The Broadway tomboys, rebel nuns, and funny girls, who upset the 1950s gender norms: Mary Martin, Ethel Merman, Julie Andrews, and Barbra Streisand

A Labour Whip once revealed that in their office they sang songs about certain backbenchers. In the case of the Member for Maryhill, their choice was 'How Do You Solve A Problem Like Maria? 'A frank account of fourteen years in Westminister from the rebellious Maria Fyfe - the only female Labour MP in Scotland when she was first elected. Fyfe recounts some of the most significant moments of her political career, from the frustrating and infuriating, to the rewarding and worthwhile. A significant aim of writing this book was to set the record straight on that period in our UK Parliament. Another aim was to encourage interest in a political life when widespread cynicism discourages good people from thinking about it. MARIA FYFE Covering some of the most turbulent years of British and Scottish political history, A Problem Like Maria takes the female's perspective of life as an MP in the male-dominated Westminister. This book reaches the parts of politics some people hope you never reach. The intimidating Maria Fyfe sounds like strong Scottish domestic drama. Edward Pearce, LONDON EVENING STANDARD The terrifying Maria Fyfe stamped in ... her of the sharpened claws. Matthew Parris, THE TIMES An incorrigible Bevanite. THE OBSERVER

Anecdotes and illustrations accompany music Maria von Trapp and her siblings sang during their childhood.

Recipient of the 2020 Lewis Lockwood Award from the American Musicological Society What are the uses of musical exoticism? In Wild Music, Maria Sonevytsky tracks vernacular Ukrainian discourses of "wildness" as they manifested in popular music during a volatile decade of Ukrainian political history bracketed by two revolutions. From the Eurovision Song Contest to reality TV, from Indigenous radio to the revolution stage, Sonevytsky assesses how these practices exhibit and re-imagine Ukrainian tradition and culture. As the rise of global populism forces us to confront the category of state sovereignty anew, Sonevytsky proposes innovative paradigms for thinking through the creative practices that constitute sovereignty, citizenship, and nationalism.

Recounts the history of the Von Trapp family, traces the evolution of the popular musical from stage to screen, and describes the contributions of its composers, writers, and performers.

Drastic changes in lay religiosity during the High Middle Ages spurred anxiety about women forsaking their secular roles as wives and mothers for religious ones as nuns and beguines. This anxiety and the subsequent need to model an ideal of feminine behavior for the laity is particularly expressed in the German versions of Latin and French narratives. Using thirteenth-century penitentials, monastic exempla, and sermons, Karina Marie Ash clarifies how secular wifehood was recast as a quasi-religious role and, in German epics and romances from the late twelfth and early thirteenth centuries, how female characters are adapted to promote the salvific nature of worldly love in ways that echo the pastoral reevaluation of women at that time. Then she argues that mid and late thirteenth-century German literature not only reflects this impulse to idealize women's roles in lay society but also to promote an alternative model of femininity that deploys ways of privileging secular roles for women over religious ones. These continuously evolving readaptations of female protagonists across cultures and across centuries reflect fictive solutions for real historical concerns about women that not only complement contemporary pastoral and legal reforms but are also unique to medieval German literature.

Knowing who you are is crucial to wholeness; the loss of identity is the foundation of dehumanization. The modern-day epidemic of absentee fathers has created an identity crisis for the present generation. The loss of identity created by fathers who cannot adequately play their Godgiven roles in the lives of their children has culminated in the display of anger, bitterness, anxiety, domestic violence, and the public unrest that we witness daily in today's society. This book is an attempt to create a lasting fundamental, cultural, biblical, and spiritual solution that can fill in the vacuum. I have approached the topic, borrowing insight from an adage in my traditional Yoruba culture, which says, "Iya ni Wura, Baba ni Digi." This proverb depicts a mother as a piece of gold and a father as a mirror. What is the genealogy of a mirror? If fathers are mirrors, where do we turn to behold ourselves when the mirror is broken? How can a shattered mirror be restored? I was moved and impressed by the poignant and passionate account of Fr. Moses' experience of family, ancestral and present, whose cultural idealism so strongly and positively impacted his life. Children animate the gift of acceptance, "mirrored" in the life of Fr. Moses. He has shown the embodiment of that unconditional acceptance, as well as the strength affirmation he shows toward his peers, past and present. The grace of critical distance makes this possible. Bless you Moses for showing us your heart ~ Rev. Noble F. Scheepers Jesus tells us that we "are the light of the world." In The Mirror, Fr. Sowale brings us into a deeper understanding of how we, as lights, enable others to see themselves and how their light helps us to see ourselves. We are like mirrors, reflecting our own light and the light shown by others. We also, reflect in our lives, and see reflected from others, the light of God, the Father of us all. ~ Rev. Philip J. Kuhn The mirror is a book that has taken difficult questions of life and attempted to walk anyone through the journey of tackling these questions, using thought provoking questions. This is a book that will make you love who God has created you to be, it will help you get into alignment with your soul and celebrate where you are on your journey. Thank you Reverend Sowale for this powerfully articulated guide ~ Adekunle Afolabi

A Pulitzer Prize–winning journalist uses data, facts, and science to deliver hilarious, fascinating answers to some of the most famous questions in pop music history. “Is there life on Mars? Where have all the flowers gone? Pop songs can pose excellent questions and James Ball has given them the answers they deserve.”—The Times (UK) Some of the most famous questions of our time have come to us in pop songs. “What is love?” “How soon is now?” “How do you solve a problem like Maria?” But do you know the answers? Breaking down lyrics from Bob Dylan, Queen, Rihanna, the Ting Tings, Billy Joel, and a variety of other genre- and decade-spanning artists with colorful graphs and Venn diagrams,Pop Science reveals the exact points where lowbrow pop culture and the highest science and philosophy meet. By revealing the economic status of doggies in windows, what war is good for, and what becomes of the brokenhearted, James Ball uncovers what we have always known—that pop music is the key to life itself.

This text presents keywords and critical terms that deepen analysis and interpretation of the musical. Taking into account issues of composition, performance, and reception, the book's contributors bring a range of practical and theoretical perspectives to bear on their considerations of American musicals.

In a world of technological advancement, political correctness to the point of absurdity and bright vibrant colours. One man dares to live in sepia. Detective Joseph Quincy Kingly is back. And he’s back with inadvertence. When a dastardly murder is committed, Detective Kingly is the only person in the immediate area who can possibly solve the case. Of course, it won’t be that easy for the man who should be everyone’s favourite private eye. This time he must answer to the local police inspector Mary McCaskill, a no-nonsense, by-the-book cop with whom Kingly shares a sordid past. This will the biggest test of Detective Joseph Quincy Kingly’s abilities yet. Can he solve the case without being pulled into a predictable romantic sub-plot? Or is he in well over his hat once again?