At some point in their career, nearly all the dancers who worked with George Balanchine were told “don’t act, dear; just dance.” The dancers understood this as a warning against melodramatic over-interpretation and an assurance that they had all the tools they needed to do justice to the steps—but its implication that to dance is already to act in a manner both complete and sufficient resonates beyond stage and studio. Drawing on fresh archival material, Don’t Act, Just Dance places dance at the center of the story of the relationship between Cold War art and politics. Catherine Gunther Kodat takes Balanchine’s catch phrase as an invitation to explore the politics of Cold War culture—in particular, to examine the assumptions underlying the role of “apolitical” modernism in U.S. cultural diplomacy. Through close, theoretically informed readings of selected important works—Marianne Moore’s “Combat Cultural,” dances by George Balanchine, Merce Cunningham, and Yuri Grigorovich, Stanley Kubrick’s Spartacus, and John Adams’s Nixon in China—Kodat questions several commonly-held beliefs about the purpose and meaning of modernist cultural productions during the Cold War. Rather than read the dance through a received understanding of Cold War culture, Don’t Act, Just Dance reads Cold War culture through the dance, and in doing so establishes a new understanding of the politics of modernism in the arts of the period.
Apollo's Angels is a major new history of classical ballet. It begins in the courts of Europe, where ballet was an aspect of aristocratic etiquette and a political event as much as it was an art. The story takes the reader from the sixteenth century through to our own time, from Italy and France to Britain, Denmark, Russia and contemporary America. The reader learns how ballet reflected political and cultural upheavals, how dance and dancers were influenced by the Renaissance and French Classicism, by Revolution and Romanticism, by Expressionism and Bolshevism, Modernism and the Cold War. Homans shows how and why 'the steps' were never just the steps: they were a set of beliefs and a way of life. She takes the reader into the lives of dancers and traces the formal evolution of technique, choreography and performance. Her book ends by looking at the contemporary crisis in ballet now that 'the masters are dead and gone' and offers a passionate plea for the centrality of classical dance in our civilization. Apollo's Angels is a book with broad popular appeal: beautifully written and illustrated, it is essential reading for anyone interested in history, culture and art.
Part memoir, part dance history and ethnography, this critical study explores ballet’s power to inspire and to embody ideas about politics, race, women’s agency, and spiritual experience. The author knows that dance relates to life in powerful individual and communal ways, reflecting culture and embodying new ideas. Although ballet can appear (and sometimes is) elite and exclusionary, it also has revolutionary potential.
William Faulkner in Context explores the environment that conditioned Faulkner's creative work. This book provides a broad and authoritative framework that will help readers to better understand this widely read yet challenging writer. Each essay offers a critical assessment of Faulkner's work as it relates to such topics as genre, reception, and the significance of place. Although Faulkner dwelt in his native Mississippi throughout his life, his visits to cities like New Orleans, Paris, and Los Angeles profoundly shaped his early career. Inextricable from the dramatic upheavals of the twentieth century, Faulkner's writing was deeply affected by the Great War, the Great Depression, World War II, and the civil rights movement. In this volume, a host of renowned scholars shed light on this enigmatic writer and render him accessible to students and researchers alike.
If you want to learn about masculinity, ask a man if he likes to dance. One man in this study answered, "Music is something that goes on inside my head, and is sort of divorced from, to a large extent, the rest of my body." How did this man's head become divorced from his body? To answer this question, Maxine Craig sought out men who love music but hate to dance. Combining interviews, participant observation and archival research, Sorry I Don't Dance uncovers the recent origins of cultural assumptions regarding sex, race, and the capacity to dance. From the beginning of the twentieth century through the Swing Era young men of all races danced. But in the 1960s suburbanization, homophobia, and fragmentation of music cultures drove white men from the dance floor, and feminized, sexualized and racialized dance. Sorry I Don't Dance reveals how changing beliefs concerning gender, race, class, and sexuality over the past half-century have redefined what it means to be a man in America.
Cholly Atkins's career has spanned an extraordinary era of American dance. He began performing during Prohibition and continued his apprenticeship in vaudeville, in nightclubs, and in the army during World War II. With his partner, Honi Coles, Cholly toured the country, performing with such jazz masters as Louis Armstrong, Cab Calloway, and Count Basie. As tap reached a nadir in the fifties, Cholly created the new specialization of "vocal choreography," teaching rhythm-and-blues singers how to perform their music by adding rhythmical dance steps drawn from twentieth-century American dance, from the Charleston to rhythm tap. For the burgeoning Motown record label, Cholly taught such artists as the Supremes, Smokey Robinson and the Miracles, the Temptations, Gladys Knight and the Pips, and Marvin Gaye to command the stage in ways that would enhance their performances and "sell" their songs. Class Act tells of Cholly's boyhood and coming of age, his entry into the dance world of New York City, his performing triumphs and personal tragedies, and the career transformations that won him gold records and a Tony for choreographing Black and Blue on Broadway. Chronicling the rise, near demise, and rediscovery of tap dancing, the book is both an engaging biography and a rich cultural history.
Hollywood (Los Angeles, Calif.) by John Robert Colombo
The heartfelt and uplifting story of how a project to scatter 60 Postcards in memory of her mother helped a young girl come to terms with her loss. On 11 February 2012 Rachael Chadwick lost her Mother to cancer, just sixteen days after first being diagnosed, and her world shattered right in front of her. Utterly fed up of the milestones and reminders, in December of that year she decided she would do something different and created a project based around her Mum's approaching 60th Birthday. Desperate to spread the word about the wonderful person she had lost, Rachael had the brainwave of leaving notes around a city in her memory. Deciding she would take it a step further she wondered what would happen if she could ask people to respond to her? Full of hope and energy she hand-wrote sixty postcards, each with her email address at the bottom asking the finder to get in touch. But one question remained, where should she go? Knowing how much she longed to visit Paris, the last gift that Rachael's mum had given her was Eurostar vouchers, and so it seemed fitting that this would be her chosen city. So off she went with a group of friends to celebrate, discover, and to scatter her memories. Filling their time in Paris with sight-seeing, food and drink, laughter, and of course postcards. When Rachael returned to her London home, she desperately tried to switch off, switch off from the wondering (and hoping) whether she might actually hear from a postcard finder. And then, they started flowing in…
Hollywood (Los Angeles, Calif.) by John Robert Colombo
Here, in one glittering volume, replete with tinsel, and dripping with love and venom, is a collection of over 3,000 quotes by some 700 movie personalities--those who have lived and toiled in Hollywood since the birth of the movie industry. In a sense these quotes give the essence and flavor of Hollywood as nothing else can. The cast of characters includes: Greta Garbo, Bob Hope, Elizabeth Taylor, W.C. Fields, Bette Davis, Alfred Hitchcock, Groucho Marx, Cecil B. DeMille, Sammy Davis Jr., Marlene Dietrich, Sir Laurence Olivier, John Wayne, Woody Allen, Laurel and Hardy, and hundreds more. A special chapter is devoted to Sam Goldwyn, Hollywood's leading independent film producer for 35 years. "Popcorn" and "paradise" may seem contradictory, but just as Hollywood ranges from the ridiculous to the sublime, so these two words sum up and typify what Hollywood was, is, and doubtless always will be so long as the silver screen maintains its hold on our lives.
To be cursed is one thing, to be loved is another, but they are exactly the same. Melinda is only 15, but she’s forced to face the fact that she is no longer her own. She is Tyler’s, at first because she has no option, but by the end she would never want to be anyone else’s. The sexy, fun, and mysterious Tyler steals Melinda away and the only thing she wants is to hate him, but she has no choice in the matter. Her love for her beautiful blue eyed boy is inevitable. Hate, love, pain, lust, aren’t they all the same.
The story involves my daring venture to invade into in a mans world as a labor unions leader. It was an enlightening experience as I gained a valuable amount of knowledge from all types of people. Taking over, as head of a labor organization is a huge responsibility and certainly not a position to be taken lightly. Few women have had those experiences or traveled to the areas where I campaigned. The probability of becoming famous was never an issue with me. The enormous responsibilities of settling individual grievances, negotiating various types of labor contracts, attending conventions and seminars keeping abreast of the ever-changing laws, mentioning just a few of the many important factors of the position I challenged. Several well-qualified people on labor issues were ready and willing to work with me. The hurtful traumas that transpired during this era finally disappeared as writing things down. I later realized that it was important therapy to write about my struggles in a book. Of course at this time of my life, I would not be so naive about a lot of things but life constantly teaches us valuable lessons. Life is different now, as women handle mens tough, demanding important positions. Perhaps I was just born too soon. My interest as a concerned people person is still prevalent in my daily endeavors and thankful of the road I took. Id do it all over again despite all the extreme hardships, as I understand the political arena much more than before.
Trouble is brewing between the divas just before their big upcoming Dance Fusion competition. Liberty is stepping on Rochelle's toes (figuratively and literally!). Anya and Bria can't agree on costumes for their duet. And Scarlett and Gracie are bickering over what to name their new kitten (Scarlett wants "Baryshnikov" but Gracie likes "Mustard"). Miss Toni is mad, mad, mad-but she has an idea to fix the problem: a camping retreat, where these girls will have to learn the true meaning of teamwork or be left out in the dark.
Mildred Clark Cusey was a whore, a madam, an entrepreneur, and above all, a survivor. The story of Silver City Millie, as she referred to herself, is the story of one woman's personal tragedies and triumphs as an orphan, a Harvey Girl waitress on the Santa Fe railroad, a prostitute with innumerable paramours, and a highly successful bordello businesswoman. Millie broke the mold in so many ways, and yet her life's story of survival was not unlike that of thousands of women who went West only to find that their most valuable assets were their physical beauty and their personality. Petite at five feet tall with piercing blue eyes, Millie captured men's attention by her very essence and her unmistakable joie de vivre. Born to Italian immigrant parents near Kansas City, she and her sister were orphaned early and separated from each other. Millie learned hard lessons on the streets, but she never gave up and she vowed to protect and support her ailing older sister. Caught in a domestic squabble in her foster home, Millie wound up in juvenile court with Harry Truman as her judge. This would be only the first of many brushes in her life with prominent politicians. When physicians diagnosed her sister with tuberculosis and recommended she move West to a Catholic home in Deming, New Mexico, Millie moved with her. Expenses ran high and after a brief stint waiting tables as a Harvey Girl, Millie found that her meager tips could easily be augmented by turning tricks. Thus, out of financial need and devotion to her sister, Mildred Cusey turned to a life of prostitution and a career at which she soon excelled and became both rich and famous.
Mary Shane comes home from school one day to find her mother beaten to unconsciousness, this leads her on a perilous journey to find her father, the man that has spent her entire life on the run, always nothing more than a shadow. She must play his deadly game, become the very darkness he hides in, if she ever wants to have a chance at the love she found and the normal life she used to take for granted. As Mary Shane makes her way into the deadly world her father lives in, a world where people have seemingly magical powers and always seem to be one step ahead of you, she discovers that maybe his frequent disappearances and constant paranoia were justified. She finds herself forced to make dangerous decisions and do things she never in her worst nightmare had to face. With the government chasing her every footstep, she must find her father before they do if she ever hopes to survive this wild ride and earn the right to live. She discovers that everything she\'s ever experienced is because of her father and as she begins to put the pieces together she wonders if there is more to this story than anyone else knows.
A fun collection of old-time Scandinavian dance tunes arranged for the accordion. Great for dancing or listening and a perfect repertoire builder. the audio available for download contains all 28 tunes in the book at slow and regular speeds. Suggested accompaniment chords are provided as well.
A sleepy rural town in South Carolina. The end of summer and a baby about to be born. But in the midst of hope and celebration comes unexpected tragedy, and Dylan Styles must come to terms with how much he's lost. Will the music of his heart be stilled forever—or will he choose to dance with life once more, in spite of sorrow and heartbreak? The Dead Don't Dance is a bittersweet yet triumphant love story—a tale of one man's spiritual journey through the darkness of despair and into the light of hope.