Augusta Jane Evans Critical response what was the response to Augusta Evans? Critics have praised the intellectual competence of her female characters, but as her heroes eventually succumb to traditional values, Wilson has been described as an antifeminist. what was her most important female character? Edna Earl, became the namesake of Eudora Welty's heroine what book was Edna Earl in? St. Elmo what other books did she write? Altars of Sacrifice,
what else did the critics have to say about her?
what else did the critics have to say about Augusta Jane Evans besides praising the intellectual competence of female characters and seeing Wilson as an antifeminist?
Augusta Evans Wilson was not a professional writer and her style was severely criticized as "pedantic." She wrote in the domestic, sentimental style of the Victorian Age. Critics have praised the intellectual competence of her female characters, but as her heroes eventually succumb to traditional values, Wilson has been described as an antifeminist. Of St. Elmo one critic maintained, "the trouble with the heroine of St. Elmo was that she swallowed an unabridged dictionary." Wilson was the first American woman author to earn over $100,000. This would be a record unsurpassed until Edith Wharton.  Macaria, or Altars of Sacrifice, published in 1864, was popular with Southerners and Northerners alike. Melissa Homestead writes that the transportation of the novel to New York was deliberate, done in installments and nearly simultaneous with the novel's preparation for publication in the South. Thus, while previous critics, scholars and biographers have all treated Macaria's appearance in the North as unauthorized, the truth is much more meaningful. Some scholars say that by dispensing with the romantic notion that the novel appeared in a "bootleg" edition, Homestead debunks the hard and fast distinction between Northern and Southern readerships as an invention of historians and critics rather than an accurate reflection of reading practices of the period. However, a great number of discrepancies exist between the version published in the North and the version published in the South, which remove huge portions of the text which romanticize the Southern heroes that are portrayed.  Her novel St. Elmo was her most famous and it was frequently adapted for both the stage and screen. It inspired the naming of towns, hotels, steamboats, and a cigar brand. The book's heroine, Edna Earl, became the namesake of Eudora Welty's heroine (Edna Earle Ponder) in The Ponder Heart published in 1954. The novel also inspired a parody of itself called St. Twel'mo, or the Cuneiform Cyclopedist of Chattanooga (1867) by Charles Henry Webb. CANNOTANSWER
Critics have praised the intellectual competence of her female characters, but as her heroes eventually succumb to traditional values, Wilson has been described as an antifeminist.


Track listing
 Opening Overture
 "I Get a Kick Out of You" (Cole Porter)
 "You Are the Sunshine of My Life" (Stevie Wonder)
 "You Will Be My Music" (Joe Raposo)
 "Don't Worry 'bout Me" (Ted Koehler, Rube Bloom)
 "If" (David Gates)
 "Bad, Bad Leroy Brown" (Jim Croce)
 "Ol' Man River" (Jerome Kern, Oscar Hammerstein II)
 Famous Monologue
 Saloon Trilogy: "Last Night When We Were Young"/"Violets for Your Furs"/"Here's That Rainy Day" (Harold Arlen, E.Y. Harburg)/(Matt Dennis, Tom Adair)/(Jimmy Van Heusen, Johnny Burke)
 "I've Got You Under My Skin" (Porter)
 "My Kind of Town" (Sammy Cahn, Van Heusen)
 "Let Me Try Again" (Paul Anka, Cahn, Michel Jourdan)
 "The Lady Is a Tramp" (Richard Rodgers, Lorenz Hart)
 "My Way" (Anka, Claude Francois, Jacques Revaux, Gilles Thibaut)

Frank Sinatra's Monologue About the Australian Press
I do believe this is my interval, as we say... We've been having a marvelous time being chased around the country for three days. You know, I think it's worth mentioning because it's so idiotic, it's so ridiculous what's been happening. We came all the way to Australia because I chose to come here. I haven't been here for a long time and I wanted to come back for a few days. Wait now, wait. I'm not buttering anybody at all. I don't have to. I really don't have to. I like coming here. I like the people. I love your attitude. I like the booze and the beer and everything else that comes into the scene. I also like the way the country's growing and it's a swinging place.

So we come here and what happens? We gotta run all day long because of the parasites who chase us with automobiles. That's dangerous, too, on the road, you know. Might cause an accident. They won't quit. They wonder why I won't talk to them. I wouldn't drink their water, let alone talk to them. And if any of you folks in the press are in the audience, please quote me properly. Don't mix it up, do it exactly as I'm saying it, please. Write it down very clearly. One idiot called me up and he wanted to know what I had for breakfast. What the hell does he care what I had for breakfast? I was about to tell him what I did after breakfast. Oh, boy, they're murder! We have a name in the States for their counterparts: They're called parasites. Because they take and take and take and never give, absolutely, never give. I don't care what you think about any press in the world, I say they're bums and they'll always be bums, everyone of them. There are just a few exceptions to the rule. Some good editorial writers who don't go out in the street and chase people around. Critics don't bother me, because if I do badly, I know I'm bad before they even write it, and if I'm good, I know I'm good before they write it. It's true. I know best about myself. So, a critic is a critic. He doesn't anger me. It's the scandal man who bugs you, drives you crazy. It's the two-bit-type work that they do. They're pimps. They're just crazy, you know. And the broads who work in the press are the hookers of the press. Need I explain that to you? I might offer them a buck and a half... I'm not sure. I once gave a chick in Washington $2 and I overpaid her, I found out. She didn't even bathe. Imagine what that was like, ha, ha.

Now, it's a good thing I'm not angry. Really. It's a good thing I'm not angry. I couldn't care less. The press of the world never made a person a star who was untalented, nor did they ever hurt any artist who was talented. So we, who have God-given talent, say, "To hell with them." It doesn't make any difference, you know. And I want to say one more thing. From what I see what's happened since I was last here... what, 16 years ago? Twelve years ago. From what I've seen to happen with the type of news that they print in this town shocked me. And do you know what is devastating? It's old-fashioned. It was done in America and England twenty years ago. And they're catching up with it now, with the scandal sheet. They're rags, that's what they are. You use them to train your dog and your parrot. What else do I have to say? Oh, I guess that's it. That'll keep them talking to themselves for a while. I think most of them are a bunch of fags anyway. Never did a hard day's work in their life. I love when they say, "What do you mean, you won't stand still when I take your picture?" All of a sudden, they're God. We gotta do what they want us to do. It's incredible. A pox on them... Now, let's get down to some serious business here...

See also
Concerts of Frank Sinatra

Frank Sinatra "What They'll Say About Us" is a song by American singer-songwriter Finneas. It was released by OYOY as a single on September 2, 2020. The song was written and produced by Finneas. A lullaby-influenced ballad, the lyrics were inspired by the Black Lives Matter protests and Nick Cordero's death due to COVID-19. "What They'll Say About Us" was noted by music critics for its lyrical content. A music video for the song was released alongside the song and was directed by Sam Bennett in one take. It is the first single from his debut studio album Optimist.

Background and development
Finneas wrote and produced "What They'll Say About Us". It was inspired by the spark of Black Lives Matter protests after racial inequality in the United States and the death of Canadian actor Nick Cordero, who died at the age of 41 from the ongoing COVID-19 pandemic. Finneas wrote the track in June 2020 while in quarantine. In an interview over Zoom with The Wall Street Journal, he said: "I wrote this song in June after spending the day at a protest in Downtown LA, filled with hope with the prospect that millions of people were coming together from all over the world to fight against institutionalized racism and inequality". He further stated: "The other component of the song was [that] I was very closely following Nick Cordero's story on Instagram, via his wife [Amanda Kloots], and Nick and his wife were not people I'd ever met. I don't know them at all. I saw the headlines about his health, just like everybody else did. I just became incredibly attached to this family that I’d never met before. I kind of wrote this song as if you were singing to your loved one who was in a hospital bed while the world was protesting outside. I did make a point to keep the song fairly ambiguous because I know everybody's sort of going through different circumstances of the same things right now".

Composition and lyrics
"What They'll Say About Us" begins "calmly and reassuringly": "You're tired now, lie down/I'll be waiting to give you the good news/It might take patience/And when you wake up, it won't be over/So don't you give up". However, as the beat and other instruments begin to arrive, the soundstage changes to be hazy. John Pareles, writing for The New York Times, says it "mortality begins to haunt the song, all the way to a devastating last line", noting the lyrics, "It might take patience/And if you don't wake up/I'll know you tried to/I wish you could see him/He looks just like you".

Reception
In a review for DIY magazine, the staff labeled "What They'll Say About Us" as "poignant" and an "ode to human strength". Writing for Billboard magazine, Jason Lipshutz said while the production on the track is "effectively restrained", people should credit Finneas for going "full-on showstopper when he draws out the line, 'We've got the time to take the world / And make it better than it ever was". Emily Tan of Spin magazine described the track as a song that "aims to offer comfort to those who have lost someone due to Covid-19".

Music video
A music video for "What They'll Say About Us" was released to Finneas' YouTube channel on September 2, 2020. The video was directed by Sam Bennett and shot in one take. In the visual, lights and rain swirl around Finneas as he sings and offers comfort to people who have lost someone they love from COVID-19. Spins Emily Yan described the visual as "simple" and "intimate".

Charts

References

2020s ballads
2020 singles
2020 songs
Song recordings produced by Finneas O'Connell
Songs written by Finneas O'Connell
Songs in memory of deceased persons
Finneas O'Connell songs "Eh, Eh (Nothing Else I Can Say)" is a song by American singer Lady Gaga, from her debut album, The Fame (2008). It was released as the third single from the album in Australia, New Zealand and selected European countries, and the fourth single in France. The song is a calypso-styled, mid-tempo ballad, and is about breaking up with one's old partner and finding someone new. "Eh, Eh (Nothing Else I Can Say)" received mixed reviews from US-based critics, who denoted it as "dry and lifeless", blaming it for halting the "bad-girl party atmosphere" of The Fame.

Failing to match the popularity of her previous singles, the song peaked at number fifteen on the Australian ARIA Charts and at number nine on the RIANZ charts of New Zealand. It proved to be successful in Sweden, where it managed to peak at number two on the Sverigetopplistan chart, as well as in the Czech Republic, France, and Hungary, where it reached the top-ten of their respective charts. "Eh, Eh (Nothing Else I Can Say)" received Gold certifications for its sales in Australia, Denmark, New Zealand, and the United States.

The accompanying Italian-American 1950s-themed music video portrayed Gaga and her friends roaming around the streets of the Little Italy neighborhood of New York City, Gaga riding a Vespa and also singing the song while at home with her boyfriend. The video was noted for its contrasting portrayal of Gaga doing feminine work, as compared to her previous endeavours. She performed "Eh, Eh (Nothing Else I Can Say)" on her first headlining concert tour, The Fame Ball Tour, wearing a black-and-white leotard, and during the first legs of The Monster Ball Tour, while standing inside a giant gyroscope.

Background and composition
"Eh, Eh" was written by Gaga with Martin Kierszenbaum, who also produced the track. It was recorded at Cherrytree Recording Studios in Santa Monica, California. In 2005, Kierszenbaum founded Cherrytree Records along with Jimmy Iovine, then chairman of Interscope Records. After signing a number of artists, he worked with then-unknown Gaga on her debut album, The Fame, producing and writing four songs with her, including the title track. One of these songs was "Eh, Eh (Nothing Else I Can Say)". During recording the track, Gaga fashioned a nickname for Kierszenbaum, called "Cherry Cherry Boom Boom". They kept the nickname in all the four songs they had worked on. Kierszenbaum later carried on the nickname in all his future projects. Other personnel working on the song included Tony Ugval, who did the audio engineering, Robert Orton for audio mixing and Gene Grimaldi, who mastered the song at Oasis Mastering Studios in Burbank, California.

Musically, "Eh, Eh (Nothing Else I Can Say)" is credited as a ballad compared to the rest of the dance-fuelled tracks from The Fame. It is a 1980s-influenced synth-pop and bubblegum pop song, while incorporating the "Eh, Eh" hook from Rihanna's single "Umbrella", according to Freedom du Lac from The Washington Post. According to the sheet music published at Musicnotes.com by Sony/ATV Music Publishing, the song is set in the time signature of common time with a moderate tempo of 94 beats per minute. Gaga's vocal range spans from B3 to C5 with the main key in which the song is set being E major. The song follows in the chord progression of E–B–Fm–E–B–Fm. Gaga stated that the lyrics of "Eh, Eh (Nothing Else I Can Say)" are about love and she explained that "'Eh, Eh' is my simple pop song about finding someone new and breaking up with the old boyfriend." Writer James E. Perone mentioned in his book The Album: A Guide to Pop Music's Most Provocative, Influential, and Important Creations that with the lyrics, Gaga maintained a focus on transitory relationships. Although the lyrics explained her former lover that she had found someone new and did not mean to hurt him with the news, the continuous repetition of the phrase "nothing else I can say" solidifies the transient nature of the relationship portrayed.

Critical reception

Alexis Petridis from The Guardian noted that "Eh, Eh" bears the influence of early 1990s Europop and "is the first song in a long time that warrants comparison to the œuvre of Ace of Base. Matthew Chisling of AllMusic gave a negative review of the song saying "The Fame has  'ballad,' however the breezy 'Eh, Eh' doesn't hold water on this album; rather, it feels dry and lifeless, something which holds this album back". Sal Cinquemani of Slant Magazine said that "the breezy island vibe and soft demeanor of 'Eh, Eh (Nothing Else I Can Say)' is hard to buy when sandwiched between songs like 'Poker Face' and 'Beautiful, Dirty, Rich.'" In another article analyzing about the music videos released by Gaga, Oscar Moralde from Slant Magazine noted that "Eh, Eh" as a track "is an intriguing case: rather than the tech-assisted sexy-androgynous dance pop that dominates a good chunk of The Fame, it and its sister tracks 'Brown Eyes' and 'Again Again' are evidence of a stripped-down, simpler, sincere Gaga.

Evan Sawdey of PopMatters said that the song is the most embarrassing moment of the album and as a result makes the album come to an intermediate halt thus ruining the "bad-girl party atmosphere". Joey Guerra of the Houston Chronicle said that "Eh, Eh" is a bouncy standout with some vocal personality. He also added that "[It] would have made a killer Spice Girls single." Genevieve Koski of The A.V. Club called the track scaled-back and criticized Gaga's vocal abilities in the song. Jon Caramanica of The New York Times called the song listless. Catherine P. Lewis from The Washington Post called the song a chirpy ballad. Christina Martin from The Meridian Star felt that the song, along with "Summerboy" from The Fame, is breezy and upbeat in nature. Matt Busekroos from Quinnipiac Chronicle said that the song seemed like filler.

Release and chart performance
"Eh, Eh (Nothing Else I Can Say)" was first released in New Zealand on January 10, 2009, and later in Australia on January 30, 2009. "Eh, Eh" was the second most added song on Australian radio on the week beginning December 15, 2008. It first began to receive airplay on all Today Network stations. The song was confirmed as an Australian single on Lady Gaga's official website on January 15, 2009. An official remix was also posted on her website that day followed by another one featuring the official cover art. On March 5, 2009, a Pet Shop Boys remix—named as "Random Soul Synthetic Mix"—became available for free download on Gaga's Australian website. Synth-pop musician Frankmusik remixed the track for Gaga's 2010 album, The Remix, where he manipulated Gaga's vocals and created a dreamy quality with them, as noted by Nicki Escuedo from Phoenix New Times.

"Eh, Eh (Nothing Else I Can Say)" debuted on the ARIA Singles Chart at number 38 on the issue of January 18, 2009. The following week it climbed to number 32 and ultimately peaked at number 15, on the issue of March 1, 2009, making it Gaga's third single to hit the top twenty there. After thirteen weeks on the chart, "Eh, Eh" was certified gold for shipment of 35,000 copies by the Australian Recording Industry Association (ARIA). In New Zealand, "Eh, Eh" debuted at number 40 on the issue dated January 19, 2009. The following weeks it continued its rise on the chart and ultimately peaked at number nine, spending three weeks there, and becoming her third consecutive top ten hit in New Zealand. The song was certified gold on May 24, 2009, by the Recording Industry Association of New Zealand (RIANZ), for shipment of 7,500 copies. The single reached a peak of number seven in France, and sold a total of 52,000 copies according to the SNEP.

On the Billboard issue dated February 21, 2009, "Eh, Eh (Nothing Else I Can Say)" debuted on the Canadian Hot 100 chart at number 68, despite not being released as a single, but dropped off the chart the following week. It entered the chart again for two weeks in August 2010. Although "Eh, Eh (Nothing Else I Can Say)" was not released in the United States, it received a gold certification from the Recording Industry Association of America (RIAA) for selling over 500,000 equivalent units. The song also debuted at number 20 on the Swedish Singles Chart for the issue dated April 2, 2009, and peaked at number two. On the Digital Songs chart of Sweden, it peaked at the top in its fourth week. The song debuted on the Danish Singles Chart at number 28 on May 15, 2009, and peaked at number 14. Due to the moderate chart performance in the European markets, "Eh, Eh" only reached a peak of number 40 on Billboards European Hot 100 Singles chart.

Music video

Background and synopsis
The Italian-American 1950s-inspired music video, directed by Joseph Kahn, was shot back to back with the video for the song "LoveGame" on the weekend of January 9–10, 2009 in Los Angeles. About the video, Gaga explained: "I wanted to show a different side of myself — perhaps a more domestic girly side. And I wanted to create beautiful, stunning '50s futuristic fashion imagery that would burn holes in everyone's brains." She further clarified that for the fashion aspects in the video she wanted to go in an opposite direction to her usual image. She wanted a yellow based wardrobe believing the color to become a big hit in the fashion world in 2009.

The video starts out showing Little Italy, an icon of the Madonna and Child, and then Gaga riding a Vespa. The first twenty seconds are mainly full of camera shots of different men, Gaga, and the city. The singer roams around with some friends, laughing and joking in a restaurant, while she stands on the seat. Gaga then comes from around the block walking with her friends in pace and singing in the camera. Next, she is shown sleeping in a bed, and waking up to reveal pink high-heeled shoes. She sings and cooks for a man in a house while dancing. She irons clothes while the man is on the phone screaming at someone. The two harlequin Great Danes who appear at the start of her "Poker Face" music video, also appear in this one. Finally she lies on a sofa with her legs up on the man. One of the last scenes shows her in a yellow dress made of flowers and wearing a yellow watch while singing to the song with a unique hairstyle which shows her hair pulled up and folded over. Then the camera quickly goes back to her in bed.

Reception
David Balls from Digital Spy noted Gaga's homage to her Italian-American roots in the video, but wondered if Gaga would "overexpose herself" with the video. Like his review of the single, Moralde found the video to be complementing the simplistic composition of the song. He believed that with the videos for previous singles, "Just Dance" and "Poker Face", Gaga's persona was established, but with the video for "Eh, Eh" she traversed her persona from the original Stefani Germanotta that she was born, to the character Lady Gaga. He explained: "What's striking about it is how much it feels like Lady Gaga is playacting: the video has a nostalgic, dreamlike tone. Set in a stylized pastel 1950s Little Italy, the video plays heavily with stereotypical and historical shorthand as it displays moustached chefs, macho men in wife beaters, cute Vespas, and spaghetti and meatballs." He noted that with all of these activities, Gaga created an essential fashion dollhouse, by playing feminine characters.

But Gaga addressed the viewer directly in the video while singing the song, which led Moralde to deduce that "She's not in the moment, but is instead playing a feminized role in a dreamlike space; this quality is accentuated by the bright and blown-out color palette, and the numerous shots of Gaga in bed or sleeping. The cumulative effect is that it asserts the Lady Gaga of the previous videos to be the real one, and the Gaga in 'Eh, Eh' is a character that she is playing." His view was shared by Chris Kingston from The Harvard Crimson who noted during the release of the music video for Gaga's 2010 single "Telephone", that the video shows "the crazy party girl we know [...] actually has a weirdly girlish, domestic side." In The Oxford Handbook of Sound and Image in Digital Media, author Carol Vernallis divided Gaga's persona into three categories. The personality portrayed in the "Eh, Eh" video was named as "Friendly Peer" archetype; someone with a girl-next-door image and approachable behavior.

Live performances

"Eh, Eh" was first performed in a beatbox version at the Cherrytree Studios and was released on Gaga's first EP, The Cherrytree Sessions. "Eh, Eh" was majorly performed at Gaga's The Fame Ball Tour in the second segment. Gaga was dressed in a white body plate leotard with black lightning shaped stripes and wore a hat made of toppled dominoes. As the performance of previous song "Money Honey" ended Gaga appeared on the stage beside Space Cowboy on a Vespa whence the music for "Eh, Eh" starts. The backdrops change to reveal lightning shapes in contrast to the sunny nature of the song. Gaga sang the song in its actual form backed by vocals from DJ Space Cowboy who spun the music from a corner of the stage. As the song reached the chorus Gaga asked the crowd to join her while singing and wave their arms. The New York Times called the live performance listless. However, The Hollywood Reporter said of the performance that, "In an age of too much information, one of the most refreshing things about Gaga is her mystery. She often hid behind shades, and her mostly incomprehensible, coy and semi-robotic stage patter did little to tell us who's that Lady."

Gaga also performed the song at the 2009 Glastonbury Festival. Although the show was part of The Fame Ball Tour, many elements were different from on usual tour dates. For "Eh Eh", Gaga wore a pyrotechnic bra that fired sparkle-flames from her breast area while singing the chorus. In September 2009, Gaga appeared in French television show Taratata, where she performed "Eh, Eh" on the piano, while wearing a red mask. "Eh, Eh" was also performed during the original version of The Monster Ball Tour, where the song signified the singer's rebirth as she descended from the top amidst white lights and mechanical fog. She wore a giant human sized gyroscope around her, which was developed by the Haus of Gaga and was named "The Orbit". The song was removed from the setlist in early 2010.

Track listing and formats

Australian CD Single (Extra Limited Edition)
 "Eh, Eh (Nothing Else I Can Say)" – 2:57
 "Poker Face" (Space Cowboy Remix) – 4:56

French CD Single (Limited Edition)
 "Eh, Eh (Nothing Else I Can Say)" – 2:56
 "Eh, Eh (Nothing Else I Can Say)" [Pet Shop Boys Radio Mix] – 2:49
 "Eh, Eh (Nothing Else I Can Say)" [Random Soul Synthetic Club Remix] – 5:27

iTunes Remix Single
 "Eh, Eh (Nothing Else I Can Say)" [Random Soul Synthetic Club Remix] – 5:29
 "Eh, Eh (Nothing Else I Can Say)" [Pet Shop Boys Radio Mix] – 2:53

Italian iTunes download
 "Eh, Eh (Nothing Else I Can Say)" [Electric Piano & Human Beatbox Version] – 3:03

iTunes Remix EP
 "Eh, Eh (Nothing Else I Can Say)" – 2:57
 "Eh, Eh (Nothing Else I Can Say)" [Pet Shop Boys Radio Mix] – 2:53
 "Eh, Eh (Nothing Else I Can Say)" [Bollywood Remix] – 3:29
 "Eh, Eh (Nothing Else I Can Say)" [FrankMusik 'Cut Snare Edit' Remix] – 3:50
 "Eh, Eh (Nothing Else I Can Say)" [Electric Piano & Human Beat Box Version] – 3:03
 "Eh, Eh (Nothing Else I Can Say)" [Mattafix Remix] – 3:21
 "Eh, Eh (Nothing Else I Can Say)" [Random Soul Synthetic Club Remix] – 5:29
 "Eh, Eh (Nothing Else I Can Say)" [Pet Shop Boys Club Remix] – 6:31

Credits and personnel
Credits adapted from the liner notes of The Fame.

Lady Gaga – vocals, songwriting
Martin Kierszenbaum – songwriting, production
Tony Ugval – audio engineering
Robert Orton – audio mixing
Gene Grimaldi – audio mastering at Oasis Mastering, Burbank, California
Recorded at Cherrytree Recording Studios, Santa Monica, California

Charts

Weekly charts

Year-end charts

Certifications

Release history

References

2000s ballads
2008 songs
2009 singles
Bubblegum pop songs
Interscope Records singles
Lady Gaga songs
Music videos directed by Joseph Kahn
Songs written by Lady Gaga
Songs written by Martin Kierszenbaum
Synth-pop ballads
bubblegum pop songs