By Brian M. Wiprud
Jumping fishes. Prowling bobcats. Frosty penguins and mute moose heads...These are the issues that fill Garth Carson’s existence as he buys, sells, and rents unique taxidermy from his funky manhattan urban storefront. yet now Garth and his gal, Angie, have got the main sinister crammed critter on this planet: a definite white crow in a bell jar that Angie swoons over–and that other folks are death to get their fingers on.
When the crow is stolen, in addition to $50,000 worthy in their most sensible taxidermy, Garth and Angie are plunged into the spooky middle of previous New England and a realm of crazed carnies, bumbling feds, and a pair of freshly snuffed creditors. to save lots of their bird–and their lives–these reluctant sleuths needs to penetrate a zany, hugely unlawful foreign treasure hunt...and confront a freak who has something for murder.
“The funniest tough-guy author there is.”
“Audacious and regularly unique. Wiprud twangs humorous bones I by no means knew I had.” –T. Jefferson Parker
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12 The Fiesta planners thus merged Greek mythology, references to popular opera, Shakespeare, and Native American exoticism into their celebration of the city’s Mexican-Spanish roots, all for the beneﬁt of Anglo tourists and potential new residents. (For the record, it is highly unlikely that Native Americans were much involved in this representation, since their numbers had dwindled sharply with the coming of ﬁrst the Spanish and later the Anglos. ) There was more, of course. A Grand Fiesta Concert was offered by the Music Committee at Hazard’s Pavilion, with the Grand Fiesta Chorus and Orchestra directed by Mr.
23 That act of healing between the old and the new never took place. In addition to paying its members, Stamm’s Philharmonic represented a new departure in the orchestral sound heard in Los Angeles. It was the ﬁrst group to abandon the old high pitch used in bands (and commonly employed by the brass and wind players when they joined the strings), thereby taking on a more truly symphonic sound and taking an innovative forward step: “Up to the advent of the Philharmonic Orchestra organized by A. J.
The Tribune’s numbers were 24 / Music for the “People” higher. It seems reasonable to guess that for the seven performances, the total audience numbered on the order of twenty thousand and may well have been more. The city’s total population (including the very young and the very old) would not reach ﬁfty thousand for another three years (or one hundred thousand if the surrounding towns are included). 18 At least half the town’s adult population was “elite” for the week, if the claims to such status for opera are to be taken seriously.