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John Bush Jones Our Musicals, Ourselves (Paperback) (UK IMPORT)
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Item specifics
- Condition
- Book Title
- Our Musicals, Ourselves : a Social History of the American Musical Theatre
- Publication Name
- Our Musicals, Ourselves
- Title
- Our Musicals, Ourselves
- Format
- Trade Paperback
- ISBN-10
- 0874519047
- EAN
- 9780874519044
- ISBN
- 9780874519044
- Publisher
- Brandeis University Press
- Genre
- Music, Social Science, Performing Arts
- Topic
- Theater / Broadway & Musicals, Genres & Styles / Musicals, Theater / General, Popular Culture
- Release Year
- 2004
- Release Date
- 31/01/2004
- Language
- English
- Country/Region of Manufacture
- US
- Item Height
- 1in
- Item Length
- 9.2in
- Publication Year
- 2004
- Item Width
- 7in
- Item Weight
- 21.9 Oz
- Number of Pages
- 426 Pages
About this product
Product Information
Our Musicals, Ourselves is the first full-scale social history of the American musical theater from the imported Gilbert and Sullivan comic operas of the late nineteenth century to such recent musicals as The Producers and Urinetown. While many aficionados of the Broadway musical associate it with wonderful, diversionary shows like The Music Man or My Fair Lady, John Bush Jones instead selects musicals for their social relevance and the extent to which they engage, directly or metaphorically, contemporary politics and culture. Organized chronologically, with some liberties taken to keep together similarly themed musicals, Jones examines dozens of Broadway shows from the beginning of the twentieth century to the present that demonstrate numerous links between what played on Broadway and what played on newspapers' front pages across our nation. He reviews the productions, lyrics, staging, and casts from the lesser-known early musicals (the "gunboat" musicals of the Teddy Roosevelt era and the "Cinderella shows" and "leisure time musicals" of the 1920s) and continues his analysis with better-known shows including Showboat, Porgy and Bess, Oklahoma, South Pacific, West Side Story, Cabaret, Hair, Company, A Chorus Line, and many others. While most examinations of the American musical focus on specific shows or emphasize the development of the musical as an art form, Jones's book uses musicals as a way of illuminating broader social and cultural themes of the times. With six appendixes detailing the long-running diversionary musicals and a foreword by Sheldon Harnick, the lyricist of Fiddler on the Roof, Jones's comprehensive social history will appeal to both students and fans of Broadway.
Product Identifiers
Publisher
Brandeis University Press
ISBN-10
0874519047
ISBN-13
9780874519044
eBay Product ID (ePID)
30217101
Product Key Features
Book Title
Our Musicals, Ourselves : a Social History of the American Musical Theatre
Format
Trade Paperback
Language
English
Topic
Theater / Broadway & Musicals, Genres & Styles / Musicals, Theater / General, Popular Culture
Publication Year
2004
Genre
Music, Social Science, Performing Arts
Number of Pages
426 Pages
Dimensions
Item Length
9.2in
Item Height
1in
Item Width
7in
Item Weight
21.9 Oz
Additional Product Features
Lc Classification Number
Ml1711.J65 2003
Reviews
"[A]n overview of the American musical for the entire twentieth century . . . a strength of the book, in addition to the author's obvious enthusiasm for his subject matter, is that it has something to say about dozens of shows not even mentioned by [other] authors."- Kurt Weill Newsletter, "The very fact that [Our Musicals, Ourselves] looks at potential interfaces between social and political developments and the Broadway musical is laudable . . . The study's expansive scope, its attempts at connecting historical narrative with a narrative of genre evolution, as well as Jones's near encyclopedic knowledge of social and political themes in Broadway productions provide an excellent starting point for further analysis of specific periods, sub-genres, and issues in American musical theater."-American Studies, "Our Musical, Ourselves . . . may foreshadow a new era in the study of the musical . . . [an accessible read . . . [a must read for the musical theatre scholar... a text that finally fills the void of a needed comprehensive history of the musical that, more importantly, places each musical squarely in the context of the time in which it was created."-Theatre History Studies, "The strength of this sweeping thesis is its scope. It seeks to demonstrate and analyze how Broadway and Off-Broadway have held up a mirror to political and social currents in American society at large. But the fun comes from showing how events and trends in widely separated decades all sprang from similar currents of thought. By looking at the entire continuum of musicals as a single ongoing dialog between Broadway and America, the book serves up fresh insights and eyebrow-raising parallels on each page. It starts in the 19th century and runs right up 2001's Urinetown, from which it concludes that the political musical remains alive and well."--Playbill, "Our Musical, Ourselves . . . may foreshadow a new era in the study of the musical . . . [an] accessible read . . . [a] must read for the musical theatre scholar... a text that finally fills the void of a needed comprehensive history of the musical that, more importantly, places each musical squarely in the context of the time in which it was created."- Theatre History Studies, "Our Musical, Ourselves . . . may foreshadow a new era in the study of the musical . . . [an] accessible read . . . [a] must read for the musical theatre scholar... a text that finally fills the void of a needed comprehensive history of the musical that, more importantly, places each musical squarely in the context of the time in which it was created."--Theatre History Studies, "The strength of this sweeping thesis is its scope. It seeks to demonstrate and analyze how Broadway and Off-Broadway have held up a mirror to political and social currents in American society at large. But the fun comes from showing how events and trends in widely separated decades all sprang from similar currents of thought. By looking at the entire continuum of musicals as a single ongoing dialog between Broadway and America, the book serves up fresh insights and eyebrow-raising parallels on each page. It starts in the 19th century and runs right up 2001's Urinetown, from which it concludes that the political musical remains alive and well."-Playbill, The very fact that [Our Musicals, Ourselves] looks at potential interfaces between social and political developments and the Broadway musical is laudable . . . The study's expansive scope, its attempts at connecting historical narrative with a narrative of genre evolution, as well as Jones's near encyclopedic knowledge of social and political themes in Broadway productions provide an excellent starting point for further analysis of specific periods, sub-genres, and issues in American musical theater., "The very fact that [Our Musicals, Ourselves] looks at potential interfaces between social and political developments and the Broadway musical is laudable . . . The study's expansive scope, its attempts at connecting historical narrative with a narrative of genre evolution, as well as Jones's near encyclopedic knowledge of social and political themes in Broadway productions provide an excellent starting point for further analysis of specific periods, sub-genres, and issues in American musical theater."--American Studies, "[A]n overview of the American musical for the entire twentieth century . . . a strength of the book, in addition to the author's obvious enthusiasm for his subject matter, is that it has something to say about dozens of shows not even mentioned by [other] authors."ÑKurt Weill Newsletter, "[A]n overview of the American musical for the entire twentieth century . . . a strength of the book, in addition to the author's obvious enthusiasm for his subject matter, is that it has something to say about dozens of shows not even mentioned by [other] authors."-Kurt Weill Newsletter, "[A]n overview of the American musical for the entire twentieth century . . . a strength of the book, in addition to the author's obvious enthusiasm for his subject matter, is that it has something to say about dozens of shows not even mentioned by [other] authors."--Kurt Weill Newsletter, "The strength of this sweeping thesis is its scope. It seeks to demonstrate and analyze how Broadway and Off-Broadway have held up a mirror to political and social currents in American society at large. But the fun comes from showing how events and trends in widely separated decades all sprang from similar currents of thought. By looking at the entire continuum of musicals as a single ongoing dialog between Broadway and America, the book serves up fresh insights and eyebrow-raising parallels on each page. It starts in the 19th century and runs right up 2001's Urinetown, from which it concludes that the political musical remains alive and well."- Playbill, "Our Musical, Ourselves . . . may foreshadow a new era in the study of the musical . . . [an] accessible read . . . [a] must read for the musical theatre scholar... a text that finally fills the void of a needed comprehensive history of the musical that, more importantly, places each musical squarely in the context of the time in which it was created."ÑTheatre History Studies, "The very fact that [Our Musicals, Ourselves] looks at potential interfaces between social and political developments and the Broadway musical is laudable . . . The study's expansive scope, its attempts at connecting historical narrative with a narrative of genre evolution, as well as Jones's near encyclopedic knowledge of social and political themes in Broadway productions provide an excellent starting point for further analysis of specific periods, sub-genres, and issues in American musical theater."ÑAmerican Studies, [A]n overview of the American musical for the entire twentieth century . . . a strength of the book, in addition to the author's obvious enthusiasm for his subject matter, is that it has something to say about dozens of shows not even mentioned by [other] authors., "The very fact that [Our Musicals, Ourselves] looks at potential interfaces between social and political developments and the Broadway musical is laudable . . . The study's expansive scope, its attempts at connecting historical narrative with a narrative of genre evolution, as well as Jones's near encyclopedic knowledge of social and political themes in Broadway productions provide an excellent starting point for further analysis of specific periods, sub-genres, and issues in American musical theater."- American Studies, "Our Musical, Ourselves . . . may foreshadow a new era in the study of the musical . . . [an] accessible read . . . [a] must read for the musical theatre scholar... a text that finally fills the void of a needed comprehensive history of the musical that, more importantly, places each musical squarely in the context of the time in which it was created."-Theatre History Studies, "[An overview of the American musical for the entire twentieth century . . . a strength of the book, in addition to the author's obvious enthusiasm for his subject matter, is that it has something to say about dozens of shows not even mentioned by [other authors."-Kurt Weill Newsletter, Our Musical, Ourselves . . . may foreshadow a new era in the study of the musical . . . [an] accessible read . . . [a] must read for the musical theatre scholar... a text that finally fills the void of a needed comprehensive history of the musical that, more importantly, places each musical squarely in the context of the time in which it was created., The strength of this sweeping thesis is its scope. It seeks to demonstrate and analyze how Broadway and Off-Broadway have held up a mirror to political and social currents in American society at large. But the fun comes from showing how events and trends in widely separated decades all sprang from similar currents of thought. By looking at the entire continuum of musicals as a single ongoing dialog between Broadway and America, the book serves up fresh insights and eyebrow-raising parallels on each page. It starts in the 19th century and runs right up 2001's Urinetown, from which it concludes that the political musical remains alive and well.
Table of Content
Foreword ix * Acknowledgements xi * Introduction 1 * 1. Patriotism, Xenophobia, and World War I 12 * 2. The Musicals of the Roaring Twenties 52 * 3. Coping with Depression 79 * 4. World War II and the Rodgers and Hammerstein Years 123 * 5. From Isolationism to Idealism in the Cold War years 161 * 6. Black and Jewish Musicals since the 1960s 202 * 7. Issue-Driven Musicals of the Turbulent Years 235 * 8. Fragmented Society, Fragmented Musicals 269 * 9. "A Recycled Culture," Nostalgia and Spectacle 305 *10. New Voices, New Perspectives 331 * Appendices -- Appendix A: Broadway Musical Production, 1919-1929 360 -- Appendix B: Long-Running Diversionary Musicals. 1929-1938 362 -- Appendix C: Long-Running Diversionary Musicals, 1939-1945 364 -- Appendix D: Long-Running Diversionary Musicals, 1946-1960 366 -- Appendix E: Long-Running Diversionary Musicals, 1960-1969 369 -- Appendix F: Long-Running Diversionary Musicals, 1969-1979 371 -- Appendix G: Long-Running Diversionary Musicals, 1979-2000 372 * Sources Cited 375 * Index 391
Copyright Date
2004
Target Audience
Trade
Lccn
2003-000240
Dewey Decimal
782.140973
Dewey Edition
22
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- Oct 07, 2010
Historical AND Musical!
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