Ballad and tango


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Poor Little Angeline


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Harbour Lights


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The New Broadway Song Companion


Book Description

This is a completely revised and expanded second edition of The Broadway Song Companion, the first complete guide and access point to the vast literature of the Broadway musical for the solo performer. Designed with the working actor in mind, the volume lists every song from over 300 Broadway shows, including at least 90 more than the first edition. Organized by show, each song is annotated with the name of the character(s) who sing(s) the song, the vocal range, and a style category, such as uptempo, narrative ballad, swing ballad, moderate character piece, etc. Several indexes are supplied, organizing the songs by voice type (soprano, baritone, etc.) and song style, vocal arrangement (duets, trios, chorus, etc.), and composer and lyricist, allowing increased access to the repertoire. For instance, a soprano looking for a ballad to sing will find every song in that category in the index. All solos, duets, and trios are indexed in this manner, with quartets and larger ensembles listed by voice type. Furthermore, the instant breakdowns (how many lead characters, who sings what song, and the range requirements of each character) will be a valuable resource to directors and producers.




The Broadway Song Companion


Book Description

The Broadway Song Companion is the first complete guide and access point to the vast literature of the Broadway musical for the solo performer. Designed with the working actor in mind, the volume lists every song from over 210 Broadway shows, giving the name of the character(s) who sing(s) the song, its exact vocal range, and categorizing each by song style (uptempo, narrative ballad, swing ballad, moderate character piece, etc.). A number of indexes to the volume list titles of songs, first lines, composer's and lyricist's names, and each song by voice type. For instance, a soprano looking for a ballad to sing will find every song in that category in the index. All solos, duets, and trios are indexed in this manner, with quartets and larger ensembles listed by voice type. Furthermore, the instant breakdowns (how many lead characters, who sings what song, and the range requirements of each character) will be a valuable resource to directors and producers.




Isle of Capri


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You Can Run


Book Description

From Machu Picchu to a cocaine purchase in a Bolivian jail—and beyond! How do you rough it in extreme South American travels and still dare to be different? You Can Run: Gay, Glam, and Gritty Travels in South America follows the intrepid and fantastic—and totally true—adventures of flamboyant gay men through the gritty rough and tough of South America. Author Jesse Archer and his American boyfriend Zane spent nearly two years traveling the continent in search of adventure. And find it they did. Discover incredible individuals like Patricia the pink lady, the Wolfman of Borneo, and Santusa the fanged Chola of a different color. Thrill to the astounding experiences of dodging crocodiles, doing a striptease for a Colombian bathroom bitch, admiring exultant transsexuals caught in a rainstorm, and navigating the most dangerous road in the world. This wild travel chronicle takes you through the real South America with wit, wisdom—and a hot pink wig! An excerpt from You Can Run: Gerardo runs off to buy the meat for baiting piranha and then we're in his tin boat out on the choppy Amazon. The humidity and heat on the earth's surface here seems to bounce back into the sky and burst, returning a downpour of rain. Luckily Gerardo's tin can has a roof. Yet for some reason we aren't headed to the jungle, but downriver to a shantytown along the bank. I ask where we are going and Gerardo feebly utters something in Portuguese. I can't make it out. Zane is now convinced I've employed a waterfront gangster. We pull up to a shoddy pier of three planks supported by timbers that rot in the lapping water. “We should have gone with the other one!” Zane decries my flagrant frugality. “See? There's his accomplice.” When Gerardo reappears outside the shack with another man Zane announces he hates to be killed with a cheapskate like me. “I'm gonna die, washed up over there with all that trash, my body all white and fat and . . . bloated!” zane has exercised too much in his life to die bloated. Dying bloated has just become the worst of all fates. Zane gasps earnestly to his active imagination. “Oh God, please not bloated!” You Can Run is a funny, piercing, and poignant examination of memorable outcasts in the third world. Follow some of travel's most different adventure seekers—extreme travelers with a lot of sparkle!




American Song


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Paper Tangos


Book Description

In PAPER TANGOS, classically trained dancer and anthropologist Julie Taylor examines the poetics of the tango, while recounting a life lived crossing the borders of two distinct and complex cultures. Drawing parallels among the violence of the Argentine Junta, tango dancing, and her own life, Taylor weaves the line between engaging memoir and cultural critique. The book's design includes photographs on every page that form a flip-book sequence of a tango. 89 photos.




Empire of Song


Book Description

The Eurovision Song Contest (ESC) is more than a musical event that ostensibly “unites European people” through music. It is a spectacle: a performative event that allegorically represents the idea of “Europe.” Since its beginning in the Cold War era, the contest has functioned as a symbolic realm for the performance of European selves and the negotiation of European identities. Through the ESC, Europe is experienced, felt, and imagined in singing and dancing as the interplay of tropes of being local and/or European is enacted. In Empire of Song: Europe and Nation in the Eurovision Song Contest, contributors interpret the ESC as a musical “mediascape” and mega-event that has variously performed and performs the changing visions of the European project. Through the study of the cultural politics of the ESC, contributors discuss the ways in which music operates as a dynamic nexus for making national identities and European sensibilities, generating processes of “assimilation” or “integration,” and defining the celebrated notion of the “European citizen” in a global context. Scholars in the volume also explore the ways otherness and difference are produced, spectacularized, challenged, or even neglected in the televised musical realities of the ESC. For the contributing authors, song serves as a site for constituting Europe and the nation, on- and offstage. History and politics, as well as the constant production of European subjectivities, are sounded in song. The Eurovision song is a shifting realm where old and new states imagine their pasts, question their presents, and envision ideal futures in the New Europe. Essays in Empire of Song adopt theoretical and epistemological orientations in their exploration of “popular music” within ethnomusicology and critical musicology, questioning the idea of “Europe” and the “nation” through and in music, at a time when the European self appears more fragmented, if not entirely shattered. Bringing together ethnomusicology, music studies, history, social anthropology, feminist theory, linguistics, media ethnography, postcolonial theory, comparative literature, and philosophy, Empire of Song will interest students and scholars in a vast array of disciplines.