The Flex-Ability series is ideal for solos, duets, trios, quartets or any size ensemble, including woodwinds, brass, strings, percussion, optional rhythm section. It is meant to be usable by all levels of ability for fun at home, in school or around the community. The Four-Line Score Includes: Line 1: Melody; Level 2 Œ_ - 3; intermediate range; sixteenth-note combinations; rock/jazz syncopation Line 2: Harmony; Level 2 -- 2 Œ_; wide range; sixteenth notes; easy syncopation Line 3: Harmony; Level 1 Œ_; limited range; dotted rhythms; some eighth-quarter-eighth syncopation Line 4 (Bass): Harmony; Level 1; narrow range; simple rhythms (eighth notes); alternate note suggestions Titles: * Alegria (from Alegria) * American Idiot * Because of You * Boulevard of Broken Dreams * Gonna Fly Now (Theme from Rocky) * Hedwig's Theme (from Harry Potter and the Sorcerer's Stone) * Hips Don't Lie * Jumpin' Jack Flash * The New Girl In Town (from Hairspray) * We Are Family * Wonka's Welcome Song (from Charlie and the Chocolate Factory)
In its 114th year, Billboard remains the world's premier weekly music publication and a diverse digital, events, brand, content and data licensing platform. Billboard publishes the most trusted charts and offers unrivaled reporting about the latest music, video, gaming, media, digital and mobile entertainment issues and trends.
No more than a promising actor with a handful of films to his name when he died in 1955, James Dean has since been elevated to an iconic status surpassed only by Elvis Presley and Marilyn Monroe. And his image - a blend of '50s cool and tough-guy charm - has been vigorously marketed in the race to cash in on a legend that, forty years later, shows no sign of abating. But until now, no serious biography has looked beyond the studio-manufactured cliches to the volatile polarities of this complex star. Was he bisexual or gay? A neurotic con-man or a lost boy trying to find himself? And to what extent did his sexuality fire his performances? Drawing on many new and documented sources, and featuring previously unpublished photographs, Paul Alexander's revisionist and passionate biography will explode many people's myths about a rare acting genius.
Explores the personal struggles of the powerful actor and explains how Dean's sexual ambivalence and hidden homosexuality affected his life and made him such a believable on-film rebel. Reprint.
In 1933 New York, animator Teddy Mishkin is hard at work on the latest cartoon short featuring Waldo the Cat, with the help of the not-so-imaginary Waldo, whom to Teddy is all too real and who offers Teddy dangerous advice about his life and work, in a humorist graphic novel. 17,500 first printing.
In its 114th year, Billboard remains the world's premier weekly music publication and a diverse digital, events, brand, content and data licensing platform. Billboard publishes the most trusted charts and offers unrivaled reporting about the latest music, video, gaming, media, digital and mobile entertainment issues and trends.
In its 114th year, Billboard remains the world's premier weekly music publication and a diverse digital, events, brand, content and data licensing platform. Billboard publishes the most trusted charts and offers unrivaled reporting about the latest music, video, gaming, media, digital and mobile entertainment issues and trends.
With its five thematic sections covering genres from cantorial to classical to klezmer, this pioneering multi-disciplinary volume presents rich coverage of the work of musicians of Jewish origin in the Polish lands. It opens with the musical consequences of developments in Jewish religious practice: the spread of hasidism in the eighteenth century meant that popular melodies replaced traditional cantorial music, while the greater acculturation of Jews in the nineteenth century brought with it synagogue choirs. Jewish involvement in popular culture included performances for the wider public, Yiddish songs and the Yiddish theatre, and contributions of many different sorts---technical and commercial as well as creative---in the interwar years. Chapters on the classical music scene cover Jewish musical institutions, organizations, and education; individual composers and musicians; and a consideration of music and Jewish national identity. One section is devoted to the Holocaust as reflected in Jewish music, and the final section deals with the afterlife of Jewish musical creativity in Poland, particularly the resurgence of interest in klezmer music. The essays in this collection do not attempt to to define what may well be undefinable---what ‘Jewish music’ is. Rather, they provide an original and much-needed exploration of the activities and creativity of ‘musicians of the Jewish faith’. CONTRIBUTORS: Eliyana R. Adler, Michael Aylward, Sławomir Dobrzański, Paula Eisenstein-Baker, Beth Holmgren, Sylwia Jakubczyk-Ślęczka, Daniel Katz, James Loeffler, Michael Lukin, Filip Mazurczak, Bożena Muszkalska, Julia Riegel, Ronald Robboy, Robert Rothstein, Joel E. Rubin, Adam J. Sacks, Amanda (Miryem-Khaye) Seigel, Eleanor Shapiro, Carla Shapreau, Tamara Sztyma, Bella Szwarcman-Czarnota, Joseph Toltz, Maja Trochimczyk, Magdalena Waligórska, Bret Werb, Akiva Zimmerman
