The book is a straight forward account of Alexander Russo's adventurous journey in the Naval Reserve, serving with Naval Intelligence and as combat artist during WWII. He was the fi rst and youngest of Naval personnel to volunteer and engage in the landings in Sicily and Normandy, the graphic results of which form part of the Navy's Historical Records of World War II. The book also continues with the development and challenges of the artist in post-war years, which provides valuable insights for anyone pursuing a career in the fi ne arts. The book also continues with the development and challenges of the artist in post-war years, which provides valuable insights for anyone pursuing a career in the fine arts.
The inside story of the most-watched attempt to transform a troubled high school Stray Dogs, Saints, and Saviors tells the real-life story of Locke High School. Locke High– originally known for its excellence–became one of the toughest, most dysfunctional schools in the nation. Then in 2007 teachers voted to bring in an upstart charter school organization called Green Dot to try and restore the Locke Saints' past glory. It was a brave and desperate move. Working in secrecy, the school principal, a small group of teachers, and Green Dot's charismatic founder, Steve Barr, convince Locke teachers to support a petition that will take the school away from the Los Angeles Unified School District. The "new" Locke opened in the fall of 2008. Offers an in-depth look at a school "turnaround" effort that garnered a blizzard of publicity Russo's blog This Week in Education was named by The Washington Post as one of its best education blogs of 2010 Tells the gritty truth about the tough work of true school reform Locke's transformation shows that with hard work and sacrifice, broken schools can indeed be improved in meaningful ways. However, the process of school reform is one of the most vital, and least glamorous, projects that we can participate in.
The golden age of radio is often recalled as a time when the medium unified the nation, when families gathered around the radios in homes across the country to listen to live, commercially sponsored network broadcasts. In Points on the Dial, Alexander Russo revises our understanding of radio’s past by revealing the hidden histories of production, distribution, and reception practices during this era, which extended from the 1920s into the 1950s. Russo brings to light a tiered broadcasting system with intermingling but distinct national, regional, and local programming forms, sponsorship patterns, and methods of program distribution. Examining a wide range of practices, including regional networking, sound-on-disc transcription, the use of station representatives, spot advertising, and programming aimed at homes with several radios, he not only recasts our understanding of the relationship between national networks and local stations but also charts the development of new ways of listening—often distractedly rather than attentively—that set the stage for radio in the second half of the twentieth century.
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A Russian Jew who spent most of his life in England and America, Alexander Bakshy (1885-1949) was a theater critic and literary translator. He was also an innovative theorist who applied to theater the discourse of self-reflexive modernism, prizing anti-illusionist medium-awareness. Indeed, he was something of a pioneer in the area of "spectatorship" and medium-awareness, going so far as to argue in favor of the modernist idea of overt presentationalism on stage as opposed to disingenuous representationalism. One can see this presentational, or anti-illusionist, argument at work in a number of pieces in Drama According to Alexander Bakshy, 1916-1946-an edited collection that also includes a lengthy contextualizing introduction and a comprehensive bibliography of this Russian émigré's writings. Alexander Bakshy's writings deserve to be better known, for his sound critical-theoretical approach remains relevant to contemporary aesthetic debate. Like many performance-minded scholars today, Bakshy had a daredevil willingness to assess the theater seriously and to encourage the kind of experimentation that promised to advance the expressiveness of dramatic art. Yet surprisingly, the full applicability of many of his pioneering ideas about the drama has yet to be tested-a disheartening state of affairs that, one hopes, the present volume will help to remedy.
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