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This is the first-ever comprehensive reference work to entertainers who performed in the Far West during the Gold Rush years. Arranged by stage names, the entries provide the most extensive biographical information available. Career highlights in the Far West are emphasized, with a brief account for each performer of their shows listing places, dates, companies and plays or appearances.
This monster Rock-n-Roll survey focuses on the songs and the vibrant personalities who create them, for college audiences and the general public. Dean published the world's first history of Rock in 1966. Here, in his ebullient style, he buzzes through piles of musical singles from the whole last half century, describing what is fun about each major and minor hit, pointing out what elements were exciting or new or significant in the development of musical styles. He relates some tantalizing tidbits about the earlier musical heritage that artists have drawn upon in crafting ever more amazing evolutions of rock music. This snappy, witty and informative album has universal appeal, doubling as a coffee-table trivia treasure and a college-level popular music history text. It includes hundreds of photos, chapter questions, and an extensive index. Reader-friendly and informationally complete, it covers soft rock, heavy metal, rhythm & blues, country rock and classic oldies, all with tender loving care, for the specialist and casual listener alike. Its mini-portraits of the artists who move so many hearts (and feet), the photos and the insightful sound bites get to the essence of each song and each musician's contribution to the music of our age. The single-song focus makes the book unique. It's a playlist for R'n'R professors and the general public, written with a collegiate vocabulary, tight organization and a respect for all. "Hearing Elvis for the first time was like busting out of jail." - Bob Dylan That being said, no one is being incited, here, to bust out of jail or to emulate the quixotic habits of rock stars. "There's nothing in here to hide from the kids, the clergy or grandma." Gold Rush can be used as a university or community college text, but most people will grab it for the sheer pleasure of reading about everyone's favorites. Great gift for Rock enthusiasts. Gold Rush is the first book of its kind to feature a celebration of the great single songs of the rock era and beyond. Gold Rush takes thousands of songs, spanning three centuries, and brings them back uniquely as if they came out just yesterday. Gold Rush unites the Anglo-American and later worldwide spirit of Rock and Roll in a tapestry of interconnected melodies and adventures. As Leonard Maltin's Movie Guide helps you select videos at Blockbuster, so Gold Rush is a powerful playlist for your music collection, with many new and fascinating photos of favorite stars. Gold Rush explains the most important stories behind the songs you picked to be played, the songs that 'went gold,' from the 1897 Alaska/Klondike Gold Rush to the #1 songs of today and beyond.
Touring Performance and Global Exchange 1850-1960 by Gilli Bush-Bailey,Kate Flaherty Pdf
This collection uncovers connections and coincidences that challenge the old stories of pioneering performers who crossed the Atlantic and Pacific oceans from the mid-nineteenth to the mid-twentieth century. It investigates songlines, drama, opera, music theatre, dance, and circus—removing traditional boundaries that separate studies of performance, and celebrating difference and transformation in style, intention, and delivery. Well known, or obscure, travelling performers faced dangers at sea and hazardous journeys across land. Their tracks, made in pursuit of fortune and fame, intersected with those made by earlier storytellers in search for food. Touring Performance and Global Exchange takes a fresh look at such tracks—the material remains—demonstrating that moving performance does far more than transfer repertoires and people; it transforms them. Touring performance has too often beenconceived in diasporic terms, as a fixed product radiating out from a cultural centre. This collection maps different patterns—ones that comprise reversed flows, cross currents, and continually proliferating centres of meaning in complex networks of global exchange. This collection will be of great interest to scholars and students in theatre, music, drama studies, and cultural history.
The great nineteenth-century stage actor Edwin Booth began his long career in 1849 as a young teenager, following in his father's footsteps. This biography traces his life and career as a tragic actor, including his childhood; his early acting tours of California, Australia and Hawaii; his rise to fame as a touring star; his two marriages; his relationship with his brother John Wilkes Booth; his disastrous management of Booth's Theatre in New York City; and his death in 1891. The book includes an extensive performance history detailing every known Edwin Booth performance during his more than 30 years on the stage, with reviews and other supplementary materials.
Lakota Performers in Europe by Steve Friesen,François Chladiuk Pdf
From April to November 1935 in Belgium, fifteen Lakotas enacted their culture on a world stage. Wearing beaded moccasins and eagle-feather headdresses, they set up tepees, danced, and demonstrated marksmanship and horse taming for the twenty million visitors to the Brussels International Exposition, a grand event similar to a world’s fair. The performers then turned homeward, leaving behind 157 pieces of Lakota culture that they had used in the exposition, ranging from costumery to weaponry. In Lakota Performers in Europe, author Steve Friesen tells the story of these artifacts, forgotten until recently, and of the Lakota performers who used them. The 1935 exposition marked a culmination of more than a century of European travel by American Indian performers, and of Europeans’ fascination with Native culture, fanned in part by William F. “Buffalo Bill” Cody’s Wild West from the late 1800s through 1913. Although European newspaper reports often stereotyped Native performers as “savages,” American Indians were drawn to participate by the opportunity to practice traditional aspects of their culture, earn better wages, and see the world. When the organizers of the 1935 exposition wanted to include an American Indian village, Sam Lone Bear, Thomas and Sallie Stabber, Joe Little Moon, and other Lakotas were eager to participate. By doing this, they were able to preserve their culture and influence European attitudes toward it. Friesen narrates these Lakotas' experiences abroad. In the process, he also tells the tale of collector François Chladiuk, who acquired the Lakotas’ artifacts in 2004. More than 300 color and black-and-white photographs document the collection of items used by the performers during the exposition. Friesen portrays a time when American Indians—who would not long after return to Europe as allies and liberators in military garb—appeared on the international stage as ambassadors of the American West. Lakota Performers in Europe offers a complex view of a vibrant culture practiced and preserved against tremendous odds.
Native Performers in Wild West Shows by Linda Scarangella McNenly Pdf
Now that the West is no longer so wild, it’s easy to dismiss Buffalo Bill Cody’s world-famous Wild West shows as promoters of stereotypes and clichés. But looking at this unique American genre from the Native American point of view provides thought-provoking new perspectives. Focusing on the experiences of Native performers and performances, Linda Scarangella McNenly begins her examination of these spectacles with Buffalo Bill’s 1880s pageants. She then traces the continuing performance of these acts, still a feature of regional celebrations in both Canada and the United States—and even at Euro Disney. Drawing on interviews with contemporary performers and descendants of twentieth-century performers, McNenly elicits insider perspectives to suggest new interpretations of their performances and experiences; she also uses these insights to analyze archival materials, especially photographs. Some Native performers saw Wild West shows not necessarily as demeaning, but rather as opportunities—for travel, for employment, for recognition, and for the preservation and expression of important cultural traditions. Other Native families were able to guide their own careers and even create their own Wild West shows. Today, Native performers at Buffalo Bill Days in Sheridan, Wyoming, wear their own regalia and choreograph their own performances. Through dancing and music, they express their own vision of a contemporary Native identity based on powwow cultures. Proud of their skills and successes, Native performers at Euro Disney are establishing promising careers. The effects of colonialism are undeniable, yet McNenly’s study reveals how these Native peoples have adapted and re-created Wild West shows to express their own identities and to advance their own goals.
Theories of Performance invites students to explore the possibilities of performance for creating, knowing, and staking claims to the world. Each chapter surveys, explains, and illustrates classic, modern, and postmodern theories that answer the questions, "What is performance?" "Why do people perform?" and "How does performance constitute our social and political worlds?" The chapters feature performance as the entry point for understanding texts, drama, culture, social roles, identity, resistance, and technologies.
A book about how Shakespeare became fascinated with the world, and how the world became fascinated with Shakespeare Ranging ambitiously across four continents and four hundred years, Worlds Elsewhere is an eye-opening account of how Shakespeare went global. Seizing inspiration from the playwright’s own fascination with travel, foreignness, and distant worlds—worlds Shakespeare never himself explored—Andrew Dickson takes us on an extraordinary journey: from Hamlet performed by English actors tramping through the Baltic states in the early sixteen hundreds to the skyscrapers of twenty-first-century Beijing and Shanghai, where “Shashibiya” survived Mao’s Cultural Revolution to become a revered Chinese author. En route, Dickson traces Nazi Germany’s strange love affair with, and attempted nationalization of, the Bard, and delves deep into the history of Bollywood, where Shakespearean stories helped give birth to Indian cinema. In Johannesburg, we discover how Shakespeare was enlisted in the fight to end apartheid. In nineteenth-century California, we encounter shoestring performances of Richard III and Othello in the dusty mining camps and saloon bars of the Gold Rush. No other writer’s work has been performed, translated, adapted, and altered in such a remarkable variety of cultures and languages. Both a cultural history and a literary travelogue, Worlds Elsewhere is an attempt to understand how Shakespeare has become the international phenomenon he is—and why.
Women on Southern Stages, 1800-1865 by Robin O. Warren Pdf
Women played an integral role in the theater of the Antebellum and Civil War South. Yet their contributions have largely been overlooked by history. Southern actresses were important public figures who helped mold gender identity through their theatrical performances. Although cast in parts written by men, they subverted the norms of femininity in their public personas and in their personal lives. Educated and often wealthy but never accepted by the landed elite, women distinguished themselves by carving out an in-between class status, and many proved to be sophisticated entrepreneurs. Southern actresses also helped shape racial perceptions and regional politics as the South entered the Civil War.
From the author of Hellacious California!, deeply human stories of the California Gold Rush generation, full of brutality, tragedy, humor, and prosperity. In less than ten years, more than 300,000 people made the journey to California, some from as far away as Chile and China. Many of them were dreamers seeking a better life, like Mifflin Wistar Gibbs, who eventually became the first African American judge, and Eliza Farnham, an early feminist who founded California's first association to advocate for women's civil rights. Still others were eccentrics—perhaps none more so than San Francisco's self-styled king, Norton I, Emperor of the United States. As Gold Rush Stories relates the social tumult of the world rushing in, so too does it unearth the environmental consequences of the influx, including the destructive flood of yellow ooze (known as “slickens”) produced by the widespread and relentless practice of hydraulic mining. In the hands of a native son of the Sierra, these stories and dozens more reveal the surprising and untold complexities of the Gold Rush. “Seamlessly fuses academic rigor, original reporting and emotional intensity into one meditation on an era.... If the task of the historian is to be faithful to lost truths, then Noy's latest exploration succeeds on every level, and does so in a way that will keep readers wanting to dig deeper into the past.”—Scott Thomas Anderson, Sierra Lodestar “An original and lively look at all the usual suspects, plus bears, weather, women, Joaquín, disappointment and dissipation…. Exhaustively researched and highly entertaining.”—JoAnn Levy, author of They Saw the Elephant: Women in the California Gold Rush
The North American Folk Music Revival: Nation and Identity in the United States and Canada, 1945–1980 by Gillian Mitchell Pdf
This work represents the first comparative study of the folk revival movement in Anglophone Canada and the United States and combines this with discussion of the way folk music intersected with, and was structured by, conceptions of national affinity and national identity. Based on original archival research carried out principally in Toronto, Washington and Ottawa, it is a thematic, rather than general, study of the movement which has been influenced by various academic disciplines, including history, musicology and folklore. Dr Gillian Mitchell begins with an introduction that provides vital context for the subject by tracing the development of the idea of 'the folk', folklore and folk music since the nineteenth century, and how that idea has been applied in the North American context, before going on to examine links forged by folksong collectors, artists and musicians between folk music and national identity during the early twentieth century. With the 'boom' of the revival in the early sixties came the ways in which the movement in both countries proudly promoted a vision of nation that was inclusive, pluralistic and eclectic. It was a vision which proved compatible with both Canada and America, enabling both countries to explore a diversity of music without exclusiveness or narrowness of focus. It was also closely linked to the idealism of the grassroots political movements of the early 1960s, such as integrationist civil rights, and the early student movement. After 1965 this inclusive vision of nation in folk music began to wane. While the celebrations of the Centennial in Canada led to a re-emphasis on the 'Canadianness' of Canadian folk music, the turbulent events in the United States led many ex-revivalists to turn away from politics and embrace new identities as introspective singer-songwriters. Many of those who remained interested in traditional folk music styles, such as Celtic or Klezmer music, tended to be very insular and conservative in their approach, rather than linking their chosen genre to a wider world of folk music; however, more recent attempts at 'fusion' or 'world' music suggest a return to the eclectic spirit of the 1960s folk revival. Thus, from 1945 to 1980, folk music in Canada and America experienced an evolving and complex relationship with the concepts of nation and national identity. Students will find the book useful as an introduction, not only to key themes in the folk revival, but also to concepts in the study of national identity and to topics in American and Canadian cultural history. Academic specialists will encounter an alternative perspective from the more general, broad approach offered by earlier histories of the folk revival movement.
Hawaiian Music in Motion explores the performance, reception, transmission, and adaptation of Hawaiian music on board ships and in the islands, revealing the ways both maritime commerce and imperial confrontation facilitated the circulation of popular music in the nineteenth century. James Revell Carr draws on journals and ships' logs to trace the circulation of Hawaiian song and dance worldwide as Hawaiians served aboard American and European ships. He also examines important issues like American minstrelsy in Hawaii and the ways Hawaiians achieved their own ends by capitalizing on Americans' conflicting expectations and fraught discourse around hula and other musical practices.