Meet Carmen! She LOVES the spotlight and applause. She's an actress, a singer, a dancer—a one-girl sensación! She exhausts her parents with her nightly performances and completely overshadows Eduardo, her adoring little brother. But when Eduardo shows his big sister how much he loves her in a way even Carmen can’t ignore, will Carmen realize that the stage is big enough for two? Exuberant illustrations by Lorena Alvarez Gómez offer the perfect complement to Anika Denise’s warm, Spanish-sprinkled text in this celebration of theater, family, and imagination.

In pursuit of a film career, Carmen enters a commercial contest and enlists her little brother, Eduardo, as her cinematographer. However, Carmen's plan takes a surprising turn in the follow-up to "Starring Carmen!" Full color.

This stunning collection of essays illuminates the lives and legacies of the most famous and powerful individuals, groups, and institutions in African American history. The three-volume Icons of Black America: Breaking Barriers and Crossing Boundaries is an exhaustive treatment of 100 African American people, groups, and organizations, viewed from a variety of perspectives. The alphabetically arranged entries illuminate the history of highly successful and influential individuals who have transcended mere celebrity to become representatives of their time. It offers analysis and perspective on some of the most influential black people, organizations, and institutions in American history, from the late 19th century to the present. Each chapter is a detailed exploration of the life and legacy of an individual icon. Through these portraits, readers will discover how these icons have shaped, and been shaped by, the dynamism of American culture, as well as the extent to which modern mass media and popular culture have contributed to the rise, and sometimes fall, of these powerful symbols of individual and group excellence.

Georges Bizet's Carmen and its staging of an exoticized Spain was progressively reimagined between its 1875 Paris premiere and 1915. This book explores Carmen's dynamic interaction with Spanishness in this cosmopolitan age of spectacle, across operatic productions, parodies, and theatrical adaptations from Spain to Paris, London, and New York.

The epic biography Starring Red Wing! brings the exciting career, dedicated activism, and noteworthy legacy of Ho-Chunk actress Lilian Margaret St. Cyr vividly to life. Known to film audiences as “Princess Red Wing,” St. Cyr emerged as the most popular Native American actress in the pre-Hollywood and early studio-system era in the United States. Today St. Cyr is known for her portrayal of Naturich in Cecile B. DeMille’s The Squaw Man (1914); although DeMille claimed to have “discovered the little Indian girl,” the viewing public had already long adored her as a petite, daredevil Indian heroine. She befriended and worked with icons such as Mary Pickford, Jewell Carmen, Tom Mix, Max Sennett, and William Selig. Born on the Winnebago Reservation in 1884 and orphaned in 1888, she spent ten years in Indian boarding schools before graduating from the Carlisle Indian Industrial School in 1902. She married James Young Johnson, and in 1907 the couple reinvented themselves as the stage personas “Princess Red Wing” and “Young Deer,” performing in Wild West shows around New York and beginning their film careers. As their popularity grew, St. Cyr and Johnson decamped from the East Coast and helped establish the second motion picture company in Southern California, where Red Wing became a Native American leading lady in westerns until her career waned in 1917. After returning to the reservation to work as a housekeeper, she took her show on a two-year tour to educate the public about Native culture and lived out her life in New York, performing, educating, and crafting regalia. Starring Red Wing! is a sweeping narrative of St. Cyr’s evolution as America’s first Native American film star, from her childhood and performance career to her days as a respected elder of the multi-tribal New York City Indian Community.

A touching portrayal of the loss of a grandparent. “When summer started, I got Grampa’s stopwatch,” a small child says. “I don’t want his stopwatch. I want him.” Grampa used to time everything. A race to the end of the street and back: 24 seconds. Eating bubblegum ice cream: 1 minute, 58 seconds. But now, Grampa’s gone. “There are no more Grampa minutes, Grampa seconds,” the child says. “Time just stops.” But as time goes on, the stopwatch becomes a cherished symbol of remembrance, and the child uses it to carry on Grampa’s favorite pastimes and traditions. A treasured ritual from the past can sometimes offer the perfect bridge to the future.