The long-awaited return of Chief Superintendent Frederick Troy is set against the backdrop of London's East End, now increasingly dominated by the new post-war gangs of the late 1950s.

The third in a set of three integrated listening programs. Teaches students how to listen to music and identity themes and other characteristics which help them appreciate the music. Accompanying texts provide active participation experiences for the students.

There are four rules to the old, painted music box:Wind the box three times only. Never wind the boxwhile the music plays. Never shut the box while themusic plays. Never move the box until the musicstops.Leo wouldn't dream of breaking these rules, but hisstubborn cousin Mimi never does what she's told.She winds the box four times--and suddenly thepaintings on its side come to life and a powerfulwitch is released. Now Leo and Mimi must stop thewitch, if only they can find the key to the musicbox--and the magical world it contains.

Dave Brubeck's Time Out ranks among the most popular, successful, and influential jazz albums of all time. Released by Columbia in 1959, alongside such other landmark albums as Miles Davis's Kind of Blue and Charles Mingus's Mingus Ah Um, Time Out became one of the first jazz albums to be certified platinum, while its featured track, "Take Five," became the best-selling jazz single of the twentieth century, surpassing one million copies. In addition to its commercial successes, the album is widely recognized as a pioneering endeavor into the use of odd meters in jazz. With its opening track "Blue Rondo la Turk" written in 9/8, its hit single "Take Five" in 5/4, and equally innovative uses of the more common 3/4 and 4/4 meters on other tracks, Time Out has played an important role in the development of modern jazz. In this book, author Stephen A. Crist draws on nearly fifteen years of archival research to offer the most thorough examination to date of this seminal jazz album. Supplementing his research with interviews with key individuals, including Brubeck's widow Iola and daughter Catherine, as well as interviews conducted with Brubeck himself prior to his passing in 2012, Crist paints a complete picture of the album's origins, creation, and legacy. Couching careful analysis of each of the album's seven tracks within historical and cultural contexts, he offers fascinating insights into the composition and development of some of the album's best-known tunes. From Brubeck's 1958 State Department-sponsored tour, during which he first encountered the Turkish aksak rhythms that would form the basis of "Blue Rondo la Turk," to the backstage jam session that planted the seeds for "Take Five," Crist sheds an exciting new light on one of the most significant albums in jazz history.

You are not going to believe this arrangement! Calvin Custer has masterfully interpreted Dave Brubeck's classic jazz piece, creating a marvelous version for your jazz band that is really not that difficult. Effortlessly moving from 9/8 to 4/4 swing, this great chart features trumpet and alto sax solos in the middle section, followed by a full band shout leading back to the head. This is simply one of the best arrangements we have ever heard! (3: 21)

Dave Brubeck's Time Out ranks among the most popular, successful, and influential jazz albums of all time. Released by Columbia in 1959, alongside such other landmark albums as Miles Davis's Kind of Blue and Charles Mingus's Mingus Ah Um, Time Out became one of the first jazz albums to be certified platinum, while its featured track, "Take Five," became the best-selling jazz single of the twentieth century, surpassing one million copies. In addition to its commercial successes, the album is widely recognized as a pioneering endeavor into the use of odd meters in jazz. With its opening track "Blue Rondo à la Turk" written in 9/8, its hit single "Take Five" in 5/4, and equally innovative uses of the more common 3/4 and 4/4 meters on other tracks, Time Out has played an important role in the development of modern jazz. In this book, author Stephen A. Crist draws on nearly fifteen years of archival research to offer the most thorough examination to date of this seminal jazz album. Supplementing his research with interviews with key individuals, including Brubeck's widow Iola and daughter Catherine, as well as interviews conducted with Brubeck himself prior to his passing in 2012, Crist paints a complete picture of the album's origins, creation, and legacy. Couching careful analysis of each of the album's seven tracks within historical and cultural contexts, he offers fascinating insights into the composition and development of some of the album's best-known tunes. From Brubeck's 1958 State Department-sponsored tour, during which he first encountered the Turkish aksak rhythms that would form the basis of "Blue Rondo à la Turk," to the backstage jam session that planted the seeds for "Take Five," Crist sheds an exciting new light on one of the most significant albums in jazz history.

In A Kiss across the Ocean Richard T. Rodríguez examines the relationship between British post-punk musicians and their Latinx audiences in the United States since the 1980s. Melding memoir with cultural criticism, Rodríguez spotlights a host of influential bands and performers including Siouxsie and the Banshees, Adam Ant, Bauhaus, Soft Cell, Frankie Goes to Hollywood, and Pet Shop Boys. He recounts these bands’ importance for him and other Latinx kids and discusses their frequent identification with these bands’ glamorous performance of difference. Whether it was Siouxsie Sioux drawing inspiration from Latinx contemporaries and cultural practices or how Soft Cell singer Marc Almond’s lyrics were attuned to the vibrancy of queer Latinidad, Rodríguez shows how Latinx culture helped shape British post-punk. He traces the fandom networks that link these groups across space and time to illuminate how popular music establishes and facilitates intimate relations across the Atlantic. In so doing, he demonstrates how the music and styles that have come to define the 1980s hold significant sway over younger generations equally enthused by their matchlessly pleasurable and political reverberations.

Samantha Irby meets Bettyville in this darkly funny and poignant memoir about love, loss, Alzheimer's, and reviving her father's pornographic writing career, from writer and Mortified liveproducer Sara Faith Alterman. Twelve-year-old Sara enjoyed an G-rated existence in suburban New England, filled with over-the-top birthday cakes, Revolutionary War reenactments, and nerdy word games invented by her prudish father, Ira. But Sara's world changed for the icky when she discovered that Ira had been shielding her from the truth: that he was a campy sex writer who'd sold millions of books in multiple languages, including the wildly popular Games You Can Play with Your Pussy. Which was, to the naïve Sara's horror, not a book about cats. For decades the books remained an unspoken family secret, until Ira developed early onset Alzheimer's disease . . . and announced he'd be reviving his writing career. With Sara's help. In this cringeworthy, hilarious, and moving memoir, Sara shares the profound experience of discovering new facets of her father; once as a child, and again as an adult. Let's Never Talk About This Again is a must-read confessional from a woman who spent years trying to find humor in the perverse and optimism in the darkness, and succeeded.

Propelled by the unlikely hit “Take Five,” the pianist’s 1959 classic Time Out! was the first jazz album to earn platinum status, making it one of only eight platinum records in jazz history. Born as an experiment in time signatures and eclectic musical styles the artist encountered while traveling abroad, Time Out! moved the genre forward and became one of the most influential albums of all time. What was it about this subtle, artsy session that captured the ears of both hardcore jazz fans and casual listeners alike? Why did Brubeck, a bespectacled intellectual who seemingly wasn’t as hip as Davis and Coltrane, become a legitimate mainstream star in a genre not known for stardom? Author and bassist Alan Goldsher delves into Brubeck’s classic record, examining why the album and the pianist caught the zeitgeist, and measuring its continuing impact on music of all styles. Engaging and informative, Digging Dave Brubeck and Time Out! pays homage to one of the most vital, most enduring recordings in jazz history.

Corrupted by Spandau. Slated by Boy George. Mothered by Sade. Evicted by Bananarama. Jilted by Madonna. Author, columnist and TV writer Paul Simper had a front-row seat at one of pop stardom’s most exciting shows: the 1980s. His memoir, Pop Stars in My Pantry, is an account of a wide-eyed, wet-behind-the-ears lad from Wiltshire landing in London just as the capital’s club scene went into orbit. As a pop writer and fellow clubber, he had unique access to the artists who would become the biggest pop acts of the decade. On any given day, he might be required to fly a reader to the other side of the world to hang out with Spandau Ballet, accompany Bananarama’s Keren and Wham!’s George Michael on a blind date, help Frankie Goes to Hollywood chuck furniture out of TV studio windows in Rome, watch Boy George styling and flirting with Paul Weller in fake furs, or walk off into the sunset with a newbie called Madonna. It is also the tale of his own attempts at pop stardom with the help of former ’Nana Miss Jacqueline O’Sullivan and an unexpected bonus career as a showbiz party DJ for the likes of Prince, Whitney, Elton and even Al Pacino. This is an endlessly entertaining, behind-the-scenes ride – the ultimate back-stage pass – for 1980s pop enthusiasts and lovers of Smash Hits ... from the man who saw it all.