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The blacklisted opera singer by Michael Kennedy Pdf
The Kennedy's the first act to be sent home in the third round of Britain's Got Talent 2009. In fact, the first act to be shown on film leaving the room of the grand staircase in Lancaster House. The Kennedy's the act; Michael, Emily, Joseph and Adam. We sang Panis Angelicus and were judged by Simon Cowell Piers Morgan Kelly Brook and Amanda Holden. This is an autobiographical account of his singing life up to press. winner of Wharfedale Music festival operatic solo class, Skipton Music festival tenor class has played many cameo roles in opera and shows. Ten times winner of the Queens Hotel talent competition in Blackpool. He has performed the tenor roles in the oratorios Messiah (Handel) the Crucifixion (Stainer) and Magnificat (Pergolesi). Michael has also gained popularity on the internet and many recorded examples exist on sites all over the cyber world. Notably he is also featured on the URDB website smashing all sorts of singing records.
An account of how the subterranean nightspots in 1950s New York and San Francisco became social, cultural, and political hothouses for left-wing bohemians. The art and antics of rebellious figures in 1950s American nightlife—from the Beat Generation to eccentric jazz musicians and comedians—have long fascinated fans and scholars alike. In The Rebel Café, Stephen R. Duncan flips the frame, focusing on the New York and San Francisco bars, nightclubs, and coffeehouses from which these cultural icons emerged. Duncan shows that the sexy, smoky sites of bohemian Greenwich Village and North Beach offered not just entertainment but doorways to a new sociopolitical consciousness. This book is a collective biography of the places that harbored beatniks, blabbermouths, hipsters, playboys, and partisans who altered the shape of postwar liberal politics and culture. Touching on literary figures from Norman Mailer and Amiri Baraka to Susan Sontag as well as performers ranging from Dave Brubeck to Maya Angelou to Lenny Bruce, The Rebel Café profiles hot spots such as the Village Vanguard, the hungry i, the Black Cat Cafe, and the White Horse Tavern. Ultimately, the book provides a deeper view of 1950s America, not simply as the black-and-white precursor to the Technicolor flamboyance of the sixties but as a rich period of artistic expression and identity formation that blended cultural production and politics. “What emerges in these pages is nothing less than a comprehensive psycho-social geography of an underground counter-culture of black and white jazz musicians, leftists, poets, artists, beatniks, gays and lesbians and other people of the demi-monde.” —All About Jazz
Kurt Weill: The Threepenny Opera by Stephen Hinton Pdf
This is a book on the best known of the Weill-Brecht collaborations which explores the extent and significance of the composer's contribution. After a detailed reconstruction of the work's genesis and continued revision over three decades, Stephen Hinton examines the spin-offs on which Weill and Brecht participated: the instrumental suite, the film, the lawsuit, the novel, and the musical and textual revisions of songs. In a survey of the stage history, Hinton pays particular attention to pioneering productions in Germany and Great Britain. Kim Kowalke provides an exhaustive account of the history of The Threepenny Opera in America, Geoffrey Abbott addresses questions concerning authentic performance practice, and David Drew analyses large-scale motivic relationships in the music. Among the earliest writings on the work reprinted here, those by Theodor W. Adorno, Ernst Bloch and Walter Benjamin appear for the first time in English translation. The book contains numerous illustrations, a discography, and music examples.
Ruthless Rustanovs - The Complete Boxset Collection by Theodora Taylor Pdf
The complete collection of Theodora Taylor’s wildly popular Ruthless Rustanov novels, plus a very special preview from of BILLIE AND THE RUSTANOV BEAST, featuring Cheslav Rustanov! Alexei Her ex is back and he wants revenge. But what will he do when he finds out the real reason she dumped him… And about their secret baby? Revenge is best served SEXY Russian oligarch, Alexei Rustanov, wants nothing more than to leave his past behind, including the sassy Texas beauty, Eva St. James, who so callously broke his heart back when he was a poor grad student. But when he runs into her at a wedding eight years after their tumultuous break-up, passions ignite and Alexei decides he will settle for nothing less than red-hot, dirty, and oh-so-erotic revenge. Can he have his Eva and get his revenge, too — without losing his heart again? Nikolai This Ruthless Rustanov Plays to Win! When social worker, Sam McKinley meets hockey player, Nikolai Rustanov, it’s fire at first sight—a fire Sam totally runs away from as quickly as her heels can carry her. All Sam has ever wanted is a nice, normal family with a nice, normal man. The arrogant Russian hockey player who claims he doesn’t believe in love right before he offers to “eat her for breakfast,” is about as far from that as a girl can get. But some fires just can’t be put out. Soon after meeting Nikolai, Sam forms an unexpected bond with a tragically orphaned boy who turns out to be his nephew. And did we mention, Nikolai is ruthless? Determined to acquire the beautiful social worker as a caretaker for his previously unknown ward and a conquest for his bed, Nikolai moves Sam and her useless dog into his mansion. Sam is dead-set on running, but Nikolai is determined to catch her. And when he does, he’ll do just about anything to make her finally surrender to their blazing passion. Bair HIM: She showed up in my dark world and pulled me into her light. And then she ran away. For six long years, she kept herself hidden from me. She is my wife. My siren. My everlasting obsession. Did she really think I would just let her go? Nyet. She belongs to me, and now that I have found her, I will make her pay for destroying me. HER: He’s the domineering monster I had to escape. The only place him and me work right is in bed. And now that he’s found me, he’s determined to take every scrap of dignity I have left. So why can’t I stop wanting him? Needing him? Aching for him? He’s my husband. My keeper. My Beast. And I don’t have a chance in the world of getting out of our twisted relationship with my heart intact. READER BE WARNED, this is only for those who like their alphas beyond rough and psycho sexy. Do not—I tell you, DO NOT one-click unless you can handle the smoking hot heat. Ivan Beauty and the Rustanov Beast Sola: Ivan Rustanov is a total jackhole. He has no conscience, and he’s no holds barred dangerous–the kind of guy you just know has a body count in his back story. And now he’s forcing me to stay in his remote mountain home as his prisoner until Spring. He wants me in his bed, but that will NEVER happen. I hate him. Or at least I should. Shouldn’t I? Ivan: A few years ago, having a curvy prisoner in my home wouldn’t have been a problem. A few years ago I wasn’t broken, damaged beyond all repair. I thought I was dead inside… until she came along and awakened me in ways I never thought were possible for a brute like me. But what will become of us when her past and mine collide? Can a monster like me ever become the man she deserves? ***Plus, a very special preview of BILLIE AND THE RUSTANOV BEAST, featuring Cheslav Rustanov!*****
During the era often commonly known as McCarthyism, many motion picture and television creators were blacklisted for supposed communist ties. There remained, however, a creative outlet that still welcomed these artists--theatre. This book explores the role theatre played during this turbulent period, covering the formation of the Theatre Guild (which birthed the Group Theatre), the short-lived Federal Theatre Project, and the investigations of the motion picture and television industries, and Broadway, by the House Un-American Activities Committee (HUAC). Appendices discuss McCarthy's role and present the memos of investigator Dolores Faconti Scotti, along with a list of prominent witnesses in HUAC's Broadway hearings, and reactions by artists' unions in the decades following the blacklist.
The political control of music in the Third Reich has been analysed from several perspectives, and with ever increasing sophistication. However, music in Germany after 1945 has not received anything like the same treatment. Rather, there is an assumption that two separate musical cultures emerged in East and West alongside the division of Germany into two states with differing economic and political systems. There is a widely accepted view of music in West Germany as 'free', and in the East subject to party control. Toby Thacker challenges these assumptions, asking how and why music was controlled in Germany under Allied Occupation from 1945-1949, and in the early years of 'semi-sovereignty' between 1949 and 1955. The 're-education' of Germany after the Hitler years was a unique historical experiment and the place of music within this is explored here for the first time. While emphasizing political, economic and broader social structures that influenced the production and reception of different musical forms, the book is informed by a sense of human agency, and explores the role of salient individuals in the reconstruction of music in post-war Germany. The focus is not restricted to any one kind of music, but concentrates on those aspects of music, professional and amateur, live and recorded, which appeared to be the mostly highly charged politically to contemporaries. Particular attention is given to 'denazification' and to the introduction of international music. Thacker traces the development of a divide between Communist and liberal-democratic understandings of the place of music in society. The contested celebrations of the Bach Year in 1950 are used to highlight the role of music in the broader cultural confrontation between East and West. Thacker examines the ways in which central governments in East and West Germany sought to control and influence music through mechanisms of censorship and positive support. The book will therefore be of interest not only
Kiss the Blood Off My Hands by Robert Miklitsch Pdf
Consider the usual view of film noir: endless rainy nights populated by down-at-the-heel boxers, writers, and private eyes stumbling toward inescapable doom while stalked by crooked cops and cheating wives in a neon-lit urban jungle. But a new generation of writers is pushing aside the fog of cigarette smoke surrounding classic noir scholarship. In Kiss the Blood Off My Hands: On Classic Film Noir, Robert Miklitsch curates a bold collection of essays that reassesses the genre's iconic style, history, and themes. Contributors analyze the oft-overlooked female detective and little-examined aspects of filmmaking like love songs and radio aesthetics, discuss the significance of the producer and women's pulp fiction, and investigate topics as disparate as Disney noir and the Fifties heist film, B-movie back projection and blacklisted British directors. At the same time the writers' collective reconsideration shows the impact of race and gender, history and sexuality, technology and transnationality on the genre. As bracing as a stiff drink, Kiss the Blood Off My Hands writes the future of noir scholarship in lipstick and chalk lines for film fans and scholars alike. Contributors: Krin Gabbard, Philippa Gates, Julie Grossman, Robert Miklitsch, Robert Murphy, Mark Osteen, Vivian Sobchack, Andrew Spicer, J. P. Telotte, and Neil Verma.
Gioachino Rossini's the Barber of Seville by Hilary Poriss Pdf
Introduction. "Bravo Figaro, Bravo Bravissimo!" -- A Whirlwind of Change -- Early Revivals : Almaviva, Bartolo, and Their Many Ways -- The World of Rosina and the Prima Donna's Playground -- A Return to Rossini -- The Untethered Splendor of Il barbiere di Siviglia.
Investigation of Communist Activities in the Ohio Area (testimony of Keve Bray) by United States. Congress. House. Committee on Un-American Activities Pdf
Hearing[s] Before the Committee on Un-American Activities, House of Representatives, Eighty-fourth Congress, First-second Sessions by United States. Congress. House. Committee on Un-American Activities Pdf
Classical music was central to German national identity in the early twentieth century. The preeminence of composers such as Bach and Beethoven and artists such as conductor Wilhelm Furtwangler and pianist Walter Gieseking was cited by the Nazis as justification for German expansionism and as evidence of Aryan superiority. In the minds of many Americans, further German aggression could be prevented only if the population's faith in its moral and cultural superiority was shattered. In Settling Scores, David Monod examines the attempted "denazification" of the German music world by the Music Control Branch of the Information Control Division of Military Government. The occupying American forces barred from the stage and concert hall all former Nazi Party members and even anyone deemed to display an "authoritarian personality." They also imported European and American music. These actions, however, divided American officials and outraged German audiences and performers. Nonetheless, the long-term effects were greater than has been previously recognized, as German government officials regained local control and voluntarily limited their involvement in artistic life while promoting "new" (anti-Nazi) music.
