An oral history of musical genres from the Palmetto State musicians who helped define the sounds From Jabbo Smith, Dizzy Gillespie, and Drink Small to Johnny Helms, Dick Goodwin, and Chris Potter, South Carolina has been home to an impressive number of regionally, nationally, and internationally known jazz and blues musicians. Through richly detailed interviews with nineteen South Carolina musicians, jazz historian and radio host Benjamin Franklin V presents an oral history of the tradition and influence of jazz and the blues in the Palmetto State. Franklin takes as his subjects a range of musicians born between 1905 and 1971, representing every decade in between, to trace the progression of these musical genres from Tommy Benford's and Jabbo Smith's first recording sessions in the summer of 1926 to the present day. Diverse not only in age but also in race, gender, instruments, and style, these musicians exemplify the breadth of South Carolina's jazz and blues performers. In their own colorful words, the musicians recall love affairs with the distinctive sounds of jazz and blues, indoctrinations into the musical world, early gigs, fans, drugs, military service, amateur night at the Apollo Theater, and influential friendships with other well-known musicians. As the story of the South Carolina musical scene is tightly interwoven with that of the nation, these narratives also include appearances by Tony Bennett, Miles Davis, Count Basie, Helen Merrill, Pharoah Sanders, Sister Rosetta Tharpe, and other significant musicians. These interviews also document the lasting value of music education. In particular they stress the importance of the famed Jenkins Orphanage in Charleston and of South Carolina State University in Orangeburg in nurturing young musicians' talent. Arranged in chronological order by the subjects' birth years, these interviews are augmented by photographs of the musicians, collectively serving as a unique record of representative jazz and blues musicians who have called South Carolina home.

"In the face of the most perilous challenges of our time--climate change, terrorism, poverty, and trafficking of drugs, guns, and people--the nations of the world seem paralyzed. The problems are too big for governments to deal with. Benjamin Barber contends that cities, and the mayors who run them, can do and are doing a better job than nations. He cites the unique qualities cities worldwide share: pragmatism, civic trust, participation, indifference to borders and sovereignty, and a democratic penchant for networking, creativity, innovation, and cooperation. He demonstrates how city mayors, singly and jointly, are responding to transnational problems more effectively than nation-states mired in ideological infighting and sovereign rivalries. The book features profiles of a dozen mayors around the world, making a persuasive case that the city is democracy's best hope in a globalizing world, and that great mayors are already proving that this is so"--

Nora Rose Rowley is a genius, but don't tell anyone. Nora's managed to make it to the fifth grade without anyone figuring out that she's not just an ordinary kid, and she wants to keep it that way. But then Nora gets fed up with the importance everyone attaches to test scores and grades, and she purposely brings home a terrible report card just to prove a point. Suddenly the attention she's successfully avoided all her life is focused on her, and her secret is out. And that's when things start to get really complicated....

Published to mark the beginning of the Britten centenary year in 2013, Paul Kildea's Benjamin Britten: A Life in the Twentieth Century is the definitive biography of Britain's greatest modern composer. In the eyes of many, Benjamin Britten was our finest composer since Purcell (a figure who often inspired him) three hundred years earlier. He broke decisively with the romantic, nationalist school of figures such as Parry, Elgar and Vaughan Williams and recreated English music in a fresh, modern, European form. With Peter Grimes (1945), Billy Budd (1951) and The Turn of the Screw (1954), he arguably composed the last operas - from any composer in any country - which have entered both the popular consciousness and the musical canon. He did all this while carrying two disadvantages to worldly success - his passionately held pacifism, which made him suspect to the authorities during and immediately after the Second World War - and his homosexuality, specifically his forty-year relationship with Peter Pears, for whom many of his greatest operatic roles and vocal works were created. The atmosphere and personalities of Aldeburgh in his native Suffolk also form another wonderful dimension to the book. Kildea shows clearly how Britten made this creative community, notably with the foundation of the Aldeburgh Festival and the building of Snape Maltings, but also how costly the determination that this required was. Above all, this book helps us understand the relationship of Britten's music to his life, and takes us as far into his creative process as we are ever likely to go. Kildea reads dozens of Britten's works with enormous intelligence and sensitivity, in a way which those without formal musical training can understand. It is one of the most moving and enjoyable biographies of a creative artist of any kind to have appeared for years. Paul Kildea is a writer and conductor who has performed many of the Britten works he writes about, in opera houses and concert halls from Sydney to Hamburg. His previous books include Selling Britten (2002) and (as editor) Britten on Music (2003). He was Head of Music at the Aldeburgh Festival between 1999 and 2002 and subsequently Artistic Director of the Wigmore Hall in London.