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  African Myths and Legends -...

  Odessa Nightshade

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  African mythology is a vast and intricate tapestry woven from the oral traditions of countless ethnic groups across the continent. Unlike written records, these stories have been passed down through generations by storytellers, elders, and spiritual leaders who use them to explain the world, instill moral values, and preserve the history of their people. The myths and legends of Africa are deeply connected to the land, the ancestors, and the spiritual beliefs that guide daily life. They reflect not only the diversity of the continent but also the shared themes that bind its cultures together.  
  Myths in African societies serve multiple functions beyond simple entertainment. They provide explanations for natural phenomena, such as the origins of the sun, moon, and stars, as well as the formation of rivers and mountains. Many myths are also tied to religious beliefs, detailing the actions of gods, spirits, and ancestors who shape the destiny of human beings. These stories help maintain social order by offering lessons about morality, justice, and respect for tradition. In many communities, mythology is a central aspect of spiritual life, reinforcing the belief that the unseen world is just as real and influential as the physical one.  
  Oral tradition is the primary vehicle for preserving African myths and legends. Storytelling is an art form, often accompanied by music, dance, and dramatic performance. The storyteller, known in some cultures as a griot, holds a respected position in society, responsible for keeping the wisdom of the past alive. These narratives evolve over time, adapting to new circumstances while retaining their core lessons. Because of this, African folklore is dynamic, shaped by the voices of those who tell and retell the stories. 

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  The Land Is Sung - Zulu...

  Thomas M. Pooley

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  What does it mean to belong? In The Land is Sung, musicologist Thomas M. Pooley shows how performances of song, dance, and praise poetry connect Zulu communities to their ancestral homes and genealogies. For those without land tenure in the province of KwaZulu-Nata, performances articulate a sense of place. Migrants express their allegiances through performance and spiritual relationships to land are embodied in rituals that invoke ancestral connection while advancing well-being through intergenerational communication. Engaging with justice and environmental ethics, education and indigenous knowledge systems, musical and linguistic analysis, and the ethics of recording practice, Pooley's analysis draws on genres of music and dance recorded in the midlands and borderlands of South Africa, and in Johannesburg's inner city. His detailed sound writing captures the visceral experiences of performances in everyday life. The book is richly illustrated and there is a companion website featuring both video and audio examples.

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  Broken Glass

  Arthur Miller

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  Set in 1938 Brooklyn, this gripping psychological mystery begins when attractive, level-headed Sylvia Gellburg suddenly loses her ability to walk. The only clue lies in Sylvia’s obsession with news accounts from Germany. Though safe in Brooklyn, Sylvia is terrified by Nazi violence - or is it something closer to home? A Laurence Olivier Award Winnder for Best New Play. 
   
  An L.A. Theatre Works full-cast performance featuring Jane Brucker, David Dukes, Lawrence Pressman, Linda Purl, John Vickery and JoBeth Williams.

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  The Road to Riverdance

  Bill Whelan

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  Riverdance exploded across the stage at Dublin's Point Theatre one spring evening in 1994 during a seven-minute interval of the Eurovision Song Contest hosted by Ireland. It was a watershed moment in the cultural history of a country embracing the future, a confident leap into world music grounded in the footfall of the choreographed kick-line. It was a moment forty-five years in the making for its composer.
  In this tenderly unfurled memoir Bill Whelan rehearses a lifetime of unconscious preparation as step by step he revisits his past, from with his Barrington Street home in 1950s Limerick, to the forcing ground of University College Dublin and the Law Library during the 1960s, to his attic studio in Ranelagh. Along the way the reader is introduced to people and places in the immersive world of fellow musicians, artists and producers, friends and collaborators, embracing the spectrum of Irish music as it broke boundaries, entering the global slipstream of the 1980s and 1990s. As art and commerce fused, dramas and contending personalities come to view behind the arras of stage, screen and recording desk.
  Whelan pays tribute to a parade of those who formed his world. He describes the warmth and sustenance of his Limerick childhood, his parents and Denise Quinn, won through assiduous courtship; the McCourts and Jesuit fathers of his early days, the breakthrough with a tempestuous Richard Harris who summoned him to London; Danny Doyle, Shay Healy, Dickie Rock, Planxty, The Dubliners and Stockton's Wing, Noel Pearson, Seán Ó Riada; working with Jimmy Webb, Leon Uris, The Corrs, Paul McGuinness, Moya Doherty, John McColgan, Jean Butler and Michael Flatley.
  Written with wry, inimitable Irish humour and insight, Bill Whelan's self deprecation allows us to to see the players in all their glory, vulnerability and idiosyncracy. This fascinating work reveals the nuts, bolts, sheer effort and serendipities that formed the road to Riverdance in his reinvention of the Irish tradition for a modern age. As the show went on to perform to millions worldwide, Whelan was honoured with a 1997 Grammy Award when Riverdance was named the 'Best Musical Show Album.' Richly detailed and illustrated, The Road to Riverdance forms an enduring repository of memory for all concerned with the performing arts.

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  Sound Fragments - From Field...

  Noel Lobley

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  Winner of IASPM Book Prize, given by IASPM, 2023Winner of the Bruno Nettl Prize, given by the Society for Ethnomusicology, 2023Joint-Winner of the Ruth Stone Prize (with Jessica Perrea), given by the Society for Ethnomusicology, 2023This book is an ethnographic study of sound archives and the processes of creative decolonization that form alternative modes of archiving and curating in the 21st century. It explores the histories and afterlives of sound collections and practices at the International Library of African Music. Sound Fragments follows what happens when a colonial sound archive is repurposed and reimagined by local artists in post-apartheid South Africa. The narrative speaks to larger issues in sound studies, curatorial practices, and the reciprocity and ethics of listening to and reclaiming culture. Sound Fragments interrogates how Xhosa arts activism contributes to an expanding notion of what a sound or cultural archive could be, and where it may resonate now and in future.

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  Once a Stooge Always a Stooge:...

  Joe Besser, Jeff Lenburg, Greg...

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  This audiobook is narrated by a digital voice. 
  REVISED AND EXPANDED AND BESSER THAN EVER! 
  For more than six decades, Joe Besser brought gales of laughter to millions—in vaudeville, on Broadway, on radio, in motion pictures, and on television. From his days working as a bumbling assistant to the world-famous Thurston the Magician, he carved out success with his own act—that of a childlike sissy who brandished his foils with a flick of the wrist and such hilarious verbal assaults as “Ooh, you crazy you!” and “Not so f-a-s-t!” From stage to film and television screens, the famed roly-poly comedian left an indelible mark–from starring in his own feature films and short-subject series for Columbia Pictures, to dishing out huge laughs on scores of popular programs of the day, most notably as the malevolent brat “Stinky” on The Abbott and Costello Show, to stepping in to replace Shemp Howard after his death as a member of Three Stooges comedy team. Followed by countless more laugh out-loud performances in movies and on television, from playing the frustrated superintendent, Jillson, on The Joey Bishop Show to voicing Saturday morning cartoons, his legacy still lives on today, thanks to reruns of his classic work. Illustrating a passing age of American humor, ONCE A STOOGE, ALWAYS A STOOGE tells the whole story. Jam-packed with timeless remembrances, Besser vividly recounts it all–the personal ups and downs, the classic skits and routines that became his hallmark, and behind-the-scenes stories of show business icons who enriched his life and career, including Abbott and Costello, Fred Allen, Jack Benny, Milton Berle, Sammy Davis, Jr., Jerry Lewis, Olsen and Johnson, and many others, in this charming and thoughtfully written memoir.

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