli herself.
Believe it or not, my parents intensely disapproved of almost all teenage shows, but Turner Classic Movies was a firm household favourite and definitely on what I jokingly referred to as the “Mugabe and Bush approved watch list.”
Neither of us (i.e., Lucy and I) could quite understand the fuss about Liza Minnelli at the time, even though I had feverishly read The Andy Warhol Diaries when I was in Sixth Form.
As everyone now knows, I was more of a Barbra Streisand fan. Still, it's worth noting that Barbra Streisand is referenced quite a lot in Liza's memoir which probably shouldn't come as a surprise as Liza and Barbra both began their careers in the early 1960s, both appeared on The Judy Garland Show in 1963, are both recipients of the EGOT (Emmy, Grammy, Oscar, and Tony) so one has to give credit where it is deservedly due!
However, an eager viewing of Cabaret—a copy of which I was grateful to find in my school library (I was fortunate to have remarkable librarians who nourished and nurtured my cultural curiosities)—proved fundamental in shaping my fascination with Germany’s Weimar era, the works of Christopher Isherwood, and the exploration of political and social questions through film and literature more broadly.
Fun fact: the role of Sally Bowles was originally created on Broadway by the great theatre legend Julie Harris in I Am a Camera. Harris later spent seven years playing the wonderfully eccentric country singer Liliemae Clements on Knots Landing, a spin-off of Dallas, which I have very much enjoyed watching over the last few years.
So the years went by, and I continued to maintain a rather cursory interest in the world of Liza Minnelli until, on a cool Thursday evening last week (12 March—coincidentally Liza’s 80th birthday), I decided it was finally time to cast aside my fifteen-year-old judgement. I picked up a copy of Minnelli’s memoir, Kids, Wait Till You Hear This!, and began reading it that same evening.
What can I say? It has been an absolute corker of a memoir.
Raw, emotional, circumspect, and gossipy in equal measure, it is a very true, no-holds-barred account of the complexities of childhood trauma and tragedy, the legacy of substance misuse and a narcissistic mother, and an equally loving father.
It also offers wonderful insight into the creative process behind so many of her films and roles, and the resilience that has allowed Minnelli—despite profound health challenges—to survive and endure.
Above all, the memoir reveals her magnetic personality and the enduring truth that kindness can still shine through, no matter what you may be going through.
Even though Barbra Streisand’s legendary 1,100-page magnum opus, My Name Is Barbra, will likely remain the gold standard of show-business memoirs, Minnelli’s captivating and often moving book (in which she references Barbra quite a lot!) comes remarkably close.
Indeed, in its raw emotional honesty and courage, Minnelli’s memoir may even surpass it.
For that reason, Kids, Wait Till You Hear This! is, without question, my memoir of the year.
In the meantime, I think I might go back and watch Cabaret and New York, New York with a fresh pair of eyes to see what all the fuss was about!
April 1, 2026
Let’s be clear- this book was getting 5 stars from me the minute I slapped down by credit card to purchase it (Yes, I paid full price for a book) and as always, Liza did not disappoint. Finally an autobiography where I don’t get bored when the author talks about their parents for over a hundred pages!
Liza gives you everything you want- stories about Mama and Papa, Frank Sinatra, Kay Thompson, Andy Warhol. Halston, Michale Jackson, Broadway backstories,making Cabaret stories, Studio 54 memories, details about Arthur, the origin of her Pet Shop Boys collab, her time on arrested Development- and of course all her affairs and husband- both gay and straight. She doesn’t sugar coat any of her shortcomings or mistakes and writes candidly about her alcohol and substance abuse.
There are a few moments where Liza tells the same story or detail twice but that only makes this book feel more like a casual conversation with an icon.
I loved this book and wanted to own it because I will definitely read it again. Highest recommendation with 5 out of 5 stars.
Liza gives you everything you want- stories about Mama and Papa, Frank Sinatra, Kay Thompson, Andy Warhol. Halston, Michale Jackson, Broadway backstories,making Cabaret stories, Studio 54 memories, details about Arthur, the origin of her Pet Shop Boys collab, her time on arrested Development- and of course all her affairs and husband- both gay and straight. She doesn’t sugar coat any of her shortcomings or mistakes and writes candidly about her alcohol and substance abuse.
There are a few moments where Liza tells the same story or detail twice but that only makes this book feel more like a casual conversation with an icon.
I loved this book and wanted to own it because I will definitely read it again. Highest recommendation with 5 out of 5 stars.
March 17, 2026
Extremely disappointed to discover the audiobook was recorded with AI (among other issues with the book itself).
March 20, 2026
I really wanted to like this, especially because Liza Minnelli has lived such an interesting life—but this just didn’t work for me.
It felt very scattered and all over the place. Stories jumped around with no real structure, and I kept waiting for something deeper that never really came. It was more like random memories than a cohesive memoir.
What stood out the most was how it felt like she was almost acting as a sounding board for her mother’s innocence, constantly defending or softening things when it came to Judy Garland—but at the same time telling stories that showed just how difficult and, at times, horrible that upbringing really was. That push and pull felt confusing and never fully explored.
There are moments that should have been really powerful, especially around her childhood, but they didn’t land the way I expected. I just never felt fully connected.
Overall, it felt lackluster and unfocused. A few interesting stories, but not enough depth to really make it worth it for me.
It felt very scattered and all over the place. Stories jumped around with no real structure, and I kept waiting for something deeper that never really came. It was more like random memories than a cohesive memoir.
What stood out the most was how it felt like she was almost acting as a sounding board for her mother’s innocence, constantly defending or softening things when it came to Judy Garland—but at the same time telling stories that showed just how difficult and, at times, horrible that upbringing really was. That push and pull felt confusing and never fully explored.
There are moments that should have been really powerful, especially around her childhood, but they didn’t land the way I expected. I just never felt fully connected.
Overall, it felt lackluster and unfocused. A few interesting stories, but not enough depth to really make it worth it for me.
Did Not Finish
March 20, 2026I DNF at 30% or so. There were a few inaccuracies, which is to be expected in a memoir as it's told from a very specific point of view. However looking more into the writing of this book, I am dubious of Liza's actual involvement.
I am also pretty sure the audiobook narration is AI. There were some obvious inconsistencies that I don't believe Liza would make (including not knowing who was in Roman Holiday and mispronouncing lyrics to a song written FOR her). I was enjoying it, but scratching the surface raises too many questions...
I am also pretty sure the audiobook narration is AI. There were some obvious inconsistencies that I don't believe Liza would make (including not knowing who was in Roman Holiday and mispronouncing lyrics to a song written FOR her). I was enjoying it, but scratching the surface raises too many questions...
April 10, 2026
We CANNOT set a precedent for AI narration. The quality of this audiobook was truly horrendous. While I’ll keep my thoughts on her judgment and reasoning as reflected by this creative decision (and her apparent actions throughout her life) offline, it’s clear she’s her mother’s daughter…
March 13, 2026
Finished 5⭐️. Loved this book. Written in a warm, conversational voice, it moves through her childhood as the daughter of Judy Garland and Vincente Minnelli, her early steps into show business, and the meteoric rise that followed with stage performances, films, and her unforgettable role in Cabaret.
What comes through most strongly is her resilience. The book is a no-holds-barred look at her stratospheric highs and very low lows. She writes openly about her health issues , some caused by aging, some by substance abuse. All of it was new to me, so this book led me down so many rabbit holes — heading off to YouTube to watch performances and interviews that expand on segments from the book. Loved them all.
Toward the end of the book, Minnelli also reflects on some of her later appearances, including her brief but memorable role in Arrested Development. Her performance was wonderfully eccentric and, arguably, even funnier than her scene-stealing turn in Arthur, showing that her comic timing remained as sharp as ever.
Overall, the autobiography is an engaging portrait of a performer who has lived through triumph, hardship, reinvention, and enduring fame. Minnelli’s voice on the page feels authentic—funny, emotional, and unmistakably her own
What comes through most strongly is her resilience. The book is a no-holds-barred look at her stratospheric highs and very low lows. She writes openly about her health issues , some caused by aging, some by substance abuse. All of it was new to me, so this book led me down so many rabbit holes — heading off to YouTube to watch performances and interviews that expand on segments from the book. Loved them all.
Toward the end of the book, Minnelli also reflects on some of her later appearances, including her brief but memorable role in Arrested Development. Her performance was wonderfully eccentric and, arguably, even funnier than her scene-stealing turn in Arthur, showing that her comic timing remained as sharp as ever.
Overall, the autobiography is an engaging portrait of a performer who has lived through triumph, hardship, reinvention, and enduring fame. Minnelli’s voice on the page feels authentic—funny, emotional, and unmistakably her own
May 8, 2026
Mixed on this. I love Liza and enjoy learning about her as much as possible, but this didn't feel written or narrated by her. Apparently the audiobook was supplemented with AI, but it's better than no Liza memoir at all.
April 1, 2026
Eh. I think I enjoyed hearing about the other celebrities that were around her more than hearing about her. I listened to the audiobook and it was odd. I read a lot of the recording was AI. I don't know if that is true or not. But the recording had a very weird rhythm.
March 19, 2026
maybe the campest book I've ever read -- even if the diva vs diva allegations against Gaga tore my heart in twain.
March 19, 2026
Oh Liza! What a mixed up bag of highs and lows. To rate it as a memoir - I'd give it five stars. She's forthcoming, as brutally honest as she's capable of being (in terms of memory, drug use, and generally impervious delulu), funny, charming, and oh so Liza. I read via audio, but it took me until about three-quarters of the way through to question whether it was AI... which it so clearly is. The AI reader has a way of breaking up the syntax of a sentence that's like jamming on the brakes suddenly.
Beyond its success as a memoir, the book left me with an overall bittersweet feeling. Sure, she's an icon, indelible, instantly recognizable physically and vocally, from a renowned pedigree (the original nepo baby, but not a dig when applied to her). Sure, she's been a survivor and comeback kid more times than you can keep track of. But I couldn't help but feel sad for her by the end. She's kind of the ultimately Pieces (both complimentary and derogatory). Call me naive, but I had no idea so much of her life was so consumed by booze, pills, and cocaine. I mean, yeah, I thought she indulged like all of her cohort in the 70s and 80s... but she continued into the 90s and 2000s and on and on, with revolving door stays at rehabs and some very low points. This is ultimately a sad tale of addiction and how it can derail even the brightest of talented stars.
I also couldn't help but feel it was the cautionary tale of a star constantly sabotaging her own career. She wasn't really a successful recording artist, her movie career was a bust besides Cabaret, and Broadway was really her saving grace (although she apparently had her fair share of flops there too). Her main success - the "meat and potatoes" of her career and income - was always her live shows. You'd think she'd have a lot more classic work to show for her 80 years; but she kind of doesn't, and that made me sad for her (and us!). Funny that Judy lived half as long as her but had a much more important movie and recording career.
The best parts were her detailed retellings of shooting Cabaret and New York, New York, working on Broadway shows like Flora the Red Menace, Chicago and The Rink, recording with the Pet Shop Boys, and touring with Frank Sinatra (who sounded like a full blown nightmare to have to work with). And oof does she hate Lady Gaga lol.
I felt like she didn't really grapple with - or isn't capable of grappling with - her multiple failed marriages. Maybe that's some of the blanked out memory from drugs and alcohol but she kept being like, yeah we ended up great friends with big blank spots in the middle of these failed relationships, particularly her third marriage. Her retelling of her relationship with David Gest was shocking, even having lived through all those tabloid tales of their weird, messy relationship. She couldn't really express how or why she ended up with him, besides being on a ton of pills and "Michael Jackson made her do it."
Also, I couldn't help but eventually laugh at the insane amount of times she references "accidentally kicking mama in the head" when she was 6 years old. What must that scene have been to have so traumatized lil Liza. I was generally surprised at how unflinching some of her portrayal of Judy Garland was; she must've been a real piece of work to have as a mother. Talk about a parent parentifying their child way too young. I gasped at some of Judy's many suicide attempts; grisly stuff. When Judy forced Liza to do a show with her in London, and then, when Liza was inadvertently upstaging her, Judy stage whispered "get her the f off my stage"... that tells you everything you need to know about her and their relationship.
Ultimately, this will be a classic celebrity memoir, and I'd highly recommend to anyone who loves Liza or just a star telling the juiciest parts of their life story.
Beyond its success as a memoir, the book left me with an overall bittersweet feeling. Sure, she's an icon, indelible, instantly recognizable physically and vocally, from a renowned pedigree (the original nepo baby, but not a dig when applied to her). Sure, she's been a survivor and comeback kid more times than you can keep track of. But I couldn't help but feel sad for her by the end. She's kind of the ultimately Pieces (both complimentary and derogatory). Call me naive, but I had no idea so much of her life was so consumed by booze, pills, and cocaine. I mean, yeah, I thought she indulged like all of her cohort in the 70s and 80s... but she continued into the 90s and 2000s and on and on, with revolving door stays at rehabs and some very low points. This is ultimately a sad tale of addiction and how it can derail even the brightest of talented stars.
I also couldn't help but feel it was the cautionary tale of a star constantly sabotaging her own career. She wasn't really a successful recording artist, her movie career was a bust besides Cabaret, and Broadway was really her saving grace (although she apparently had her fair share of flops there too). Her main success - the "meat and potatoes" of her career and income - was always her live shows. You'd think she'd have a lot more classic work to show for her 80 years; but she kind of doesn't, and that made me sad for her (and us!). Funny that Judy lived half as long as her but had a much more important movie and recording career.
The best parts were her detailed retellings of shooting Cabaret and New York, New York, working on Broadway shows like Flora the Red Menace, Chicago and The Rink, recording with the Pet Shop Boys, and touring with Frank Sinatra (who sounded like a full blown nightmare to have to work with). And oof does she hate Lady Gaga lol.
I felt like she didn't really grapple with - or isn't capable of grappling with - her multiple failed marriages. Maybe that's some of the blanked out memory from drugs and alcohol but she kept being like, yeah we ended up great friends with big blank spots in the middle of these failed relationships, particularly her third marriage. Her retelling of her relationship with David Gest was shocking, even having lived through all those tabloid tales of their weird, messy relationship. She couldn't really express how or why she ended up with him, besides being on a ton of pills and "Michael Jackson made her do it."
Also, I couldn't help but eventually laugh at the insane amount of times she references "accidentally kicking mama in the head" when she was 6 years old. What must that scene have been to have so traumatized lil Liza. I was generally surprised at how unflinching some of her portrayal of Judy Garland was; she must've been a real piece of work to have as a mother. Talk about a parent parentifying their child way too young. I gasped at some of Judy's many suicide attempts; grisly stuff. When Judy forced Liza to do a show with her in London, and then, when Liza was inadvertently upstaging her, Judy stage whispered "get her the f off my stage"... that tells you everything you need to know about her and their relationship.
Ultimately, this will be a classic celebrity memoir, and I'd highly recommend to anyone who loves Liza or just a star telling the juiciest parts of their life story.
April 13, 2026
This memoir is scatterbrained in many places. The most interesting part of this book is that her mom’s death was only a small section of a chapter. Very telling about her relationship with her mother. I’m certain she could have leaned into the complicated relationship between the two more. But it was glossed over for the most part. I wanted more juice from this memoir.
Her Studio 54 years was just a small portion of a chapter too. She once again stays away from those juicy detail and goes on and on where we don’t want to know more. Another example- Michael Jackson. Barely mentioned. There is no reason we get more about her relationship with Michael Feinstein than Judy Garland and Studio 54 combined.
Another oddity of the book is the wild choice to end the memoir talking about her 2022 Oscar appearance with Lady Gaga. She really wasn’t happy with how she was treated by both Oscar producers and Lady Gaga. But it was very unexpected and strange she ended her memoir on such a sour note. Or is that just more of a look into the life of Liza?
Sure there are some cool behind the scene reveals. And she was very open and honest about her substance abuse and recovery throughout her life. I guess I just wanted more.
Her Studio 54 years was just a small portion of a chapter too. She once again stays away from those juicy detail and goes on and on where we don’t want to know more. Another example- Michael Jackson. Barely mentioned. There is no reason we get more about her relationship with Michael Feinstein than Judy Garland and Studio 54 combined.
Another oddity of the book is the wild choice to end the memoir talking about her 2022 Oscar appearance with Lady Gaga. She really wasn’t happy with how she was treated by both Oscar producers and Lady Gaga. But it was very unexpected and strange she ended her memoir on such a sour note. Or is that just more of a look into the life of Liza?
Sure there are some cool behind the scene reveals. And she was very open and honest about her substance abuse and recovery throughout her life. I guess I just wanted more.
March 22, 2026
4.25⭐️ great memoir with tons of good stories. 100% favoured towards her and her memories because 85% of the people mentioned have passed on so unsure how authentic and true everything is.
April 4, 2026
4.5 rounded up
Listened to the audiobook; narrated by Liza.
Listened to the audiobook; narrated by Liza.
May 14, 2026
What an incredible broad, both her life and career. It feels really special to be able to hear insight into facets of Hollywood that are getting further and further away, like the Studio Era and such. There aren’t many people left alive who can share stories about Humphrey Bogart being a messy diva at a cocktail party!
May 22, 2026
I love Liza!!!!!!
March 12, 2026
Liza Minnelli’s music has been a part of my life since I was very little, I have loved her presence and her beautiful voice since the first day I heard it and saw her on screen.
I listened to the audio whilst reading along to the book. I can truly say, it was wonderful to listen to Liza tell her story with so much passion and gratitude, She is a beautiful person and I will hold this book very dear to my heart.
Thank you Liza for finally telling your story, you are a brave, talented, compassionate and beautiful woman one of the very best this world has ever seen.
I listened to the audio whilst reading along to the book. I can truly say, it was wonderful to listen to Liza tell her story with so much passion and gratitude, She is a beautiful person and I will hold this book very dear to my heart.
Thank you Liza for finally telling your story, you are a brave, talented, compassionate and beautiful woman one of the very best this world has ever seen.
March 12, 2026
A memoir that hits all the points you would expect but perhaps with a little more juice and drama than other stars have been willing to give in the past. That chapter on Lady Gaga and the Oscars, WOW... 👀
March 13, 2026
A very readable account of her life and career.
growing ups as the daughter of two Hollywood greats Judy Garland and Vincent Minnelli.
She speaks candidly of what life was like and her own addictions
which could have killed her.
The Oscar and the Tony's she won.
Well worth a read.
growing ups as the daughter of two Hollywood greats Judy Garland and Vincent Minnelli.
She speaks candidly of what life was like and her own addictions
which could have killed her.
The Oscar and the Tony's she won.
Well worth a read.
April 12, 2026
It was..ok. Truthfully nothing new and it barely kept my interest.
April 2, 2026
This was a fabulous listen. Liza, a bonafide nepo-baby who became a legend in her own right, is as wonderful as you hope she'd be. Listening to this felt like she was your best friend, charming you with the story of her life and boy what a life! This was such a genuine biography, she was honest about the relationship with her parents, her substance abuse, and her career. She left it all on the table and I'm so glad she did because as she says, for so many years others have written her and her family's story and never got it right. She is so funny and her staying power is impressive. When you think of how she inherited all of her mother's demons, but made it through and isn't "going like Elise" it's really incredible. It's also testament to how much more support there is for people who suffer from substance abuse and addiction. Like she says it's chemical and it's genetic. She couldn't outrun it, she had to learn how to live with it. Some of my favorite parts of the book is when she's talking about her stage career. I completely forgot she was a sub for Gwen Verdon for Chicago - imagine going to the show and finding out she was the substitute! There's also so many juicy details about famous folks from the 20th century. Liza knew most of them and worked with some of them. She may be one of the last people alive who remembers all this, what a treat for the rest of us.
I could go on and on about this book but I'll leave it by saying if you're a fan of musical theatre, Hollywood, well-written memoirs, and looking for a laugh, pick this one up on audiobook. I rarely re-read anything, let alone memoirs, but I will definitely revisit this down the road.
I could go on and on about this book but I'll leave it by saying if you're a fan of musical theatre, Hollywood, well-written memoirs, and looking for a laugh, pick this one up on audiobook. I rarely re-read anything, let alone memoirs, but I will definitely revisit this down the road.
March 28, 2026
Let me preface this review by saying that I am a gigantic fan of Liza Minnelli. Huge. Enormous.
I fell madly in love with her singing, dancing and acting talent in Cabaret and with her rapid fire delivery and quirky personality traits on talk shows throughout the 1970’s and ‘80’s. Her role in Arthur sealed the deal for me when she played that part in a way that no one else could play it.
She is not quite the raconteur that her mother, the great Judy Garland was, but this lady takes a back seat to no one.
This book is VERY interesting for any Liza fan. Memoirs are read by those interested or invested in the lives of the authors. I fall into both categories….but I wonder if a non-fan would stick with this book. It went on a little too long even for me. And like my Goodreads friend, Brenda, recently stated, non-fiction takes so much longer to get through than fiction! That was certainly the case here!
I learned a lot about Liza…her loves, her career, her addictions, her catastrophic illnesses, her husbands, and her friends.
I listened to the audiobook. All 15 hours.
It is not read by Liza. She suffered a stroke two years ago and at 80 her diction is still affected. It is read by AI.
I discovered some online controversy over Liza allowing AI to learn her cadence, tone, inflection and exuberance from the decades of recorded interviews to be used for this book. While I am usually an anti-AI stickler…I had no problem with Liza’s decision on this matter. She used a voice bank to store and use her voice in the way that ALS sufferers or anyone who will lose their faculties safeguards their speech.
This book was a solid four stars…kept from five stars for some repetition and overly long chapters. It could have used a firmer hand in the editing department.
But, I came away an even bigger fan.
I fell madly in love with her singing, dancing and acting talent in Cabaret and with her rapid fire delivery and quirky personality traits on talk shows throughout the 1970’s and ‘80’s. Her role in Arthur sealed the deal for me when she played that part in a way that no one else could play it.
She is not quite the raconteur that her mother, the great Judy Garland was, but this lady takes a back seat to no one.
This book is VERY interesting for any Liza fan. Memoirs are read by those interested or invested in the lives of the authors. I fall into both categories….but I wonder if a non-fan would stick with this book. It went on a little too long even for me. And like my Goodreads friend, Brenda, recently stated, non-fiction takes so much longer to get through than fiction! That was certainly the case here!
I learned a lot about Liza…her loves, her career, her addictions, her catastrophic illnesses, her husbands, and her friends.
I listened to the audiobook. All 15 hours.
It is not read by Liza. She suffered a stroke two years ago and at 80 her diction is still affected. It is read by AI.
I discovered some online controversy over Liza allowing AI to learn her cadence, tone, inflection and exuberance from the decades of recorded interviews to be used for this book. While I am usually an anti-AI stickler…I had no problem with Liza’s decision on this matter. She used a voice bank to store and use her voice in the way that ALS sufferers or anyone who will lose their faculties safeguards their speech.
This book was a solid four stars…kept from five stars for some repetition and overly long chapters. It could have used a firmer hand in the editing department.
But, I came away an even bigger fan.
March 22, 2026
What a roller coaster of joy and despair Liza lived and this is a heartbreakingly honest book about her rocky journey to super stardom as one of the original nepo babies. Her tales are hilarious, entertaining and poignant. I read Vincente Minnelli's memoir decades ago and he was a constant and stable influence in Liza's life which helped her fight her demons. Shockingly, there is a glaring show biz error in this memoir! Liza mentions the film Roman Holiday starring Cary Grant and Audrey Hepburn. Wrong! Cary and Audrey did star in Charade but Gregory Peck was Audrey's co star in Roman Holiday. I am surprised an editor or proof reader didn't catch this error before the book went to print. Show biz error aside, this was a fascinating memoir and I devoured it quickly. This is a must read for old school show biz aficionados. 4.5 stars.
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