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Who Should Sing Ol' Man River?
"Who should sing Ol' man river? : the lives of an American song tells the almost eighty-year performance history of a great popular song. Examining over two hundred recorded and filmed versions of Jerome Kern and Oscar Hammerstein II's classic song, the book reveals the power of performers to remake one popular song into many different guises"--Provided by publisher.
Astaire by Numbers
Astaire by Numbers looks at every second of dancing Fred Astaire committed to film in the studio era--all six hours, thirty-four minutes, and fifty seconds. Using a quantitative digital humanities approach, as well as previously untapped production records, author Todd Decker takes the reader onto the set and into the rehearsal halls and editing rooms where Astaire created his seemingly perfect film dances. Watching closely in this way reveals how Astaire used the technically sophisticated resources of the Hollywood film making machine to craft a singular career in mass entertainment as a straight white man who danced. Decker dissects Astaire's work at the level of the shot, the cut, and the...
Show Boat
Show Boat: Performing Race in an American Musical tells the full story of the making and remaking of the most important musical in Broadway history. Drawing on exhaustive archival research and including much new information from early draft scripts and scores, this book reveals how Oscar Hammerstein II and Jerome Kern created Show Boat in the crucible of the Jazz Age to fit the talents of the show's original 1927 cast. After showing how major figures such as Paul Robeson and Helen Morgan defined the content of the show, the book goes on to detail how Show Boat was altered by later directors, choreographers, and performers up to the end of the twentieth century. All the major New York product...
Music Makes Me
Fred Astaire: one of the great jazz artists of the twentieth century? Astaire is best known for his brilliant dancing in the movie musicals of the 1930s, but in Music Makes Me, Todd Decker argues that Astaire’s work as a dancer and choreographer —particularly in the realm of tap dancing—made a significant contribution to the art of jazz. Decker examines the full range of Astaire’s work in filmed and recorded media, from a 1926 recording with George Gershwin to his 1970 blues stylings on television, and analyzes Astaire’s creative relationships with the greats, including George and Ira Gershwin, Irving Berlin, Jerome Kern, and Johnny Mercer. He also highlights Astaire’s collaborations with African American musicians and his work with lesser known professionals—arrangers, musicians, dance directors, and performers.
Music Makes Me
Fred Astaire is best known for his brilliant dancing in the movie musicals of the 1930s, but in Music Makes Me, Todd Decker argues that Astaire's work as a dancer and choreographer, particularly in the realm of tap dancing, made a significant contribution to the art of jazz.
Hymns for the Fallen
"This book describes in detail how music and sound function as a constituent part of the prestige combat film's larger work of memorialization in the cultural realm of commercial cinema. As Rikke Schubart and Anne Gjelsvik note, historians must deal with 'the complexity of history, war, heroism, patriotism, memory, and the process of their representation.' Hymns for the Fallen traces an expressive sonic continuity in this 'process of representation' for serious war films. The three elements of the soundtrack--dialogue, sound effects, music--are treated in detail in the chapters which follow, although music proves to be of particular interest."--Site de l'éditeur.
Hymns for the Fallen
Cover -- Contents -- Introduction -- PART I. THE PRESTIGE COMBAT FILM -- 1. Movies and Memorials -- 2. Soundtracks and Scores -- PART II. DIALOGUE -- 3. Soldiers' Talk -- 4. Soldiers' Song -- 5. Disembodied Voices -- PART III. SOUND EFFECTS -- 6. Nothing Sounds Like an M-16 -- 7. Helicopter Music -- PART IV. MUSIC -- 8. Unmetered -- 9. Metered -- 10. Elegies -- 11. End Titles -- Acknowledgments -- Abbreviations -- Notes -- Works Cited -- Index -- A -- B -- C -- D -- E -- F -- G -- H -- I -- J -- K -- L -- M -- N -- O -- P -- R -- S -- T -- U -- V -- W -- Y -- Z
The Savage King
The Dark Kings are the best combination of alpha heroes and romantic suspense. Each book is a roller coaster ride of emotion, danger and sizzling, sexy fun. - Carly Phillips, NY Times bestselling author. I’m a former marine with a thirst for vengeance, undercover in the Mexican cartel for Connor Barrett and the Dark Kings. Last week, one of my marine buddies threw an unsuspecting and sexy woman into my arms during a mafia shootout and tasked me with getting her safely home. Easy right? Not so f*cking much. Now I’m fighting to get us back across the border and Isabelle home to NYC. But that mouth on her. Jesus, its hot. And won’t shut up. More importantly, it could get us both killed. A...
Paul Robeson
In his heyday, Paul Robeson was one of the most famous people in the world; to his enemies he was also one of the most dangerous. From the 1930s to the 1960s, the African-American singer was the voice of the people, both as a performer and as a political activist who refused to be silenced. Having won fame with hits such as "Ol' Man River" and thrilling London and New York theatregoers with his legendary performance in Othello, Robeson established himself as a vocal supporter of Civil Rights and an opponent of oppression in all its forms. He traveled the world, performing in front of thousands to deliver a message of peace, equality and justice that was as readily understood on the streets o...
Sondheim in Our Time and His
Sondheim in Our Time and His offers a wide-ranging historical investigation of the landmark works and extraordinary career of Stephen Sondheim, a career which has spanned much of the history of American musical theater. Each author uncovers those aspects of biography, collaborative process, and contemporary context that impacted the creation and reception of Sondheim's musicals. In addition, several authors explore in detail how Sondheim's shows have been dramatically revised and adapted over time. Multiple chapters invite the reader to rethink Sondheim's works from a distinctly contemporary critical perspective and to consider how these musicals are being reenvisioned today. Through chapters focused on individual musicals, and others that explore a specific topic as manifested throughout his entire career, plus an afterword by Kristen Anderson-Lopez; by digging deep into the archives and focusing intently on his scores; from interviews with performers, directors, and bookwriters, and close study of live and recorded productions--volume editor W. Anthony Sheppard brings together Sondheim's past with the present, thriving existence of his musicals.
