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In its 114th year, Billboard remains the world's premier weekly music publication and a diverse digital, events, brand, content and data licensing platform. Billboard publishes the most trusted charts and offers unrivaled reporting about the latest music, video, gaming, media, digital and mobile entertainment issues and trends.
Pick up a work of typical literary criticism and you know what to expect: prose that is dry, pedantic, well-meaning but tedious—slow-going and essentially humorless. But why should that be so? Why can’t more literary criticism have a political edge and be engaging and fast-paced? Why can’t it include drama, personal narrative, and even humor? Why can’t criticism become an artistic performance, rather than just a discussion of art? Art as Performance, Story as Criticism is Craig Womack’s answer to these questions. Inventive and often outrageous, the book turns traditional literary criticism on its head, rejecting distanced, purely theoretical argumentation for intimate engagement with literary works. Focusing on Native American literature, Womack mixes forms and styles. He is unafraid to combine meticulous research and carefully considered historical perspectives with personal reactions and reflections. The book opens with a short story, “The Song of Roe Náld,” in which a Native filmmaker loses control of his movie project, in part because of his homoerotic attraction to its star. The following chapters, or “mus(e)ings,” include original dramas, while others more closely resemble traditional literary criticism, such as essays discussing the lesser-known plays of Lynn Riggs and the stories of Durango Mendoza. Still other chapters defy easy categorization, such as the piece “Caught in the Current, Clinging to a Twig,” in which Womack interweaves historical analysis of the state of the Creek Nation in 1908 with a vivid recreation of the last day on earth of Creek poet Alexander Posey. Throughout the book, the author offers his take on such controversial issues as the Cherokee freedmen issue and the ban on gay marriage. In being different, Womack seeks to breathe new life into literary analysis and in-troduce criticism to a wider audience. Radical, groundbreaking, and refreshing, Art as Performance, Story as Criticism reinvents literary criticism for the twenty-first century.
More than twenty years in the making, Country Music Records documents all country music recording sessions from 1921 through 1942. With primary research based on files and session logs from record companies, interviews with surviving musicians, as well as the 200,000 recordings archived at the Country Music Hall of Fame and Museum's Frist Library and Archives, this notable work is the first compendium to accurately report the key details behind all the recording sessions of country music during the pre-World War II era. This discography documents--in alphabetical order by artist--every commercial country music recording, including unreleased sides, and indicates, as completely as possible, the musicians playing at every session, as well as instrumentation. This massive undertaking encompasses 2,500 artists, 5,000 session musicians, and 10,000 songs. Summary histories of each key record company are also provided, along with a bibliography. The discography includes indexes to all song titles and musicians listed.
In its 114th year, Billboard remains the world's premier weekly music publication and a diverse digital, events, brand, content and data licensing platform. Billboard publishes the most trusted charts and offers unrivaled reporting about the latest music, video, gaming, media, digital and mobile entertainment issues and trends.
Celebrating the One Hundredth Anniversary of Anita O'Day's Birth. Jazz legend Anita O'Day was one of the most remarkable and unforgettable talents of the jazz world. A swinging, good-humored stylist, O'Day rose to fame as a vocalist with the Gene Krupa Big Band ("Let Me Off Uptown") and the Stan Kenton Band ("And Her Tears Flowed Like Wine") in the 1940s before she became a successful solo act in the 1950s—punctuated by her energetic performance at the 1958 Newport Jazz Festival, as captured in the concert film Jazz on a Summer's Day. Unfortunately, O'Day was as well known for her drug problems as her jazz singing, and in High Times Hard Times, O'Day offers an unvarnished personal account of her life, as well as a behind-the-scenes look at the golden age of jazz. Starting out with her grisly 1966 overdose, then flashing back to tell all from the beginning, High Times Hard Times presents an intimate portrait of a larger-than-life jazz and big-band singer—the success of her early career, the tragedy of heroin addiction, her painful recovery, and her ultimate triumph. Filled with vivid characters, including Gene Krupa, Stan Kenton, Roy Eldridge, Billie Holiday, and other jazz legends, this candid, classic memoir is a must-read for anyone interested in the real details of jazz's golden age.
It's the Cowboy Way! tells the full story of the amazing true adventures of group members Ranger Doug, Woody Paul, Too Slim, and Joey "The CowPolka King" for the first time, from their first gigs at "Herr Harry's Phranks 'N' Steins," in Nashville, to their rise to the top of the Grammy heap. Since 1977, Riders In The Sky has faithfully tended a musical tradition kindled by singing cowboy legends, such as Gene Autry and the Sons Of The Pioneers. Throughout its long career, the group has branded the genre with its own mark, crafting a well-balanced mix of both classic and original western songs—smooth harmony, hot licks, and comedy. Over the past quarter of a century, and more than 4,500 shows, 290 national TV appearances, 203 public radio shows, nearly 700 Grand Ole Opry appearances, 2.3 million miles on the road, two Grammy Awards, three television series, and 31 albums down the trail, a group that began with a commitment to carry on an American musical tradition has itself become a national treasure.
Bing Crosby, Frank Sinatra, Tony Bennett, and Rudy Vallee—these cultural icons whose fame spanned all the important mass media, also played a vital role in the origin and development of the crooning tradition. Crooning represented one of the most important musical styles of the twentieth century, intermingling with jazz and fronting the big band craze of the thirties and forties. Crooners spurred the rise of radio as home staple and the Golden Age of film musicals. When commercial television became a viable commodity, crooners anchored perhaps the first TV programming innovation, the variety show. It took the cataclysmic aesthetic and cultural changes ushered in by rock 'n' roll in the 1950s to finally bring crooners down from their pedestal. The Rise of the Crooners examines the historical trends and events that led to the emergence of the crooning style. Ian Whitcomb, a successful popular music vocalist himself for almost 40 years, provides a personal perspective on this phenomenon. The lives and careers of six pioneers of the style—Bing Crosby, Russ Columbo, Gene Austin, Rudy Vallee, Johnny Marvin, and Nick Lucas—are covered at length. With the exception of one entry devoted to Crosby—possibly the greatest entertainer of the past century—these biographies (appended by lengthy bibliographies and discographies) are more thorough and up-to-date than any treatment in print about these seminal artists.
Dale Hypsmann, a blacksmith on his way to a job in Red Butte, Colorado, is mistaken for a payroll messenger and shot. While recovering from the wound that breaks two ribs, Dale engages in a shooting match for a prize rifle. He wins the match and the enmity of the local, overgrown pug-ugly known as H.K. At a dance, H.K. starts an argument and hits Dale's chest wound. One of the weakened ribs ruptures and punctures Dale's lung, causing a siege of pneumonia. Out of bed but a few days, Dale drives the doctor to an emergency call. The worried doctor doesn't warn Dale, and after an hour in the cold, he walks into the house full of diphtheria. The epidemic runs its course and a dance is held to aid the victims of the disease. Before inviting his girlfriend, Alegra Hawthorn, to the shindig, Dale uses his blacksmith know-how to make a metal chest protector. H.K. starts an argument by throwing Dale's coat on the dance hall floor and wiping his shoes on it. When Dale accepts the challenge, a blow to his scarcely healed chest knocks him to the floor, and the chest protector cripples H.K.'s hand. On the morning Alegra and Dale start their honeymoon, H.K. meets them with a blacksnake whip. Because of H.K.'s crippled hand, Dale is able to get control of the whip and beats H.K. into a craven hulk.