How can we account for the persistent appeal of glossy commercial pop music? Why do certain performers have such emotional power, even though their music is considered vulgar or second rate? In The Persistence of Sentiment, Mitchell Morris gives a critical account of a group of American popular music performers who have dedicated fan bases and considerable commercial success despite the critical disdain they have endured. Morris examines the specific musical features of some exemplary pop songs and draws attention to the social contexts that contributed to their popularity as well as their dismissal. These artists were all members of more or less disadvantaged social categories: members of r...
Aubrey Beardsley and British Wagnerism in the 1890s is an interdisciplinary study of the influence of Richard Wagner on the work of Aubrey Beardsley (1872-1898). The study considers Beardsley's pictorial and literary versions - or perversions - of Wagner's operas. It explores the role of Wagnerism within British culture of the 1890s, in particular the relations between Wagnerism and the decadent movement.
The updated edition is the story of Mitchell and his company told in narrative form and in a series of interviews of the people who nurtured the company through the years. It is Horatio Alger, Texana, human conflict, tales of the oil patch, and a study of the shaky start of what is now one of the most innovative and successful new communities anywhere, all rolled into one. Its author is Joseph W. Kutchin, an experienced journalist who served many years as the corporation's vice president in charge of public relations.
By the CWA Gold Dagger award-winning author of Other Paths to Glory What does the chairman of the new Atlantic Defence Committee have to do with the American Civil War? And why was a top CIA trouble-shooter needed as a middleman? And why was that middleman looking for David Audley, senior analyst for British Intelligence? It all seemed very wrong to Oliver St John Latimer, but it did present an interesting opportunity. Unfortunately for the ambitious, and usually desk-bound, Latimer, the opportunity was twice as deadly as it was intriguing.
The Immortal of Golf was born in humble circumstances in a weavers cottage. His father, John Morris (1777-1846), was a weaver and letter carrier as the family resided on North Street in the ancient city of St. Andrews. Tom, at the age of fifteen, was apprenticed to the renowned Allan Robertson, champion golfer, unbeaten in his lifetime, and continued his employment as a journeyman. Since being bred in the home of golf and also instructed in the ancient game it is not surprising that Morris began to acquire skillfulness in the sport and began earning distinction on the links. In one of the first public appearances of the young professional he was a partner with Robertson, and played in a match for 400 pounds against William and James Dunn, known as the Dunn Brothers of Musselburgh and Morris and Robertson succeeded on the last day of the match, after being four down with eighteen to play, in winning the match. A match for the ages.
Thirteen year old Blake Wyatt dug his bloodied fingers into the splintered railing of the ancient ship, struggling for footing in the violent storm. He wants desperately to wake from this nightmare...but he isn't sleeping. The mutiny is real and the great Christopher Columbus is about to be murdered-Dagonblud's latest victim in his quest to erase the world's history by stealing its past, with control of the future as his ultimate reward.It's up to Blake, the youngest in his family of sapphire travelers, to master his incredible new powers so he can sneak through time, find, and destroy the Tolucan leader. But Dagonblud has other plans.Will Blake ever see his family again? or will Dagonblud eliminate the last sapphire traveler standing between him and world supremacy? Strap yourself in to see how a bizarre assignment from a substitute teacher quickly turns deadly in this epic thrill-ride through time. The only thing that is certain is that Blake's life, and the world around him, will never be the same.
When the show was first produced in 1960, at a time when transatlantic musical theatre was dominated by American productions, Oliver! already stood out for its overt Englishness. But in writing Oliver!, librettist and composer Lionel Bart had to reconcile the Englishness of his Dickensian source with the American qualities of the integrated book musical. To do so, he turned to the musical traditions that had defined his upbringing: English music hall, Cockney street singing, and East End Yiddish theatre. This book reconstructs the complicated biography of Bart's play, from its early inception as a pop musical inspired by a marketable image, through its evolution into a sincere Dickensian ada...