In this very personal, fully illustrated book, the second part of her memories, Niki de Saint Phalle

"Difficult Ornaments is a book about six twentieth-century American poets, the mythical Florida they explored, and the American tropical style they created. Wallace Stevens, Marianne Moore, Elizabeth Bishop, James Merrill, and Harry Mathews compose a chain of friendship and influence. Only Laura (Riding) Jackson stands apart as a poet who renounced poetry and became a recluse on a citrus farm. In proximity to the tropics-nature's own laboratory of invention and experiment-the more fecund and experimental their poetry became. The ornaments of poetry correspond to the ornaments of nature, which is why the peacock, that most decorated of birds, features so prominently their work. These seven essays comprise a lyrical meditation on literary style that ranges through history and myth, in order to better understand the relationship between persons and places, weather and language, the climate of the planet and the climate of the mind"--

The story begins in the 1950s with two children, Tom and Cara, who live with their foster parents on a 12-acre farm in South Jersey. They are taught to help out on the farm, while pursuing their own interests and going to to school. Then, the children move to the North Shore of Staten Island wih their birth parents -- adjusting to parents with different rules and different values,making new friends, and participating in urban street games like stick ball and jump rope. Interspersed in the narrative are sketches of important people and events of that era -- Presidents Eisenhower and Kennedy, Jonas Salk, Billy Graham, Bill Wilson (AA), Dick Clark, and the Korean and Vietnam Wars. 1950s-1960s Fable is a fast-moving, upbeat story which is funny, sad, optimistic, and authentic, with larger-than- life characters who do not fret over life's misfortunes. The story is about conflict, endurance, and growth during an idealistic time in America's history.

The story of art is not always the story of art-historical 'isms' and complex academic debate. The real history is often the story of some very simple firsts - the first time an artist painted themselves, the first time someone painted a smile, the first actual place to be depicted, the first feminist artwork, the first anti-war work. Art evolves and revolutionises itself through these simple - but ground-breaking - creative leaps. Art Firsts brings together 30 of these pioneering firsts to piece together an original approach to looking at and appreciating art, as well as understanding where it has come from and how it relates to you. Each first is approachable and engaging, while each work is simply and satisfyingly explained. Every work is also fully illustrated, and its significance is shown through images of the subsequent artists directly inspired by them. Art Firsts offers a refreshing and fascinating narrative for those curious about why so-called 'masterpieces' are so important and how the story of art can be boiled down to flashes of fascinating brilliance.

While the 1960s may have been a decade of significant upheaval in America, it was also one of the richest periods in musical theatre history. Shows produced on Broadway during this time include such classics as Bye, Bye Birdie; Cabaret; Camelot; Hello Dolly!; Fiddler on the Roof; How to Succeed in Business without Really Trying; Oliver!; and Man of La Mancha. Performers such as Dick Van Dyke, Anthony Newley, Jerry Orbach, and Barbara Streisand made their marks, and other talents—such as Bob Fosse, John Kander, Fred Ebb, Alan Jay Lerner, Frederick Loewe, Jerome Robbins, and Stephen Sondheim—also contributed to shows. In The Complete Book of 1960s Broadway Musicals, Dan Dietz examines every musical and revue that opened on Broadway during the 1960s. In addition to providing details on every hit and flop, Dietz includes revivals and one-man and one-woman shows that centered on stars like Jack Benny, Maurice Chevalier, Marlene Dietrich, Danny Kaye, Yves Montand, and Lena Horne. Each entry consists of: Opening and closing dates Plot summaries Cast members Number of performances Names of all important personnel, including writers, composers, directors, choreographers, producers, and musical directors Musical numbers and the names of performers who introduced the songs Production data, including information about tryouts Source material Critical commentary Tony awards and nominations Details about London and other foreign productions In addition to entries for each production, the book offers numerous appendixes: a discography, film and television versions, published scripts, Gilbert and Sullivan operettas, and lists of productions by the New York City Center Light Opera Company, the New York City Opera Company, and the Music Theatre of Lincoln Center. A treasure trove of information,this significant resource will be of use to scholars, historians, and casual fans of one of the greatest decades in musical theatre history.

Sixty of the best songs of the early rock era, all chosen from Rolling Stone magazine's 500 Greatest Songs of All Time list. The songs are from the 1950s to the '60s, arranged for piano/vocal/chords. Many of these great songs were previously available only as "old-time" sheet music editions that did not accurately portray the classic recordings that made them famous. In preparing this songbook, Alfred Music took great care to revisit those recordings, replacing incorrect arrangements with new ones that allow pianists and singers to perform the songs in the style that landed them on the Rolling Stone 500. Also available: Rolling Stone Sheet Music Classics, Volume 2: 1970s--1990s. Similar editions are available arranged for easy guitar TAB, wind, and string instruments. Songs vary per instrument. Titles: * All Along the Watchtower * All I Have to Do Is Dream * Be-Bop-A-Lula * Blowin' in the Wind * Blueberry Hill * Both Sides Now * The Boxer * Brown Eyed Girl * Crazy * Crying * Earth Angel * Eight Miles High * Everyday People * For What It's Worth * Gimme Shelter * Gimme Some Lovin' * Gloria * Good Vibrations * Great Balls of Fire * (Your Love Keeps Lifting Me) Higher and Higher * Hit the Road Jack * Honky Tonk Women * Hoochie Coochie Man * Hound Dog * House of the Rising Sun * I Can See for Miles * I Want To Hold Your Hand * Jumpin' Jack Flash * The Letter * Like a Rolling Stone * Mr. Tambourine Man * Mustang Sally * My Generation * My Girl * The Night They Drove Old Dixie Down * Paint It Black * People Get Ready * Piece of My Heart * Respect * Rock Around the Clock * Ruby Tuesday * Runaway * (I Can't Get No) Satisfaction * Save the Last Dance for Me * Soul Man * Sound of Silence * Stand By Me * Summertime Blues * Sunshine of Your Love * Sympathy for the Devil * Times They Are A-Changin' * The Weight * What'd I Say * When a Man Loves a Woman * Whipping Post * White Room * A Whiter Shade of Pale * Whole Lotta Shakin' Goin On * You Can't Always Get What You Want * You Send Me

Standing at the intersection of Native history, labor, and representation, Picturing Indians presents a vivid portrait of the complicated experiences of Native actors on the sets of midcentury Hollywood Westerns. This behind-the-scenes look at costuming, makeup, contract negotiations, and union disparities uncovers an all-too-familiar narrative of racism and further complicates filmmakers' choices to follow mainstream representations of "Indianness." Liza Black offers a rare and overlooked perspective on American cinema history by giving voice to creators of movie Indians--the stylists, public relations workers, and the actors themselves. In exploring the inherent racism in sensationalizing Native culture for profit, Black also chronicles the little-known attempts of studios to generate cultural authenticity and historical accuracy in their films. She discusses the studios' need for actual Indians to participate in, legitimate, and populate such filmic narratives. But studios also told stories that made Indians sound less than Indian because of their skin color, clothing, and inability to do functions and tasks considered authentically Indian by non-Indians. In the ongoing territorial dispossession of Native America, Native people worked in film as an economic strategy toward survival. Consulting new primary sources, Black has crafted an interdisciplinary experience showcasing what it meant to "play Indian" in post-World War II Hollywood. Browse the author's media links.

In the aftermath of World War II, the United States experienced a rapid expansion of church and synagogue construction as part of a larger “religious boom.” The synagogues built in that era illustrate how their designs pushed the envelope in aesthetics and construction. The design of the synagogues departed from traditional concepts, embraced modernism and innovations in building technology, and evolved beyond the formal/rational style of early 1950s modern architecture to more of an expressionistic design. The latter resulted in abstraction of architectural forms and details, and the inclusion of Jewish art in the new synagogues. The Architecture of Modern American Synagogues, 1950s–1960s introduces an architectural analysis of selected modern American synagogues and reveals how they express American Jewry’s resilience in continuing their physical and spiritual identity, while embracing modernism, American values, and landscape. In addition, the book contributes to the discourse on preserving the recent past (e.g., mid 20th century architecture). While most of the investigations on that topic deal with the “brick & mortar” challenges, this book introduces preservation issues as a function of changes in demographics, in faith rituals, in building codes, and in energy conservation. As an introduction or a reexamination, The Architecture of Modern American Synagogues, 1950s–1960s offers a fresh perspective on an important moment in American Jewish society and culture as reflected in their houses of worship and adds to the literature on modern American sacred architecture. The book may appeal to Jewish congregations, architects, preservationists, scholars, and students in fields of studies such as architectural design, sacred architecture, American modern architecture and building technology, Post WWII religious and Jewish studies, and preservation and conservation.

It is the central contention of this book that Andrew John Young (1885-1971) is still seriously under-valued amongst twentieth-century poets, principally because he has been over-anthologised - and by implication, dismissed - as yet another 'nature' poet of the Georgian ilk. A re-assessment is long overdue. Omrod argues, by way of both biography and critical analysis, that Young is a great poet, a modern metaphysical, a poet's poet, whose idiolect is distinctive and whose 'individual talent' both links to yet subtly changes literary 'tradition.'