Bert Williams-a Black man forced to perform in blackface who challenged the stereotypes of minstrelsy. Eva Tanguay-an entertainer with the signature song "I Don't Care" who flouted the rules of propriety to redefine womanhood for the modern age. Julian Eltinge-a female impersonator who entranced and unnerved audiences by embodying the feminine ideal Tanguay rejected. At the turn of the twentieth century, they became three of the most provocative and popular performers in vaudeville, the form in which American mass entertainment first took shape. A Revolution in Three Acts explores how these vaudeville stars defied the standards of their time to change how their audiences thought about what it meant to be American, to be Black, to be a woman or a man. The writer David Hajdu and the artist John Carey collaborate in this work of graphic nonfiction, crafting powerful portrayals of Williams, Tanguay, and Eltinge to show how they transformed American culture. Hand-drawn images give vivid visual form to the lives and work of the book's subjects and their world. This book is at once a deft telling of three intricately entwined stories, a lush evocation of a performance milieu with unabashed entertainment value, and an eye-opening account of a key moment in American cultural history with striking parallels to present-day questions of race, gender, and sexual identity.

Nominated for a National Book Critics Circle Award

Billy Strayhorn (1915-67) was one of the greatest composers in the history of American music, the creator of a body of work that includes such standards as "Take the 'A' Train." Yet all his life Strayhorn was overshadowed by his fri and collaborator Duke Ellington, with whom he worked for three decades as the Ellington Orchestra's ace songwriter and arranger.A "definitive" corrective (USA Today) to decades of patchwork scholarship and journalism about this giant of jazz, Lush Life is a vibrant and absorbing account of the "lush life" Strayhorn and other jazz musicians led in Harlem and Paris. While composing some of the most gorgeous American music of this century, Strayhorn labored under a complex agreement whereby Ellington took the bows for his work; until his life was tragically cut short by cancer and alcohol abuse, the small, shy black composer carried himself with singular style and grace as one of the few jazzmen to be openly homosexual.Lush Life has sparked an enthusiastic revival of interest in Billy Strayhorn's work. It is already acknowledged as a jazz classic.

Bert Williams-a Black man forced to perform in blackface who challenged the stereotypes of minstrelsy. Eva Tanguay-an entertainer with the signature song "I Don't Care" who flouted the rules of propriety to redefine womanhood for the modern age. Julian Eltinge-a female impersonator who entranced and unnerved audiences by embodying the feminine ideal Tanguay rejected. At the turn of the twentieth century, they became three of the most provocative and popular performers in vaudeville, the form in which American mass entertainment first took shape. A Revolution in Three Acts explores how these vaudeville stars defied the standards of their time to change how their audiences thought about what it meant to be American, to be Black, to be a woman or a man. The writer David Hajdu and the artist John Carey collaborate in this work of graphic nonfiction, crafting powerful portrayals of Williams, Tanguay, and Eltinge to show how they transformed American culture. Hand-drawn images give vivid visual form to the lives and work of the book's subjects and their world. This book is at once a deft telling of three intricately entwined stories, a lush evocation of a performance milieu with unabashed entertainment value, and an eye-opening account of a key moment in American cultural history with striking parallels to present-day questions of race, gender, and sexual identity.

David Hajdu begins Love for Sale, his personal history of pop music, in an unexpected place - not with nostalgic reminiscences of the 45s of his youth but with the sheet-music era at the end of the nineteenth century. It was not so much the beginning of popular music - many songs were already popular - as it was the beginning of the popular music industry. And if he's going to understand what his 45s meant to him, this is the place to start: the rise of Tin Pan Alley, of minstrelsy, of million-copy sellers and one-hit wonders and cultural arbiters decrying the baseness, simplicity, and signs of the end of times in popular music. Love for Sale does ultimately spin through more familiar territory - the Cotton Club, the rise of radio, the battle of disco versus punk for the soul of New York as Hajdu made his chops as a critic, the rise of hip-hop, and the current atomisation of the music landscape - but it is always with a unique, insightful, and eloquently presented point of view, as one would expect from one of our most celebrated music critics.

In the years between the end of World War II and the mid-1950s, the popular culture of today was invented in the pulpy, boldly illustrated pages of comic books. But no sooner had comics emerged than they were beaten down by mass bonfires, congressional hearings, and a McCarthyish panic over their unmonitored and uncensored content. Esteemed critic David Hajdu vividly evokes the rise, fall, and rise again of comics in this engrossing history.