Running so hard you think you’ll choke on your next breath. Lungs burning like they’re drenched in battery acid. Peripheral vision blurred by the same adrenaline that drowns out the cheers coming from the full stadium. And of course, the reporters. The men scribbling furiously on their notepads so they can publish every stumble, sprain, and sniffle. This was the world of the female athletes in the 1928 Amsterdam Olympics, the first games in which women were allowed to compete in track and field on a trial basis. Nicknamed “The Peerless Four,” the Canadian track team included some of the strongest, most diversely talented women on the scene. Narrated by the team’s chaperone—a former runner herself—the women embark on their journey with the same golden goals as every other Olympian, male or female. But as the Olympic tension begins to rise with unexpected injuries and disqualifications, each woman discovers new fears and priorities, all while the weight of women’s future in the Olympics rests on their performance. The Peerless Four is more than a sports novel, more than a record of women’s rights. It’s a meditation on sacrifice, loyalty, perseverance, and the courage to live a true underdog tale.
the peerless four
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Four Parts, No Waiting investigates the role that vernacular, barbershop-style close harmony has played in American musical history, in American life, and in the American imagination. Starting with a discussion of the first craze for Austrian four-part close harmony in the 1830s, Averill traces the popularity of this musical form in minstrel shows, black recreational singing, vaudeville, early recordings, and in the barbershop revival of the 1930s. In his exploration of barbershop, Averill uncovers a rich musical tradition--a hybrid of black and white cultural forms, practiced by amateurs, and part of a mythologized vision of small-town American life. Barbershop harmony played a central -- and overlooked -- role in the panorama of American music. Averill demonstrates that the barbershop revival was part of a depression-era neo-Victorian revival, spurred on by insecurities of economic and social change. Contemporary barbershop singing turns this nostalgic vision into lived experience. Arguing that the "old songs" function as repositories of idealized social memory, Averill reveals ideologies of gender, race, and class. This engagingly-written, often funny book critiques the nostalgic myths (especially racial myths) that have surrounded the barbershop revival, but also celebrates the civic-minded, participatory spirit of barbershop harmony. The contents of the CD have been replaced by a companion website with helpful links, resources, and audio examples.
A landmark study tracing the current of music education that gave form and style to the black gospel quartet tradition