Award-winning music historian Howard Pollack's new biography of Marc Blitzstein deftly captures the fascinating life and career of an American composer who was openly gay and Marxist at a time when neither was acceptable to the American public. The first biographer to deal with Blitzstein's music as well as his life, Pollack delves deeply into the Blitzstein's life, uncovering new details about his marriage to novelist Eva Goldbeck and his compositional process. Beautifully written and meticulously researched, this book is a must-have for any fan of Broadway or American music.

Marc Blitzstein was one of the 20th century's most important American composers, lyricists, and critics, often credited with having virtually invented opera in the American vernacular. Called the father of American opera in the vernacular by luminaries Aaron Copland and Leonard Bernstein, Blitzstein was a masterful pianist, coach, and accompanist, though, ironically, he made more money on the lyrics to one song—Mack the Knife—than on everything else he ever did. Blitzstein's brilliant career was cut short in 1964 when he died at the age of 58. This book catalogs Blitzstein's own writings and writings about him, followed by detailed listings (chronological, alphabetical, and genre), analysis, a comprehensive performance history, and summaries of all known critiques of his 128 original musical works and 18 texts set to the music of others. Shown in detail are the ways in which Blitzstein took music from his earlier works and developed it in later works, a process that Lehrman utilized in completing (with Bernstein's and the Estate's approval) 20 Blitzstein works for performance, including The Cradle Will Rock, I've Got the Tune, No for an Answer, Idiots First, and Sacco and Vanzetti, which Blitzstein believed would be his magnum opus. The book provides a unique and full perspective on the works of one of America's greatest composers—one who deserves to be better known.

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Marc Blitzstein was one of the 20th century's most important American composers, lyricists, and critics, often credited with having virtually invented opera in the American vernacular. Called the father of American opera in the vernacular by luminaries Aaron Copland and Leonard Bernstein, Blitzstein was a masterful pianist, coach, and accompanist, though, ironically, he made more money on the lyrics to one song—Mack the Knife—than on everything else he ever did. Blitzstein's brilliant career was cut short in 1964 when he died at the age of 58. This book catalogs Blitzstein's own writings and writings about him, followed by detailed listings (chronological, alphabetical, and genre), analysis, a comprehensive performance history, and summaries of all known critiques of his 128 original musical works and 18 texts set to the music of others. Shown in detail are the ways in which Blitzstein took music from his earlier works and developed it in later works, a process that Lehrman utilized in completing (with Bernstein's and the Estate's approval) 20 Blitzstein works for performance, including The Cradle Will Rock, I've Got the Tune, No for an Answer, Idiots First, and Sacco and Vanzetti, which Blitzstein believed would be his magnum opus. The book provides a unique and full perspective on the works of one of America's greatest composers—one who deserves to be better known.

A composer and lyricist of enormous innovation and influence, Marc Blitzstein remains one of the most versatile and fascinating figures in the history of American music, his creative output running the gamut from films scores and Broadway operas to art songs and chamber pieces. A prominent leftist and social maverick, Blitzstein constantly pushed the boundaries of convention in mid-century America in both his work and his life. Award-winning music historian Howard Pollack's new biography covers Blitzstein's life in full, from his childhood in Philadelphia to his violent death in Martinique at age 58. The author describes how this student of contemporary luminaries Nadia Boulanger and Arnold Schoenberg became swept up in the stormy political atmosphere of the 1920s and 1930s and throughout his career walked the fine line between his formal training and his populist principles. Indeed, Blitzstein developed a unique sound that drew on everything contemporary, from the high modernism of Stravinsky and Hindemith to jazz and Broadway show tunes. Pollack captures the astonishing breadth of Blitzstein's work--from provocative operas like The Cradle Will Rock, No for an Answer, and Regina, to the wartime Airborne Symphony composed during his years in service, to lesser known ballets, film scores, and stage works. A courageous artist, Blitzstein translated Bertolt Brecht and Kurt Weill's The Threepenny Opera during the heyday of McCarthyism and the red scare, and turned it into an off-Broadway sensation, its "Mack the Knife" becoming one of the era's biggest hits. Beautifully written, drawing on new interviews with friends and family of the composer, and making extensive use of new archival and secondary sources, Marc Blitzstein presents the most complete biography of this important American artist.

As garment workers, longshoremen, autoworkers, sharecroppers and clerks took to the streets, striking and organizing unions in the midst of the Depression, artists, writers and filmmakers joined the insurgent social movement by creating a cultural front. Disney cartoonists walked picket lines, and Billie Holiday sand 'Strange Fruit' at the left-wing cabaret, Café Society. Duke Ellington produced a radical musical, Jump for Joy, New York garment workers staged the legendary Broadway revue Pins and Needles, and Orson Welles and his Mercury players took their labor operas and anti-fascist Shakespeare to Hollywood and made Citizen Kane. A major reassessment of US cultural history, The Cultural Front is a vivid mural of this extraordinary upheaval which reshaped American culture in the twentieth century.