A one-of-a-kind interpretive source for the student, performer and conductor. The author's scholarly research provides a comprehensive study of the wind band masterworks of Holst, Vaughan Williams and Grainger. Includes folk song sources, analyses, musical examples, discography, bibliography and more."--Publisher's website.
A one-of-a-kind interpretive source for the student, performer and conductor. The author's scholarly research provides a comprehensive study of the wind band masterworks of Holst, Vaughan Williams and Grainger. Includes folk song sources, analyses, musical examples, discography, bibliography and more."--Publisher's website.
(Percussion). A great collection of 25 holiday favorites arranged for marimba, including: All I Want for Christmas Is You * Feliz Navidad * Frosty the Snow Man * Have Yourself a Merry Little Christmas * I Saw Mommy Kissing Santa Claus * I'll Be Home for Christmas * Let It Snow! Let It Snow! Let It Snow! * Rockin' Around the Christmas Tree * Santa Claus Is Comin' to Town * Sleigh Ride * White Christmas * You're a Mean One, Mr. Grinch * and more.
Zoopolis offers a new agenda for the theory and practice of animal rights. Most animal rights theory focuses on the intrinsic capacities or interests of animals, and the moral status and moral rights that these intrinsic characteristics give rise to. Zoopolis shifts the debate from the realm of moral theory and applied ethics to the realm of political theory, focusing on the relational obligations that arise from the varied ways that animals relate to human societies and institutions. Building on recent developments in the political theory of group-differentiated citizenship, Zoopolis introduces us to the genuine "political animal". It argues that different types of animals stand in different relationships to human political communities. Domesticated animals should be seen as full members of human-animal mixed communities, participating in the cooperative project of shared citizenship. Wilderness animals, by contrast, form their own sovereign communities entitled to protection against colonization, invasion, domination and other threats to self-determination. `Liminal' animals who are wild but live in the midst of human settlement (such as crows or raccoons) should be seen as "denizens", resident of our societies, but not fully included in rights and responsibilities of citizenship. To all of these animals we owe respect for their basic inviolable rights. But we inevitably and appropriately have very different relations with them, with different types of obligations. Humans and animals are inextricably bound in a complex web of relationships, and Zoopolis offers an original and profoundly affirmative vision of how to ground this complex web of relations on principles of justice and compassion.
This book celebrates Madvillainy as a representation of two genius musical minds melding to form one revered supervillain. A product of circumstance, the album came together soon after MF DOOM's resurgence and Madlib's reluctant return from avant-garde jazz to hip-hop. Written from the alternating perspectives of three fake music journalist superheroes-featuring interviews with Wildchild, M.E.D., Walasia, Daedelus, Stones Throw execs, and many other real individuals involved with the album's creation-this book blends fiction and non-fiction to celebrate Madvillainy not just as an album, but as a folkloric artifact. It is one specific retelling of a story which, like Madvillain's music, continues to spawn infinite legends.
How can Christians bring about peace and justice in the world, when Christianity seems either to claim the absolute truth about God or to dissolve into "disempowering relativism"? James Will seeks an answer for this crucial question in the spiritual and intellectual life of the church. He challenges the traditional western idea of God as omnipotent and unchanging, instead offering the theory of the universal relationality of God. Writing from the perspective of process theology, Will says that just as God had an impact on the world, so the world has an impact on God. God is related and responsive to the world. In the modern world, where many cultures and belief systems are in contact and often conflict with one another, Will's broadening of the conception of God offers an integration of many cultures and beliefs, recognizing their relatedness without reducing any of them. In this way, Will believes the universal God may bring love and peace to a pluralistic and often divided world.
Wars have dominated the history of the United States since its founding, but there has also been a long history of antiwar activity. Peace songs have emerged out of every military conflict involving the United States. "Singing for Peace" vividly portrays this rich antiwar history, beginning in the eighteenth century and continuing into the twenty-first.Most of the twentieth-century output was dominated by folk groups and acoustic singer-songwriters. The Vietnam War saw the increased dovetailing of folk and rock music, so that rock and folk-rock took on an ever-larger share of protest activity, then punk, metal, hip-hop, and rap. The authors draw upon a wide range of primary and secondary sources, while quoting many popular and lesser-known song lyrics, and including a range of photos and illustrations. These songs have long served to both shape and reveal the feelings of citizens opposed to America s wars.
AIDS has devastated communities across southern Africa. In Lesotho, where a quarter of adults are infected, the wide-ranging implications of the disease have been felt in every family, disrupting key aspects of social life. In Infected Kin, Ellen Block and Will McGrath argue that AIDS is fundamentally a kinship disease, examining the ways it transcends infected individuals and seeps into kin relations and networks of care. While much AIDS scholarship has turned away from the difficult daily realities of those affected by the disease, Infected Kin uses both ethnographic scholarship and creative nonfiction to bring to life the joys and struggles of the Basotho people at the heart of the AIDS pandemic. The result is a book accessible to wide readership, yet built upon scholarship and theoretical contributions that ensure Infected Kin will remain relevant to anyone interested in anthropology, kinship, global health, and care. Supplementary instructor resources (https://www.csbsju.edu/sociology/faculty/anthropology-teaching-resources/infected-kin-teaching-resources)
This book argues that the apparent evasion of history in Vladimir Nabokov’s fiction conceals a profound engagement with social, and therefore political, temporalities. While Nabokov scholarship has long assumed the same position as Nabokov himself — that his works exist in a state of historical exceptionalism — this study restores the content, context, and commentary to Nabokovian time by reading his American work alongside the violent upheavals of twentieth-century ideological conflicts in Europe and the United States. This approach explores how the author’s characteristic temporal manipulations and distortions function as a defensive dialectic against history, an attempt to salvage fiction for autonomous aesthetics. Tracing Nabokov’s understanding of the relationship between history and aesthetics from nineteenth-century Russia through European modernism to the postwar American academy, the book offers detailed contextualized readings of Nabokov’s major writings, exploring the tensions, fissures, and failures in Nabokov’s attempts to assert aesthetic control over historical time. In reading his response to the rise of totalitarianism, the Holocaust, and Cold War, Norman redresses the commonly-expressed admiration for Nabokov’s heroic resistance to history by suggesting the ethical, aesthetic, and political costs of reading and writing in its denial. This book offers a rethinking of Nabokov’s location in literary history, the ideological impulses which inform his fiction, and the importance of temporal aesthetics in negotiating the matrices of modernism.
A hilarious tribute to baseball and to the fathers and sons who share the love of the game. Are We Winning? is built around a trip to Wrigley Field to watch the St. Louis Cardinals play the Chicago Cubs--the "lovable losers" to most fans but the hated enemy to the Leitch men. Along for the ride are both Will's father, the gregarious but not-exactly demonstrative Midwestern titan who, despite being a die-hard Cards fan and living his whole life just 200 miles south of Chicago, had never been to Wrigley Field before this game, and Will's college friend, a lifelong Cubs fan. The Cardinals have recently fallen out of the pennant race, and the Cubs, as it turns out, are attempting to clinch the division on this Saturday afternoon in September. The pitchers are Ted Lilly for the Cubs and Joel Pineiro for the Cardinals. It's just a regular game. Play ball. The book unfolds in half-inning increments where Will gives one-of-a-kind insight on the past, present, and future of the game--from Pujols' unrivaled greatness to the myth that steroids have ruined baseball. Along the way, he shares memories of his father and growing up in the small town of Mattoon, including the year his dad coached his Little League team and nicknamed a scrawny kid "Bulldog," and an unlikely postgame episode involving a biker bar and Mr. Holland's Opus. And there is beer. Lots and lots of beer. Are We Winning? is a book about the indelible bond that links fathers and sons. For the Leitch men it's baseball that holds them together--not that either of them would ever be so weak as to admit it. No matter how far apart they are or what's going on in their lives, they'll always be able to talk about baseball. It's the story of being a fan, a story about fathers, sons, and legacies. And one perfect game.
Created by the comic book genius, Will Eisner (The Spirit), this omnibus edition of Lady Luck contains all the stories published during her original run with over 300 pages! Nobody suspected that Lady Luck was actually Brenda Banks, a "debutante crime buster bored with social life" who decided to become a "modern lady Robin Hood." She solved blackmail cases, spy cases, kidnappings, and any other cases that came her way. As Brenda Banks, she was in love with Police Chief Hardy Moore, whose job was (hardly surprisingly) to find and arrest Lady Luck. Lady Luck was ranked 84th in Comics Buyer's Guide Presents: 100 Sexiest Women in Comics. Tacet Comics remasters comics books from the Golden Age of Comic Books with vivid colors and optimize them for reading on modern devices. Check our collection of Golden Age comics for more awesome, page-turning and amazing comic books!
War Bonds is part novel, part history book, part mystery, part love story in other words, a book to satisfy just about anyone who loves a good read. With a cast of rich and likeable characters, the writers weave a tale of intrigue and suspense. This is the story of how two unlikely friends Jack and Russ thrown together during one of historys greatest battles not only survive, but also live to collaborate yet again on an even greater endeavor. In a God-directed journey through the United States and beyond, Jack and Russ with their humorous and stubborn wives always standing by them if not with them discover for themselves the principles on which our founders based this nation. Some of the discoveries they make and the dreams they dream confound them and us, the reader, but be patient. The surprise ending will be worth the wait! Strap on some curiosity, some courage and some perseverance and join Jack and Russ on the trip of a lifetime! Carolyn Kimmel, journalist
The Booker-shortlisted author of Umbrella writes his most American novel yet—a brilliant portrait of a 1950s housewife, based on the life of the author’s mother, and an exploration of sexual freedom and sublimated desire Will Self is one of the most inimitable contemporary writers in the English language, dubbed “the most daring and delightful novelist of his generation” by The Guardian. In this brilliantly conceived new novel Self turns his forensic eye and technicolor imagination to the troubled life of his mother, Elaine. Standing by the mailbox outside 1100 Hemlock Street in Ithaca, New York, Elaine thinks of her husband and child inside her house and wonders: is this . . . it? As she begins to push back against the strictures of her life in 1950s America, she undertakes a disastrous affair that places her marriage to an Ivy League academic and former Communist Party member in peril. Based on the intimate diaries Self’s mother kept for over forty years, Elaine is a writer’s attempt to reach the almost unimaginable realm: a parent’s interior life prior to his own existence. Perhaps the first work of auto-oedipal fiction, Elaine shows Will Self working in an exciting new dimension, employing his stylistic talents to tremendous effect.
The only Lou Reed bio you need to read." —The Washington Post One of Pitchfork's ten best music books of 2023 | A Variety best music book of the year | A Kirkus Reviews best nonfiction book of 2023 "There have been many biographies of Lou Reed, but Will Hermes has written the definitive life . . . He has brought to the assignment a sharp eye, a clear head, a lucid prose style, and a determination to let Lou be Lou, without judgment." —Lucy Sante, author of Low Life The most complete and penetrating biography of the rock master, whose stature grows every year. Since his death ten years ago, Lou Reed’s living presence has only grown. The great rock-poet presided over the marriage of Brill Building pop and the European avant-garde, and left American culture transfigured. In Lou Reed: The King of New York, Will Hermes offers the definitive narrative of Reed’s life and legacy, dramatizing his long, brilliant, and contentious dialogue with fans, critics, fellow artists, and assorted habitués of the demimonde. We witness Reed’s complex partnerships with David Bowie, Andy Warhol, John Cale, and Laurie Anderson; track the deadpan wit, street-smart edge, and poetic flights that defined his craft as a singer and songwriter with the Velvet Underground and beyond; and explore the artistic ambition and gift for self-sabotage he took from his mentor Delmore Schwartz. As Hermes follows Reed from Lower East Side cold-water flats to the landmark status he later achieved, he also tells the story of New York City as a cultural capital. The first biographer to draw on the New York Public Library’s much-publicized Reed archive, Hermes employs the library collections, the release of previously unheard recordings, and a wealth of recent interviews to give us a new Lou Reed—a pioneer in living and writing about nonbinary sexuality and gender identity, a committed artist who pursued beauty and noise with equal fervor, and a turbulent and sometimes truculent man whose emotional imprint endures.
The author of the magisterial A Biographical Guide to the Great Jazz and Pop Singers now approaches the great singers and their greatest work in an innovative and revelatory way: through considering their finest albums, which is the format in which this music was most resonantly organized and presented to its public from the 1940s until the very recent decline of the CD. It is through their albums that Ella Fitzgerald, Frank Sinatra, Peggy Lee, Sarah Vaughan, Nat King Cole, Judy Garland, and the rest of the glorious honor roll of jazz and pop singers have been most tellingly and lastingly appreciated, and the history of the album itself, as Will Friedwald sketches it, can now be seen as a crucial part of musical history. We come to understand that, at their finest, albums have not been mere collections of individual songs strung together arbitrarily but organic phenomena in their own right. A Sinatra album, a Fitzgerald album, was planned and structured to show these artists at their best, at a specific moment in their artistic careers. Yet the albums Friedwald has chosen to anatomize go about their work in a variety of ways. There are studio and solo albums: Lee’s Black Coffee, June Christy’s Something Cool, Cassandra Wilson’s Belly of the Sun. There are brilliant collaborations: famous ones—Tony Bennett and Bill Evans, Louis Armstrong and Oscar Peterson—and wonderful surprises like Doris Day and Robert Goulet singing Annie Get Your Gun. There are theme albums—Dinah Washington singing Fats Waller, Maxine Sullivan singing Andy Razaf, Margaret Whiting singing Jerome Kern, Barb Jungr singing Bob Dylan, and the sublime Jo Stafford singing American and Scottish folk songs. There are also stunning concert albums like Ella in Berlin, Sarah in Japan, Lena at the Waldorf, and, of course, Judy at Carnegie Hall. All the greats are on hand, from Kay Starr and Carmen McRae to Jimmy Scott and Della Reese (Della Della Cha Cha Cha). And, from out of left field, the astounding God Bless Tiny Tim. Each of the fifty-seven albums discussed here captures the artist at a high point, if not at the expected moment, of her or his career. The individual cuts are evaluated, the sequencing explicated, the songs and songwriters heralded; anecdotes abound of how songs were born and how artists and producers collaborated. And in appraising each album, Friedwald balances his own opinions with those of musicians, listeners, and critics. A monumental achievement, The Great Jazz and Pop Vocal Albums is an essential book for lovers of American jazz and popular music.
Will Friedwald’s illuminating, opinionated essays—provocative, funny, and personal—on the lives and careers of more than three hundred singers anatomize the work of the most important jazz and popular performers of the twentieth century. From giants like Ella Fitzgerald, Louis Armstrong, Frank Sinatra, and Judy Garland to lesser-known artists like Jeri Southern and Joe Mooney, they have created a body of work that continues to please and inspire. Here is the most extensive biographical and critical survey of these singers ever written, as well as an essential guide to the Great American Songbook and those who shaped the way it has been sung. The music crosses from jazz to pop and back again, from the songs of Irving Berlin and W. C. Handy through Stephen Sondheim and beyond, bringing together straightforward jazz and pop singers (Billie Holiday, Perry Como); hybrid artists who moved among genres and combined them (Peggy Lee, Mel Tormé); the leading men and women of Broadway and Hollywood (Ethel Merman, Al Jolson); yesterday’s vaudeville and radio stars (Sophie Tucker, Eddie Cantor); and today’s cabaret artists and hit-makers (Diana Krall, Michael Bublé). Friedwald has also written extended pieces on the most representative artists of five significant genres that lie outside the songbook: Bessie Smith (blues), Mahalia Jackson (gospel), Hank Williams (country and western), Elvis Presley (rock ’n’ roll), and Bob Dylan (folk-rock). Friedwald reconsiders the personal stories and professional successes and failures of all these artists, their songs, and their performances, appraising both the singers and their music by balancing his opinions with those of fellow musicians, listeners, and critics. This magisterial reference book—ten years in the making—will delight and inform anyone with a passion for the iconic music of America, which continues to resonate throughout our popular culture.
The flagship title of the Frommer $-a-Day series is back, with a brand new, completely up-to-date edition--with money saving coupons and all-new accommodations maps for each city. Travelers will learn the best bargains in concerts, sightseeing, and lodging.
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