Frankie And Johnny

The lovers were already legends by the 1930 collaboration between a future director and a fashionable illustrator. Distinctive images enhance the play's script, plus 20 variations on the story and song.

Originating in a homicide in St. Louis in 1899, the ballad of "Frankie and Johnny" became one of America's most familiar songs during the first half of the twentieth century. It crossed lines of race, class, and artistic genres, taking form in such varied expressions as a folk song performed by Huddie Ledbetter (Lead Belly); a ballet choreographed by Ruth Page and Bentley Stone under New Deal sponsorship; a mural in the Missouri State Capitol by Thomas Hart Benton; a play by John Huston; a motion picture, She Done Him Wrong, that made Mae West a national celebrity; and an anti-lynching poem by Sterling Brown. In this innovative book, Stacy I. Morgan explores why African American folklore—and "Frankie and Johnny" in particular—became prized source material for artists of diverse political and aesthetic sensibilities. He looks at a confluence of factors, including the Harlem Renaissance, the Great Depression, and resurgent nationalism, that led those creators to engage with this ubiquitous song. Morgan's research uncovers the wide range of work that artists called upon African American folklore to perform in the 1930s, as it alternately reinforced and challenged norms of race, gender, and appropriate subjects for artistic expression. He demonstrates that the folklorists and creative artists of that generation forged a new national culture in which African American folk songs featured centrally not only in folk and popular culture but in the fine arts as well.

Originating in a homicide in St. Louis in 1899, the ballad of "Frankie and Johnny" became one of America's most familiar songs during the first half of the twentieth century. It crossed lines of race, class, and artistic genres, taking form in such varied expressions as a folk song performed by Huddie Ledbetter (Lead Belly); a ballet choreographed by Ruth Page and Bentley Stone under New Deal sponsorship; a mural in the Missouri State Capitol by Thomas Hart Benton; a play by John Huston; a motion picture, She Done Him Wrong, that made Mae West a national celebrity; and an anti-lynching poem by Sterling Brown. In this innovative book, Stacy I. Morgan explores why African American folklore—and "Frankie and Johnny" in particular—became prized source material for artists of diverse political and aesthetic sensibilities. He looks at a confluence of factors, including the Harlem Renaissance, the Great Depression, and resurgent nationalism, that led those creators to engage with this ubiquitous song. Morgan's research uncovers the wide range of work that artists called upon African American folklore to perform in the 1930s, as it alternately reinforced and challenged norms of race, gender, and appropriate subjects for artistic expression. He demonstrates that the folklorists and creative artists of that generation forged a new national culture in which African American folk songs featured centrally not only in folk and popular culture but in the fine arts as well.

Romantic comedy concerning a waitress and short-order cook from the same restaurant.

The inspiration for the major motion picture Priscilla directed by Sofia Coppola, this New York Times bestseller reveals the intimate story of Elvis Presley and Priscilla Presley, told by the woman who lived it. Decades after his death, millions of fans continue to worship Elvis the legend. But very few knew him as Elvis the man. Here in her own words, Priscilla Presley tells the story of their love, revealing the details of their first meeting, their marriage, their affairs, their divorce, and the unbreakable bond that has remained long after his tragic death. A tribute to both the man and the legend, Elvis and Me gives Elvis fans the world over an unprecedented look at the true life of the King of Rock ‘N’ Roll and the woman who loved him.

Originally published in volume two of the Love Is All anthology!Scottish ex-pat Frankie Llewellyn lives and breathes music. Working late nights at WKMP, a radio station in suburban Philadelphia, he can play what he wants, sleep in every morning, and no one gives him any grief. No one but his most recent ex-boyfriend. Frankie is a serial monogamist, but after this latest break-up, he's worried he'll end up alone with nothing but his records to keep him warm at night.When the station hires someone to do some much-needed renovations, Frankie is horrified to find out the work will be done during his overnight shift. But it makes the most sense, so he's resolved to take one for the team. After he meets the mysterious contractor, a gorgeous, lumberjack of a man named John Burton, Frankie decides it may not be such a hardship after all.John is reserved, and a bit mysterious. Quite the contrast to Frankie's drama-filled life. But, as their friendship grows, John's quiet presence has Frankie singing a new song.