In 1927, on the northeast corner of Cherokee and Iowa Streets in south St. Louis, a multistory, multipurpose building was erected. Retail shops and a bowling alley occupied the first floor, while upstairs was a place that defied the imagination of someone driving by in their brand new Model T Ford. Today, that upstairs space, with its lofty ceiling, huge maple tongue-in-groove dance floor, and wraparound balcony, is the Casa Loma Ballroom -- St. Louis' last grand ballroom. Today, one gets the feeling that the ghosts of the big bands and the vocalists still linger there -- and with good reason. Just about everybody who was anybody played there at one time or another. Ol' Blue Eyes himself, before he was the idol of millions, received just a meager "Featured Singer, Frank Sinatra" note at the bottom of the Casa Loma bill the night he played with the Harry James Orchestra.
Was it really the butler who did it? Or maybe it was the snoopymaid? Tom Austen and his sister Liz have just arrived at Casa Loma, the famouscastle in central Toronto. There to solve a mysterious disappearance and find alost treasure, the two young detectives discover that the old castle holds moresecrets than even they had bargained for. With plenty of suspects to keep readers guessing right to theend of this gripping mystery, The Lost Treasure of Casa Loma deliversaction and adventure along with a painless hit of Canadian history.
The Lost Treasure of Casa Loma brings Tom and Liz Austen to Casa Loma, a castle right in the heart of downtown Toronto, where they must solve the mystery of Sir Nigel Brampton's disappearance, and find the treasure hidden somewhere in the castle. Appealing to children's inherent keen interest in mystery, Eric Wilson has skillfully woven accurate Canadian geographic and historic information into his writing. As such, these novels lend themselves to the integrated study of the mystery genre with Canadian geography topics in social studies, and investigation units in science. The Lost Treasure of Casa Loma provides rich material for the study of setting, characterization and plot development. This Novel Study provides a teacher and student section with a variety of activities, chapter questions, crossword, and answer key to create a well-rounded lesson plan.
It may not be true but it could be - this story of how a single white stone came to be in the wall surrounding Casa Loma, the magnificient medieval castle that stands in the middle of Toronto. John Tommy Fiddich lives in Yorkville, tends the family vegetable patch, and considers himself the "luckiest boy in town." When a hailstorm wipes out the vegetables, he goes from being the luckiest to the unluckiest. Then word gets out that Henry Pellatt, the eccentric millionaire who brought light to the city and built Casa Loma, is offering one dollar for brown stones to place in the wall going up around the castle. After trudging through the city all day with his stone, John reaches the castle only to find that rain has washed it white. But Henry Pellatt accepts the stone for his wall, rewarding John for his hard work, making him again "the luckiest boy in town." The trip through the streets of Toronto, from Yorkville to Casa Loma, makes for a book as enchanting to young and old as the fabulous castle that inspired it.
Toronto - the largest and one of the most multicultural cities in Canada - boasts an equally interesting and diverse architectural heritage. Architecture, Design and Craft in Toronto 1900-1940 tells a story of the significant changes in domestic life in the first 40 years of the twentieth century. Adopting a multidisciplinary approach to studies of residential spaces, the author examines how questions of modernity and modern living influenced not only architectural designs but also interior furnishings, modes of transportation and ways to spend leisure time. The book discusses several case studies, some of which are known both locally and internationally (for example Casa Loma), while others such as Guild of All Arts or Sherwood have been virtually unstudied by historians of visual culture. The overall goal of the book is to put Toronto on the map of scholars of urban design and architecture and to uncover previously unknown histories of design, craft and domesticity in Toronto. This study will be of interest not only to the academic community (namely architects, designers, craftspeople and scholars of these disciplines, along with social historians), but also the general public interested in local history and/or visual culture.
A panoramic history of the genre brings to life the diverse places in which jazz evolved, traces the origins of its various styles, and offers commentary on the music itself.
Here is the book jazz lovers have eagerly awaited, the second volume of Gunther Schuller's monumental The History of Jazz. When the first volume, Early Jazz, appeared two decades ago, it immediately established itself as one of the seminal works on American music. Nat Hentoff called it "a remarkable breakthrough in musical analysis of jazz," and Frank Conroy, in The New York Times Book Review, praised it as "definitive.... A remarkable book by any standard...unparalleled in the literature of jazz." It has been universally recognized as the basic musical analysis of jazz from its beginnings until 1933. The Swing Era focuses on that extraordinary period in American musical history--1933 to 1945--when jazz was synonymous with America's popular music, its social dances and musical entertainment. The book's thorough scholarship, critical perceptions, and great love and respect for jazz puts this well-remembered era of American music into new and revealing perspective. It examines how the arrangements of Fletcher Henderson and Eddie Sauter--whom Schuller equates with Richard Strauss as "a master of harmonic modulation"--contributed to Benny Goodman's finest work...how Duke Ellington used the highly individualistic trombone trio of Joe "Tricky Sam" Nanton, Juan Tizol, and Lawrence Brown to enrich his elegant compositions...how Billie Holiday developed her horn-like instrumental approach to singing...and how the seminal compositions and arrangements of the long-forgotten John Nesbitt helped shape Swing Era styles through their influence on Gene Gifford and the famous Casa Loma Orchestra. Schuller also provides serious reappraisals of such often neglected jazz figures as Cab Calloway, Henry "Red" Allen, Horace Henderson, Pee Wee Russell, and Joe Mooney. Much of the book's focus is on the famous swing bands of the time, which were the essence of the Swing Era. There are the great black bands--Duke Ellington, Count Basie, Jimmie Lunceford, Earl Hines, Andy Kirk, and the often superb but little known "territory bands"--and popular white bands like Benny Goodman, Tommy Dorsie, Artie Shaw, and Woody Herman, plus the first serious critical assessment of that most famous of Swing Era bandleaders, Glenn Miller. There are incisive portraits of the great musical soloists--such as Art Tatum, Teddy Wilson, Coleman Hawkins, Lester Young, Bunny Berigan, and Jack Teagarden--and such singers as Billie Holiday, Frank Sinatra, Peggy Lee, and Helen Forest.
