Pianist in a Bordello What would happen if a politician decided to tell the truth-the whole truth? Richard Youngblood, aspiring Congressman, is about to find out. He's running on a platform of honesty and transparency-and against the advice of his friends and advisers he's decided to start with himself. His autobiography will lay his entire life bare before voters just days before the election. And what a life he's had. Born in a commune and named Richard Milhous Nixon Youngblood as an angry shot at his absent father, Richard grows up in the spotlight, the son of an enigmatic fugitive and the grandson of a Republican senator. He's kidnapped and rescued, kicked out of college for a prank involving turkeys, arrested in Hawaii while trying to deliver secrets to the CIA...Dick Nixon Youngblood's ready to tell all. He'll even tell his readers about the Amandas-three women who share a name but not much else, and who each have helped shape and define the man he's become. Are voters really ready for the whole truth? Are you? Pianist in a Bordello is a hilarious political romp through the last four decades of American history, from a narrator who is full of surprises.

"The account begins as a true ghost story based on actual events. After an unsettling, modern day, ghostly encounter at a crumbling 1920's bordello in Jerome, Arizona, the author sets out on a quest and uncovers some deplorable secrets regarding the attractive, but devious Madam that once resided there. This curvaceous Madam began her career in the early 1900's in the red light district of Storyville in New Orleans. It was there where she met and eventually married the famous Jelly Roll Morton. She frequently changed her name and even her race in order to accommodate g=her ever-changing circumstances. She bleached her skin and straighten her hair as if to deny her African heritage ... or was it just a trick of her trade? Constantly on the move, she operated the Arcade Saloon in the pioneer town of Las Vegas, Nevada, and then a jazz club in San Francisco. Moving on to the rich mining town of Jerome, Arizona, she ran a "house of pleasure" called the Cuban Queen Bordello. Much went on behind her closed doors, where gambling, prostitution, and bootlegged whiskey were always on the menu. Late one night in 1927, one of her working girls was murdered in her own bed. This cunning madam, along with her handsome accomplice, kidnapped the dead girl's baby boy and slipped out of town never to be heard from again.... until now."--Back cover.

Composer, conductor and operatic polymath Daron Hagen has written five symphonies, a dozen concertos, 13 operas, reams of chamber music and more than 350 art songs. His intimate, unsparing memoir chronicles his life, from his haunted childhood in Wisconsin to the upper echelons of the music world in New York and Europe. Hagen's vivid anecdotes about his many collaborators, friends and mentors--including Leonard Bernstein, Lukas Foss, Gian Carlo Menotti, Paul Muldoon, Ned Rorem, Virgil Thomson and Gore Vidal--counterpoint a cautionary tale of the sacrifices necessary to succeed in the brutally unforgiving business of classical music.

From 1897 to 1917 the red-light district of Storyville commercialized and even thrived on New Orleans's longstanding reputation for sin and sexual excess. This notorious neighborhood, located just outside of the French Quarter, hosted a diverse cast of characters who reflected the cultural milieu and complex social structure of turn-of-the-century New Orleans, a city infamous for both prostitution and interracial intimacy. In particular, Lulu White -- a mixed-race prostitute and madam -- created an image of herself and marketed it profitably to sell sex with light-skinned women to white men of means. In Spectacular Wickedness, Emily Epstein Landau examines the social history of this famed district within the cultural context of developing racial, sexual, and gender ideologies and practices. Storyville's founding was envisioned as a reform measure, an effort by the city's business elite to curb and contain prostitution -- namely, to segregate it. In 1890, the Louisiana legislature passed the Separate Car Act, which, when challenged by New Orleans's Creoles of color, led to the landmark Plessy v. Ferguson decision in 1896, constitutionally sanctioning the enactment of "separate but equal" laws. The concurrent partitioning of both prostitutes and blacks worked only to reinforce Storyville's libidinous license and turned sex across the color line into a more lucrative commodity. By looking at prostitution through the lens of patriarchy and demonstrating how gendered racial ideologies proved crucial to the remaking of southern society in the aftermath of the Civil War, Landau reveals how Storyville's salacious and eccentric subculture played a significant role in the way New Orleans constructed itself during the New South era.

Few Mexican musicians in the twentieth century achieved as much notoriety or had such an international impact as the popular singer and songwriter Agustín Lara (1897-1970). Widely known as "el flaco de oro" ("the Golden Skinny"), this remarkably thin fellow was prolific across the genres of bolero, ballad, and folk. His most beloved "Granada", a song so enduring that it has been covered by the likes of Mario Lanza, Frank Sinatra, and Placido Domingo, is today a standard in the vocal repertory. However, there exists very little biographical literature on Lara in English. In Agustín Lara: A Cultural Biography, author Andrew Wood's informed and informative placement of Lara's work in a broader cultural context presents a rich and comprehensive reading of the life of this significant musical figure. Lara's career as a media celebrity as well as musician provides an excellent window on Mexican society in the mid-twentieth century and on popular culture in Latin America. Wood also delves into Lara's music itself, bringing to light how the composer's work unites a number of important currents in Latin music of his day, particularly the bolero. With close musicological focus and in-depth cultural analysis riding alongside the biographical narrative, Agustin Lara: A Cultural Biography is a welcome read to aficionados and performers of Latin American musics, as well as a valuable addition to the study of modern Mexican music and Latin American popular culture as a whole.

"Lynchings and beatings by night. Demeaning treatment by day. A life of crushing subordination for Southern blacks maintained by white supremacist laws and customs known as Jim Crow. The Rise and Fall of Jim Crow documents the brutal and oppresive era in American history, spanning the years from the end of the Civil War to the start of the modern Civil Rights Movement in the 1950s. As the twenty-first century rolls forward, we are losing the remaining survivors of this pivotal era. Incorporating eyewitness testimony and over seventy-five rare and compelling archival images, The Rise and Fall of Jim Crow is a poignant record of the African American struggle for freedom and the triumph of community spirit over institutions and laws designed to suppress it"--Back cover

A beautifully illustrated, totally engrossing celebration of the piano, and the composers and performers who have made it their own. With honed sensitivity and unquestioned expertise, Stuart Isacoff—pianist, critic, teacher, and author of Temperament: How Music Became a Battleground for the Great Minds of Western Civilization—unfolds the ongoing history and evolution of the piano and all its myriad wonders: how its very sound provides the basis for emotional expression and individual style, and why it has so powerfully entertained generation upon generation of listeners. He illuminates the groundbreaking music of Mozart, Beethoven, Liszt, Schumann, and Debussy. He analyzes the breathtaking techniques of Glenn Gould, Oscar Peterson, Vladimir Ashkenazy, Arthur Rubinstein, and Van Cliburn, and he gives musicians including Alfred Brendel, Murray Perahia, Menahem Pressler, and Vladimir Horowitz the opportunity to discuss their approaches. Isacoff delineates how classical music and jazz influenced each other as the uniquely American art form progressed from ragtime, novelty, stride, boogie, bebop, and beyond, through Scott Joplin, Fats Waller, Duke Ellington, Bill Evans, Thelonious Monk, Chick Corea, Herbie Hancock, Cecil Taylor, and Bill Charlap. A Natural History of the Piano distills a lifetime of research and passion into one brilliant narrative. We witness Mozart unveiling his monumental concertos in Vienna’s coffeehouses, using a special piano with one keyboard for the hands and another for the feet; European virtuoso Henri Herz entertaining rowdy miners during the California gold rush; Beethoven at his piano, conjuring healing angels to console a grieving mother who had lost her child; Liszt fainting in the arms of a page turner to spark an entire hall into hysterics. Here is the instrument in all its complexity and beauty. We learn of the incredible craftsmanship of a modern Steinway, the peculiarity of specialty pianos built for the Victorian household, the continuing innovation in keyboards including electronic ones. And most of all, we hear the music of the masters, from centuries ago and in our own age, brilliantly evoked and as marvelous as its most recent performance. With this wide-ranging volume, Isacoff gives us a must-have for music lovers, pianists, and the armchair musician.

Odysseys Home: Mapping African-Canadian Literature is a pioneering study of African-Canadian literary creativity, laying the groundwork for future scholarly work in the field. Based on extensive excavations of archives and texts, this challenging passage through twelve essays presents a history of the literature and examines its debt to, and synthesis with, oral cultures. George Elliott Clarke identifies African-Canadian literature's distinguishing characteristics, argues for its relevance to both African Diasporic Black and Canadian Studies, and critiques several of its key creators and texts. Scholarly and sophisticated, the survey cites and interprets the works of several major African-Canadian writers, including André Alexis, Dionne Brand, Austin Clarke, Claire Harris, and M. Nourbese Philip. In so doing, Clarke demonstrates that African-Canadian writers and critics explore the tensions that exist between notions of universalism and black nationalism, liberalism and conservatism. These tensions are revealed in the literature in what Clarke argues to be – paradoxically – uniquely Canadian and proudly apart from a mainstream national identity. Clarke has unearthed vital but previously unconsidered authors, and charted the relationship between African-Canadian literature and that of Africa, African America, and the Caribbean. In addition to the essays, Clarke has assembled a seminal and expansive bibliography of texts – literature and criticism – from both English and French Canada. This important resource will inevitably challenge and change future academic consideration of African-Canadian literature and its place in the international literary map of the African Diaspora.

Knoxville, Tennessee, is a haunted city. Ghosts roam its streets, its old theaters, its graveyards, even the caverns that snake beneath its byways. Knoxville is also a city beset by mysterious beasts—from enigmatic monster cats to big hairy creatures that are said to roam the town by night. Knoxville is a city of legends. There are persistent rumors of an “Old Knoxville” buried beneath the present city, and there is a famous downtown cemetery where there are gravestones, but no bodies. With a firm eye to history, Price tells his chilling stories with perception and good humor—all of which add up to a book that can be read and reread for years to come.