The parrot Tico Tango had a round, yellow mango, when he saw Marina munch on a green grape bunch. And Tico Tango knew that he had to have it too, so he snatched it!

THE STORIES: PART I: SEYMOUR IN THE VERY HEART OF WINTER. It's Christmas Eve; Viv, a fading actress, is reminiscing about her ex-husband and her life before, to Bob, the man who currently loves her. With a fancy restaurant as her stage, Viv rants a

The heartwarming autobiography of a vintage Jewish comedian, with a new introduction highlighting his relevance to contemporary culture and cultural studies. Mickey Katz (1909 - 1985), a Jewish comedian and musician, is best known for his parodies — "Theme from Moulin Rouge (Where is My Heart)" became "Where is My Pants?", "(How Much is that) Doggie in the Window" became "Pickle in the Window" — incorporating Yiddish words and accents. His very first English-Yiddish recording, "Haim afen Range," was an instant hit and he went on to record ninety singles and ten albums for RCA and Capitol. Father of performer Joel Grey and grandfather of actress Jennifer Grey, Mickey Katz's irreverent blend of Jewish story-telling, vaudeville routines, African-American jazz, Jewish klezmer and popular dance band music have had a lasting impact on American culture. In this rollicking autobiography, first published in 1977 and reissued here with a new introduction, the King of the Borscht Capades talks frankly about politics, music, family, identity and show business.

Brazil's bird diversity is one of the richest in the world. And yet there has never been a comprehensive field guide to this splendid and elusive avifauna. Until now. The carefully vetted text and images are the first to cover the full range of bird life in this vast and varied country. The more than 1800 up-to-date accounts treat the Yellow-nosed Albatross to the Sombre Hummingbird, the Ash-throated Gnat-eater to the Black-bellied Whistling-Duck, Nighthawks and Jacamars to Motmots, Puffbirds, and Peppershrikes. They are all here--every species and many subspecies found in each region of Brazil--with special attention given to the 218 Brazilian endemics. The book is laid out so that the illustrations sit across from the commentary and the distribution maps, so it is easy to use. Also, the author uses short-hand notation throughout, to make the book compact and easy to carry when in the field. For each bird, the scientific, English, and Portuguese name are given as well as detailed information on measurement; identifying features; habitat; voice, song, and call. Distribution maps show the range for each species, also indicating seasonality and occurrence, essential for finding and identifying specific birds. From the equatorial North to the tropics, the introductory paragraphs set the stage in describing Brazil's varied biogeography, climate, geomorphology, and natural vegetation. A list of protected areas of Brazil, information on relevant national and international organizations, a bibliography and further references, and an English-Portuguese dictionary of frequently used terms enhance the user-friendly qualities. Anyone wishing to fully explore the fabulously varied bird life of Brazil will find this light-weight, easy-to-use, attractive guide an invaluable field companion.

At the second International Song Festival in 1967, Milton Nascimento had three songs accepted for competition. He had no intention of performing them--he hated the idea of intense competition. In fact, Nascimento might never have appeared at all if Eumir Deodato hadn't threatened not to write the arrangements for his songs if he didn't perform at least two of them. Nascimento went on to win the festival's best performer award, all three of his songs were included soon afterward on his first album, and the rest is history. This is only one anecdote from The Brazilian Sound, an encyclopedic survey of Brazilian popular music that ranges over samba, bossa nova, MPB, jazz and instrumental music and tropical rock, as well as the music of the Northeast. The authors have interviewed a wide variety of performers like Nascimento, Gilberto Gil, Carlinhos Brown, and Airto Moreira, U.S. fans, like Lyle Mays, George Duke, and Paul Winter, executive André Midani; and music historian Zuza Homem de Mello, just to name a few. First published in 1991, The Brazilian Sound received enthusiastic attention both in the United States and abroad. For this new edition, the authors have expanded their examination of the historical roots of Brazilian music, added new photographs, amplified their discussion of social issues like racism, updated the maps, and added a new final chapter highlighting the most recent trends in Brazilian music. The authors have expanded their coverage of the axé music movement and included profiles of significant emerging artists like Marisa Monte, Chico Cesar, and Daniela Mercury. Clearly written and lavishly illustrated with 167 photographs, The Brazilian Sound is packed with facts, explanations, and fascinating stories. For the Latin music aficionado or the novice who wants to learn more, the book also provides a glossary, a bibliography, and an extensive discography containing 1,000 entries. Author note: Chris McGowan was a contributing writer and columnist for Billboard from 1984 to 1996 and pioneered that publication's coverage of Brazilian and world music in the mid-1980s. He has written about the arts and other subjects for Musician, The Beat, the Hollywood Reporter, the Los Angeles Times, L. A Weekly, and the Los Angeles Reader. He is the author of Entertainment in the Cyber Zone: Exploring the Interactive Universe of Multimedia (1995) and was a contributor to The Encyclopedia of Latin American History and Culture (1996). Ricardo Pessanha has worked as a teacher, writer, editor, and management executive for CCAA, one of Brazil's leading institutes of English-language education. He has served as a consultant to foreign journalists and scholars on numerous cultural projects relating to Brazil. He has contributed articles about Brazilian music to The Beat and other publications.

The volume explores how these three writers used poetry to oppose patriarchal discourse on topics ranging from marginalized peoples to issues on gender and sexuality. Poetry was a means for them to redefine their own feminized space, however difficult or odd it could turn out to be.