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The comic operas of Gilbert and Sullivan are a performing arts phenomenon. Wildly popular when first produced, they are if anything even more popular today. The Complete Annotated Gilbert & Sullivan provides the complete text of all thirteen of the Gilbert and Sullivan operas still being performed today, including H.M.S. Pinafore, The Pirates of Penzance, and The Mikado. Each work is thoroughly annotated, with the text, including stage directions, given on the right-hand page, and the notes on the left. The annotations provide a wealth of information--everything from the identity of real-life people mentioned in the opera, to clear explanations of obscure words and phrases (such as legal terms) and other literary references, to comments from first-night critics, and much more. In addition, Bradley has written a marvelously informative introduction to the book as well as superb introductions to each piece, describing the genesis of the work, its performance history, and other fascinating tidbits. A goldmine of information, The Complete Annotated Gilbert & Sullivan will delight the hearts of Savoyards everywhere.
Thespis -- Trial by jury -- The sorcerer -- H.M.S. Pinafore -- The pirates of penzance -- Patience -- Iolanthe -- Princess Ida -- The mikado -- Ruddigore -- The yeomen of the guard -- The gondoliers -- Utopia limited -- The grand duke
Jesus clearly prophesied that prior to his return the whole Church will be asleep (Mt. 25:5); not just the foolish virgins, but the wise as well. So why is the Church asleep, and what are the consequences? In Are We Ready for Jesus? How to Prepare for His Return, Nelson Walters offers an explanation, and challenges the Church to wake up and begin preparing for the most important event the world will ever see. Many Christians are apathetic because they believe, "Hard times won't affect me." Find out exactly how the end times will affect you and what to do about it. Uncover THE sign of Jesus's return. Learn how to evade deception from within the Church and from false messiahs, and how to avoid "falling away." Discover the signs leading to the rise of the Antichrist and learn where we ought to be looking for him. Recognize the importance of attitude in enduring the coming storm, realize the key role of Israel, and how we need to respond to God's people. Jesus commanded us over thirty times to be observant and watchful for his return. Heed the warnings and make sure you're ready. Book jacket.
The phrase "popular music revolution" may instantly bring to mind such twentieth-century musical movements as jazz and rock 'n' roll. In Sounds of the Metropolis, however, Derek Scott argues that the first popular music revolution actually occurred in the nineteenth century, illustrating how a distinct group of popular styles first began to assert their independence and values. He explains the popular music revolution as driven by social changes and the incorporation of music into a system of capitalist enterprise, which ultimately resulted in a polarization between musical entertainment (or "commercial" music) and "serious" art. He focuses on the key genres and styles that precipitated musical change at that time, and that continued to have an impact upon popular music in the next century. By the end of the nineteenth century, popular music could no longer be viewed as watered down or more easily assimilated art music; it had its own characteristic techniques, forms, and devices. As Scott shows, "popular" refers here, for the first time, not only to the music's reception, but also to the presence of these specific features of style. The shift in meaning of "popular" provided critics with tools to condemn music that bore the signs of the popular-which they regarded as fashionable and facile, rather than progressive and serious. A fresh and persuasive consideration of the genesis of popular music on its own terms, Sounds of the Metropolis breaks new ground in the study of music, cultural sociology, and history.
For many of us, it's where we spend more time and expend greater effort than anywhere else. Yet how many of us have stopped to think about why? In The Office: A Hardworking History, Gideon Haigh traces from origins among merchants and monks to the gleaming glass towers of New York and the space age sweatshops of Silicon Valley, finding an extraordinary legacy of invention and ingenuity, shaped by the telephone, the typewriter, the elevator, the email, the copier, the cubicle, the personal computer, the personal digital assistant. Amid the formality, restraint and order of office life, too, he discovers a world teeming with dramas great and small, of boredom, betrayal, distraction, discrimination, leisure and lust, meeting along the way such archetypes as the Whitehall mandarin, the Wall Street banker, the Dickensian clerk, the Japanese salaryman, the French bureaucrat and the Soviet official. In doing so, Haigh taps a rich lode of art and cinema, fiction and folklore, visiting the workplaces imagined by Hawthorne and Heller, Kafka and Kurosawa, Balzac and Wilder, and visualised from Mary Tyler Moore to Mad Men, from Network to 9 to 5 plus, of course, The Office. Far from simply being a place we visit to earn a living, the office emerges as a way of seeing the entire world.