Me, Myself, and Oy! Is a collection of poetry and prose reflecting the authors life as a Radio City Rockette, actress, singer, English teacher, wife, mother of three sons, grandmother, daughter of ailing parents, owner of a dance studio, director, choreographer, writer of childrens books, and the struggle to balance all in her quest for love and acceptance. Ms. Bloomberg writes from her heart, with honesty and humor, even in the darkest moments of her life. Loneliness I know your name How often I have played your game I wear a smile to hide a tear And no one ever knows youre here.

Musical Characters: 1 male, 3 female Interior Set Book and Lyrics by Alan Ayckbourn. Music by Paul Todd. Mrs. Mary Yately is no run of the mill housewife-- she has been chosen by the Evening Echo as Mum of the Year. And, Mrs. Yately is no ordinary character in this brilliantly inventive new musical by Britain's comic master-- she is three separate personalities, played by three actresses. One actor plays all the men in Mary's life, all of whom are, shall we say, not on this world to make her life easier. "We know that Alan Ayckbourn writes more ingenious comedies than anyone else. Now, he is starting to write more ingenious musicals as well. Me, Myself and I offers more civilized pleasure than any other British musical I've seen this year."-- London Guardian. "Splendid, galloping music and rapid fire lyrics."-- London Standard.

This is a love story about a woman finding herself and self-love. Sometimes we have to lose everything and do what makes us happy in the moment to realize the most important things in our life and what we really never want to live without. I took my daily blogall the highs and lows, all the people I met, all the racy momentsand turned it into a book. I hope to inspire people to travel the world, travel solo, and no matter how bad the heartbreak is, things will always get better. Kim currently lives in Calgary, Alberta, Canada. She has a four-year-old Weimaraner dog, who she absolutely adores.

Ronnie Burkett has a bad habit of making the rest of theatre look unnecessary.- The National Post Canadian art academic Pity Beane travels to Europe to trace the trail of the subject of her obsession, a painting of a young man known simply as Tender. Now hidden in a Viennese brothel watched over by Leda Otenreath, a madam on the verge of madness, Pity finally sees the boy of her dreams.

The original publications of the 1930s are scarcely to be found. The posthumous 1962 volume in the Soviet Union was limited to a tiny edition. Yet the work of the man who has been called "the foremost authority on Jewish folk music before the Holocaust," Moshe Beregovski, survives and is now available for the first time to the English-speaking world. As a member of the Jewish community as well as an ethnomusicologist in prewar Russia, Beregovski had not only the inspiration to preserve the spirit and vitality of the music that filled the lives of his people but also the professional training to document his findings to exacting standards. The first section of SIobin's book contains translations of some of Beregovski's responses to Jewish folk music in its living context during the 1930s. He raises important questions about ethnicity in his essay on interaction between Ukrainian and Jewish musical influences. His work on klezmer music. the music of the Jewish folk instrumental bands, is the most authoritative on the subject and includes his complete guide to fieldworkers in folk music. In another essay Beregovski analyzes an unmistakable trademark of Jewish folk music, the "altered Dorian" scale, and its symbolism in Eastern European Jewish culture. The second section constitutes Beregovski's anthologies of hundreds of folk songs with full Yiddish and English song texts. Each song is carefully notated exactly as it was sung and is accompanied by Beregovski's notes on origins and variants. Beregovski's essays and transcriptions form a pat and a symbol of what was lost in the mass destruction of Eastern European Jewish culture in this century. They form a cultural record of deep significance not only for the Jewish people, but also for folklorists and scholars as evidence of a distinctive music culture that interacted with—and influenced—the folk musics of Eastern Europe.