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May Irwin reigned as America's queen of comedy and song from the 1880s through the 1920s. A genuine pop culture phenomenon, Irwin conquered the legitimate stage, composed song lyrics, and parlayed her celebrity into success as a cookbook author, suffragette, and real estate mogul. Sharon Ammen's in-depth study traces Irwin's hurly-burly life. Irwin gained fame when, layering aspects of minstrelsy over ragtime, she popularized a racist "Negro song" genre. Ammen examines this forgotten music, the society it both reflected and entertained, and the ways white and black audiences received Irwin's performances. She also delves into Irwin's hands-on management of her image and career, revealing how Irwin carefully built a public persona as a nurturing housewife whose maternal skills and performing acumen reinforced one another. Irwin's act, soaked in racist song and humor, built a fortune she never relinquished. Yet her career's legacy led to a posthumous obscurity as the nation that once adored her evolved and changed.
Staying at her late grandmother's cottage to settle her final affairs, Tyler, a psychic who defends the unlawfully dead, senses the ghostly presence of a frail old woman who is desperately pleading for help. By the award-winning author of Run Zan Run. Original.
This is a collection of long narrative poems written in a characteristically vivid and descriptive way. In her preface, Ms. Preston remarks that songs are made from joyful moments. The shadows of the title are an acknowledgment of the vast number of humans who have no joy to sing of.
Sarton’s most important novel tells the story of a poet in her seventies, whose life is retold episodically during an interview with two writers from a literary magazine Hilary Stevens’s prolific career includes a provocative novel that shot her into the public consciousness years ago, and an oeuvre of poetry that more recently has consigned her to near-obscurity. Now in the twilight of her life, Hilary, who is both a feminist and a lesbian, is receiving renewed attention for an upcoming collection of poems, one that has brought two young reporters to her Cape Cod home. As Hilary prepares for the conversation, she recalls formative moments both large and small. She then embarks on the interview itself—a witty and intelligent discussion of her life, work, and romantic relationships with men and women. After the journalists have left, Hilary helps a visiting male friend with his anxiety over being gay and imparts wisdom about channeling his own creative passions. This ebook features an extended biography of May Sarton.
Sing Sing 614 represents the # of inmates executed at this historical prison. Joe Wood (cover) was the first black man executed in 1891. Learn why his electrode was switched from his right leg to his left. Meet Gordon Hamby, deemed the handsomest man on death row. Eight-hundred women wrote not to execute him. On the day of his execution Hamby told Warden Lewis E. Lawes "don't worry warden, in 24 hours I'll be back!" The trouble is, not only did Hamby come back, but he also brought everyone else from Sing Sing's death house with him, including Joe Wood. This book will entertain you.
Although many opera dictionaries and encyclopedias are available, very few are devoted exclusively to operas in a single language. In this revised and expanded edition of Operas in English: A Dictionary, Margaret Ross Griffel brings up to date her original work on operas written specifically to an English text (including works both originally prepared in English, as well as English translations). Since its original publication in 1999, Griffel has added nearly 800 entries to the 4,300 from the original volume, covering the world of opera in the English language from 1634 through 2011. Listed alphabetically by letter, each opera entry includes alternative titles, if any; a full, descriptive title; the number of acts; the composer’s name; the librettist’s name, the original language of the libretto, and the original source of the text, with the source title; the date, place, and cast of the first performance; the date of composition, if it occurred substantially earlier than the premiere date; similar information for the first U.S. (including colonial) and British (i.e., in England, Scotland, or Wales) performances, where applicable; a brief plot summary; the main characters (names and vocal ranges, where known); some of the especially noteworthy numbers cited by name; comments on special musical problems, techniques, or other significant aspects; and other settings of the text, including non-English ones, and/or other operas involving the same story or characters (cross references are indicated by asterisks). Entries also include such information as first and critical editions of the score and libretto; a bibliography, ranging from scholarly studies to more informal journal articles and reviews; a discography; and information on video recordings. Griffel also includes four appendixes, a selective bibliography, and two indexes. The first appendix lists composers, their places and years of birth and death, and their operas included in the text as entries; the second does the same for librettists; the third records authors whose works inspired or were adapted for the librettos; and the fourth comprises a chronological listing of the A–Z entries, including as well as the date of first performance, the city of the premiere, the short title of the opera, and the composer. Griffel also include a main character index and an index of singers, conductors, producers, and other key figures.