Ursula Becker's operatic star is on the rise in Nazi Berlin...until she discovers that she is one-quarter Jewish, a mischling of the second degree. Although Hitler is aware of her lineage, her popularity and exquisite voice protect her and her family from persecution. As Ursula's violin-prodigy half-sister comes of age, she comes to the attention of the Führer, who welcomes the awestruck teenager into his elite, private circle. When William Patrick Hitler arrives in Germany and is offered employment by his doting Uncle Adolf, a chance encounter with Ursula leads to a romantic relationship that further shields the young diva from mistreatment. But for how long? Restrictions on Hitler's perceived enemies tighten, and Ursula is ordered to sing at Hitler's Berghof estate. There she throws down a gauntlet that unleashes the wrath of the vindictive megalomaniacal leader. Fearing for her life, Ursula and Willy decide to emigrate to England. But as the ship is about to sail, Ursula disappears. Desperately hoping that Ursula is still alive, Willy crosses the globe in an effort to find her, even as his obsessive uncle taunts him, relishing in the horror of the murderous cat-and-mouse game.

An ardent follower of a famous modern prima donna relates information obtained from the singer and her friends and relatives on the struggles, loves, sorrows, and joys of her life and international career

Cosmopolitan Spaces in Odesa: A Case Study of an Urban Context is the first book to explore Odesa’s cosmopolitan spaces in an urban context from the nineteenth to twenty-first centuries. Leading scholars shed new light on encounters between Jewish, Ukrainian, and Russian cultures. They debate different understandings of cosmopolitanism as they are reflected in Odesa’s rich multilingual culture, ranging from intellectual history and education to music, opera, and literature. The issues of language and interethnic tensions, imperialist repression, and language choice are still with us today. Moreover, the book affords a historical view of what lay behind the Odesa myth, as well as insights into the Jewish and Ukrainian cultural revivals of the early twentieth century.

Winner of the 2007 National Book Critics Circle Award for Criticism A New York Times Book Review Top Ten Book of the Year Time magazine Top Ten Nonfiction Book of 2007 Newsweek Favorite Books of 2007 A Washington Post Book World Best Book of 2007 In this sweeping and dramatic narrative, Alex Ross, music critic for The New Yorker, weaves together the histories of the twentieth century and its music, from Vienna before the First World War to Paris in the twenties; from Hitler's Germany and Stalin's Russia to downtown New York in the sixties and seventies up to the present. Taking readers into the labyrinth of modern style, Ross draws revelatory connections between the century's most influential composers and the wider culture. The Rest Is Noise is an astonishing history of the twentieth century as told through its music.

Foreword by Ben Stiller Afterword by Perry Farrell Jewish achievement in the sciences? Celebrated. Jews in literature? Lionized. But until now, there's been no record of the massive contributions of Jews in Rock n' Roll. Jews Who Rock features 100 top Jewish rockers, from Bob Dylan to Adam Horowitz, Courtney Love (yes, she's half Jewish) to John Zorn, with a concise page of essential data and a biography of each one. Includes the complete lyrics to "The Chanukah Song" by Adam Sandler

In a bold rethinking of the Hollywood blacklist and McCarthyite America, Joseph Litvak reveals a political regime that did not end with the 1950s or even with the Cold War: a regime of compulsory sycophancy, in which the good citizen is an informer, ready to denounce anyone who will not play the part of the earnest, patriotic American. While many scholars have noted the anti-Semitism underlying the House Un-American Activities Committee’s (HUAC’s) anti-Communism, Litvak draws on the work of Theodor W. Adorno, Hannah Arendt, Alain Badiou, and Max Horkheimer to show how the committee conflated Jewishness with what he calls “comic cosmopolitanism,” an intolerably seductive happiness, centered in Hollywood and New York, in show business and intellectual circles. He maintains that HUAC took the comic irreverence of the “uncooperative” witnesses as a crime against an American identity based on self-repudiation and the willingness to “name names.” Litvak proposes that sycophancy was (and continues to be) the price exacted for assimilation into mainstream American culture, not just for Jews, but also for homosexuals, immigrants, and other groups deemed threatening to American rectitude. Litvak traces the outlines of comic cosmopolitanism in a series of performances in film and theater and before HUAC, performances by Jewish artists and intellectuals such as Zero Mostel, Judy Holliday, and Abraham Polonsky. At the same time, through an uncompromising analysis of work by informers including Jerome Robbins, Elia Kazan, and Budd Schulberg, he explains the triumph of a stoolpigeon culture that still thrives in the America of the early twenty-first century.

Alex Ross, renowned New Yorker music critic and author of the international bestseller and Pulitzer Prize finalist The Rest Is Noise, reveals how Richard Wagner became the proving ground for modern art and politics—an aesthetic war zone where the Western world wrestled with its capacity for beauty and violence. For better or worse, Wagner is the most widely influential figure in the history of music. Around 1900, the phenomenon known as Wagnerism saturated European and American culture. Such colossal creations as The Ring of the Nibelung, Tristan und Isolde, and Parsifal were models of formal daring, mythmaking, erotic freedom, and mystical speculation. A mighty procession of artists, including Virginia Woolf, Thomas Mann, Paul Cézanne, Isadora Duncan, and Luis Buñuel, felt his impact. Anarchists, occultists, feminists, and gay-rights pioneers saw him as a kindred spirit. Then Adolf Hitler incorporated Wagner into the soundtrack of Nazi Germany, and the composer came to be defined by his ferocious antisemitism. For many, his name is now almost synonymous with artistic evil. In Wagnerism, Alex Ross restores the magnificent confusion of what it means to be a Wagnerian. A pandemonium of geniuses, madmen, charlatans, and prophets do battle over Wagner’s many-sided legacy. As readers of his brilliant articles for The New Yorker have come to expect, Ross ranges thrillingly across artistic disciplines, from the architecture of Louis Sullivan to the novels of Philip K. Dick, from the Zionist writings of Theodor Herzl to the civil-rights essays of W.E.B. Du Bois, from O Pioneers! to Apocalypse Now. In many ways, Wagnerism tells a tragic tale. An artist who might have rivaled Shakespeare in universal reach is undone by an ideology of hate. Still, his shadow lingers over twenty-first century culture, his mythic motifs coursing through superhero films and fantasy fiction. Neither apologia nor condemnation, Wagnerism is a work of passionate discovery, urging us toward a more honest idea of how art acts in the world.

The surprising history of cosmetic surgery—and America's quest for physical perfection—from the turn of the century to the present. Face lifts, nose jobs, breast implants, liposuction, collagen injections—the body at the end of the twentieth century has become endlessly mutable, and surgical alteration has become an accepted part of American culture. In Venus Envy, Elizabeth Haiken traces the quest for physical perfection through surgery from the turn of the century to the present. Drawing on a wide array of sources—personal accounts, medical records, popular magazines, medical journals, and beauty guides—Haiken reveals how our culture came to see cosmetic surgery as a panacea for both individual and social problems.