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Australian Indigenous Hip Hop: The Politics of Culture, Identity, and Spirituality (Routledge Studies in Hip Hop and Religion)
by Chiara MinestrelliThis book investigates the discursive and performative strategies employed by Australian Indigenous rappers to make sense of the world and establish a position of authority over their identity and place in society. Focusing on the aesthetics, the language, and the performativity of Hip Hop, this book pays attention to the life stance, the philosophy, and the spiritual beliefs of Australian Indigenous Hip Hop artists as ‘glocal’ producers and consumers. With Hip Hop as its main point of analysis, the author investigates, interrogates, and challenges categories and preconceived ideas about the critical notions of authenticity, ‘Indigenous’ and dominant values, spiritual practices, and political activism. Maintaining the emphasis on the importance of adopting decolonizing research strategies, the author utilises qualitative and ethnographic methods of data collection, such as semi-structured interviews, informal conversations, participant observation, and fieldwork notes. Collaborators and participants shed light on some of the dynamics underlying their musical decisions and their view within discussions on representations of ‘Indigenous identity and politics’. Looking at the Indigenous rappers’ local and global aspirations, this study shows that, by counteracting hegemonic narratives through their unique stories, Indigenous rappers have utilised Hip Hop as an expressive means to empower themselves and their audiences, entertain, and revive their Elders’ culture in ways that are contextual to the society they live in.
Australia’s Jindyworobak Composers (Routledge Research in Music)
by David SymonsAustralia’s Jindyworobak Composers examines the music of a historically and artistically significant group of Australian composers active during the later post-colonial period (1930s–c. 1960). These composers sought to establish a uniquely Australian identity through the evocation of the country’s landscape and environment, including notably the use of Aboriginal elements or imagery in their music, texts, dramatic scenarios or ‘programmes’. Nevertheless, it must be observed that this word was originally adopted as a manifesto for an Australian literary movement, and was, for the most part, only retrospectively applied by commentators (rather than the composers themselves) to art music that was seen to share similar aesthetic aims. Chapter One demonstrates to what extent a meaningful relationship may or may not be discernible between the artistic tenets of Jindyworobak writers and apparently likeminded composers. In doing so, it establishes the context for a full exploration of the music of Australian composers to whom ‘Jindyworobak’ has come to be popularly applied. The following chapters explore the music of composers writing within the Jindyworobak period itself and, finally, the later twentieth-century afterlife of Jindyworobakism. This will be of particular interest to scholars and researchers of Ethnomusicology, Australian Music and Music History.
Authenticity and Belonging in the Northern Soul Scene: The Role of History and Identity in a Multigenerational Music Culture (Palgrave Studies in the History of Subcultures and Popular Music)
by Sarah RaineThis book, which builds on a three-year immersive ethnographic study, argues that what scene participants do and say within the northern soul scene constitutes a claim to belong. For younger members, making claims to belong is problematic in a scene where dominant notions of authenticity held by insiders are rooted in a particular past: the places, people, events, and soundscapes of particular venues during the 1970s. In order to engage with this past, young men and women participate in a range of discursive practices. This book argues that these practices, and the ways they intersect and deviate from dominant notions of authenticity, represent shared and individual negotiations of the 'true soulie'. In doing so, it reveals the rich experiences of the younger generation of this multigenerational music scene, and the ways they establish a claim to belong to a scene first formed before they were born.
Authorship Roles in Popular Music: Issues and Debates
by Ron MoyAuthorship Roles in Popular Music applies the critical concept of auteur theory to popular music via different aspects of production and creativity. Through critical analysis of the music itself, this book contextualizes key concepts of authorship relating to gender, race, technology, originality, uniqueness, and genius and raises important questions about the cultural constructions of authenticity, value, class, nationality, and genre. Using a range of case studies as examples, it visits areas as diverse as studio production, composition, DJing, collaboration, performance and audience. This book is an essential introduction to the critical issues and debates surrounding authorship in popular music. It is an ideal resource for students, researchers, and scholars in popular musicology and cultural studies.
Authorship and Identity in Late Thirteenth-Century Motets (Royal Musical Association Monographs)
by Catherine A. BradleyQuestions of authorship are central to the late thirteenth-century motet repertoire represented by the seventh section or fascicle of the Montpellier Codex (Montpellier, Bibliothèque interuniversitaire, Section de médecine, H. 196, hereafter Mo). Mo does not explicitly attribute any of its compositions, but theoretical sources name Petrus de Cruce as the composer of the two motets that open fascicle 7, and three later motets in this fascicle are elsewhere ascribed to Adam de la Halle. This monograph reveals a musical and textual quotation of Adam’s Aucun se sont loe incipit at the outset of Petrus’s Aucun ont trouve triplum, and it explores various invocations of Adam and Petrus – their works and techniques – within further anonymous compositions. Authorship is additionally considered from the perspective of two new types of motets especially prevalent in fascicle 7: motets that name musicians, as well as those based on vernacular song or instrumental melodies, some of which are identified by the names of their creators. This book offers new insights into the musical, poetic, and curatorial reception of thirteenth-century composers’ works in their own time. It uncovers, beneath the surface of an anonymous motet book, unsuspected interactions between authors and traces of compositional identities.
Autobiografía
by Luis Enrique«Todo en la vida tiene su momento. Benditas sean las experiencias y el aprendizaje que nos hacen recordar y revisar el camino por donde hemos andado.Con la canción titulada “Autobiografía” decidí contarte un poco de mi historia de inmigrante que, a través de mi libro, conocerás con más detalle.Compartir mi vida en estas páginas me ha llenado de satisfacción y ha movido cada fibra en lo más profundo de mi ser… espero que al terminar de leerlo sientas que me conoces más, y si has pasado o estás pasando situaciones similares a las que yo viví, sepas que no estás solo».—Luis EnriqueEl reconocido autor e intérprete de grandes éxitos y premiado con los más importantes galardones de la industria musical se estremece al narrar su historia, su infancia llena de música y política, su desgarrador enfrentamiento con el maltrato y el viaje de supervivencia que emprendió siendo adolescente al abandonar su natal Somoto, en Nicaragua, para establecerse como indocumentado en Estados Unidos.El príncipe de la salsa nos abre las puertas a lo más íntimo con historias nunca antes contadas en un tono sincero y apasionante que llenarán tu corazón de esperanza.
Autobiography
by MorrisseySteven Patrick Morrissey was born in Manchester on May 22nd 1959. Singer-songwriter and co-founder of the Smiths (1982-1987), Morrissey has been a solo artist for twenty-six years, during which time he has had three number 1 albums in England in three different decades. Achieving eleven Top 10 albums (plus nine with the Smiths), his songs have been recorded by David Bowie, Nancy Sinatra, Marianne Faithfull, Chrissie Hynde, Thelma Houston, My Chemical Romance and Christy Moore, amongst others. An animal protectionist, in 2006 Morrissey was voted the second greatest living British icon by viewers of the BBC, losing out to Sir David Attenborough. In 2007 Morrissey was voted the greatest northern male, past or present, in a nationwide newspaper poll. In 2012, Morrissey was awarded the Keys to the City of Tel-Aviv. It has been said 'Most pop stars have to be dead before they reach the iconic status that Morrissey has reached in his lifetime. 'Autobiography covers Morrissey's life from his birth until the present day. 'Five stars. With typical pretension, Morrissey's first book has been published as a Penguin Classic. It justifies such presentation with a beautifully measured prose style that combines a lilting, poetic turn of phrase and acute quality of observation, revelling in a kind of morbid glee at life's injustice with arch, understated humour . . . It is recognisably the voice of the most distinctive British pop lyricist of his era' Neil McCormick, Daily Telegraph'A brilliant and timely book . . . What is so refreshing about Morrissey's Autobiography is its very messiness, its deliriously florid, overblown prose style, its unwillingness to kowtow to a culture of literary formula and commercial pigeon-holing . . . Autobiography is a true baggy monster, a book in which a distinctive prose style is allowed to develop . . . A rococo triumph . . . Overwhelmingly this is a book to be thankful for . . . In the ways that matter, Autobiography reads like a work of genuine literary class' Alex Niven, Independent'Sharply written, rich, clever, rancorous, puffed-up, tender, catty, windy, poetic, and frequently very, very funny. Welcome back, Morrissey'Michael Bonner, Uncut Magazine'Rancorous, rhapsodic, schizophrenic: Autobiography delivers a man in full'Andrew Male, Mojo'If one is willing to accept that a Morrissey book could be a classic, then the book justifies its status remarkably early on. . . . As a work of prose Autobiography is a triumph of the written word' Louder than war'Funnier than the Iliad . . . A triumph'Colin Paterson, Today Programme, BBC Radio 4'One of the autobiographies of this or any year . . . A wonderfully entertaining read. He's as witty, acerbic and opinionated as you'd expect, but there's a welcome self-awareness throughout that makes the dramatic flourishes and hyperbolic dismay all the more hilarious. He may have more flaws than Manchester's Arndale Centre but he's just brilliantly, uniquely Morrissey'Daily Mirror'Morrissey's Autobiography is brilliant and relentless. Genius, really' Douglas Coupland'Well, so far Morrissey's book is an absolute masterpiece; no doubt the whole stinking country will hate it'Frankie Boyle'This is the best book ever. Like ever'Wonderland 'Carried along on quite extraordinary prose'Time Out'The Best Music Biog Ever . . . In the world of rock autobiographies, Morrissey's is nigh-on perfect'NME'Practically every paragraph has a line or two that demands to be read aloud to the mirror, tattooed on foreheads, carved on tombstones' Rolling Stone'Morrissey is a pop star of unusual writing talent'New York Times
Autobiography Of Anton Rubinstein 1829-1889
by Anton RubensteinWhen this book was first published, the author of this book was Russia's greatest living pianist and composer. ON the 18th of November, 1889, Russia celebrated the Jubilee of her greatest living pianist and composer, Anton Rubinstein. Although from time to time various articles and criticisms on the life and works of the famous musician have been published, the biographical details, often inaccurate, possessed little or no value. It is a well-known fact that Rubinstein has always shown a reluctance to talk about himself or about his musical career. The idea suggested itself that it would be well to ask him to contribute materials for a brief biography. Having gained his consent, a stenographer was engaged to take down from the musician’s own lips the story of his life. These notes were afterward read to Rubinstein and corrected under his supervision...Von Bülow once called him the Michael Angelo of music; and Rubinstein has said of himself: “I play as a musician, not as a virtuoso.” It is this very sincerity that has won for him an exclusive position among the pianists of the world. When beneath his fingers the piano alternately sings like a human voice or thunders with all the force of an orchestra, it is not easy to realize the limited compass of the instrument. The accounts of the enthusiasm aroused by his playing seem almost fabulous.In all the great cities of Europe the crowds that collected around the ticket offices, even when fourteen successive concerts had been announced, were so great as to require the presence of the police to preserve order. Among the delighted audiences of St. Petersburg and Moscow, who enjoyed the privilege of listening to his historical concerts, no true lover of music can have failed to appreciate that educational significance which lent to them a double value.
Avant Rock
by Bill Martin Robert FrippIn Avant Rock,, music writer Bill Martin explores how avant-garde rock emerged from the social and political upheaval of the sixties. He covers the music from its early stages, revealing its influences outside of rock, from musicians such as John Cage and Cecil Taylor, to those more closely related to rock like James Brown and Parliament/ Funkadelic.Martin follows the development of avant rock through the sixties, when it was accepted into the mainstream, with bands like the later Beatles, The Who, Jimi Hendrix, The Velvet Underground, King Crimson, and Brian Eno. His narration takes us into the present, with an analysis of contemporary artists who continue to innovate and push the boundaries of rock, such as Stereolab, Mouse on Mars, Sonic Youth, and Jim O'Rourke. Martin critiques the work of all important avant rock bands and individual artists, from the well-known to the more obscure, and provides an annotated discography
Aven Green Music Machine (Aven Green #3)
by Dusti BowlingAven Green, the remarkable heroine of Dusti Bowling&’s Life of a Cactus series, marches to her own beat in this hilarious, upbeat, and unforgettable chapter book. &“Realistic, affirming, and uplifting. &”—Kirkus Reviews Third-grader Aven Green is a real professional musician! She just needs to choose what instrument to play. When she decides to try the piano, Aven is disappointed when she can&’t master Mozart in one whole day. To pick up Aven&’s beat, her parents take her for a four-hour drive to see someone just like her play the guitar. With new inspiration and a special gift from her great-grandma, Aven is ready to take on the school talent show. Will she be ready in time? Or will she blow her big chance?
Avidly Reads Opera
by Alison Kinney“Opera is community, comfort, art, voice, breath, life. It’s hope.”All art exists to make life more bearable. For Alison Kinney, it was the wild, fantastical world of opera that transformed her listening and her life. Whether we’re listening for the first time or revisiting the arias that first stole our hearts, Avidly Reads Opera welcomes readers and listeners to a community full of friendship, passion, critique—and, always, beautiful music. In times of delirious, madcap fun and political turmoil, opera fans have expressed their passion by dispatching records into the cosmos, building fairy-tale castles, and singing together through the arduous work of social activism. Avidly Reads Opera is a love letter to the music and those who love it, complete with playlists, a crowdsourced tip sheet from ultra-fans to newbies, and stories of the turbulent, genre-busting, and often hilarious history of opera and its audiences.Across five acts—and the requisite intermission—Alison Kinney takes us everywhere opera’s rich melodies are heard, from the cozy bedrooms of listeners at home, to exclusive music festivals, to protests, and even prisons. Part of the Avidly Reads series, this slim book gives us a new way of looking at culture. With the singular blend of personal reflection and cultural criticism featured in the series, Avidly Reads Opera is an homage to the marvelous, sensational world of opera for the casual viewer.
Avoid the Day: A New Nonfiction in Two Movements
by Jay Kirk"Avoid the Day truly seems to me to push nonfiction memoir as far as it can go without it collapsing into a singularity and I am at a loss for words. You are just going to have to read it." –Helen Macdonald, author of H is for HawkA surreal, high-wire act of narrative nonfiction that redefines the genre, Avoid the Day is part detective story, part memoir, and part meditation on the meaning of life—all told with a dark pulse of existential horror. What emerges is an unforgettable study of mortality and the artist’s journey.Seeking to answer the mystery of a missing manuscript by Béla Bartók, and using the investigation to avoid his father’s deathbed, award-winning magazine writer Jay Kirk heads off to Transylvania, going to the same villages where the “Master,” like a vampire in search of fresh plasma, had found his new material in the folk music of the peasants. With these stolen songs, Bartók redefined music in the 20th Century. Kirk, who is also seeking to renew his writing, finds inspiration in the composer’s unorthodox methods, but begins to lose his tether as he sees himself in Bartók’s darkest and most personal work, the Cantata Profana, which revolves around the curse of fathers and sons. After a near-psychotic episode under the spell of Bartók, the author suddenly finds himself on a posh eco-tourist cruise in the Arctic. There, accompanied by an old friend, now a documentary filmmaker, the two decide to scrap the documentary and make a horror flick instead—shot under the noses of the unsuspecting passengers and crew. Playing one of the main characters who finds himself inexplicably trapped on a ship at the literal end of the world, alone, and under the influence of the midnight sun, Kirk gets lost in his own cerebral maze, struggling to answer his most plaguing question: can we find meaning in experience?
Awangarda: Tradition and Modernity in Postwar Polish Music (California Studies in 20th-Century Music #28)
by Lisa Cooper VestIn Awangarda, Lisa Cooper Vest explores how the Polish postwar musical avant-garde framed itself in contrast to its Western European counterparts. Rather than a rejection of the past, the Polish avant-garde movement emerged as a manifestation of national cultural traditions stretching back into the interwar years and even earlier into the nineteenth century. Polish composers, scholars, and political leaders wielded the promise of national progress to broker consensus across generational and ideological divides. Together, they established an avant-garde musical tradition that pushed against the limitations of strict chronological time and instrumentalized discourses of backwardness and forwardness to articulate a Polish road to modernity. This is a history that resists Cold War periodization, opening up new ways of thinking about nations and nationalism in the second half of the twentieth century.
Awesome Possum Family Band
by Jimmy OsmondThere's No Business Like Show Business!And for the Awesome Possum Family Band, they're about to get their big break! The youngest possum wants to join in the music making but doesn't know his talent...To be a part of the family showbiz, Possum Number Nine tries to discover his special gift. Is it painting, presenting, or playing the drums?Find out in Jimmy Osmond's inspiring "tail" about the importance of family and following your dreams.
Awkward!: Your Stars' Oops, Goofs and Blushes
by Michael-Anne JohnsEveryone has embarrassing moments at school . . . even your favorite celebs! Includes info about One Direction, Selena Gomez, Ariana Grande, Austin Mahone, Taylor Swift, and more!Sure, being a superstar may look like it's all red-carpet events, fabulous parties, and premieres. But the fact is, your favorite celebrities are ordinary people, too--people who make mistakes and find themselves in embarrassing situations, just like everyone else. We've uncovered some hysterical and unforgettable moments we just had to share. And your fave stars are all such good sports, they're the ones who revealed these oops-worthy moments. So take a peek at what life's like on the other side of the red carpet. Hint: It isn't always pretty!
Awopbopaloobop Alopbamboom: The Golden Age of Rock
by Nik CohnFrom the rise of Bill Haley to the death of Jimi Hendrix, this account of music in the 1950s and 1960s is &“the definitive history of rock &‘n&’ roll&” (Rolling Stone). This is British music journalist Nik Cohn&’s classic and cogent history of an unruly era—filled with outrageous tales and vivid descriptions of the music, and covering artists from Elvis Presley to Eddie Cochran to Bob Dylan to the Beatles and beyond. From the father of what would become a new literary form—rock criticism—this is a seminal history of rock and roll&’s evolution, including revisions and updates made for a new edition in the early 1970s.
Azalia: The Life of Madame E. Azalia Hackley
by M. Marguerite DavenportA biography of the singer and educator, perhaps intended for young people. Hackley was African-American, and worked tirelessly to further young African-Americans in music careers. (The author indicated she was an early influence on Marian Anderson.).“THIS portrait of E. Azalia Smith Hackley is intended to be nothing more than the heightening of a series of common experiences which occurred during the lifetime of one of America’s outstanding pioneers in the field of serious music, who reached her apogee at the dawn of the twentieth century. Some of these experiences I have tried to pitch high, hoping that perchance someone with a sensitivity for pitch and tonation will be listening...yes, listening with both ears; and may in this way recognize his own potentialities. It is when our minds have been made to feel the full vibrations of the lives of others that we can profit most.So far as possible, I have tried to portray the good rather than the bad, but to include the bitter with the sweet; the failures with the successes. Otherwise, a picture of Azalia would be faulty—she with her ever changing moods and tempos.”-Introduction.
Aún no estoy muerto
by Phil CollinsCon cientos de millones de discos vendidos y una asombrosa capacidad para conectar con la gente, Phil Collins marcó una época en la música pop. Aún no estoy muerto es su autobiografía. «Tal vez seas un admirador o tal vez te pique la curiosidad sobre ese pesado que no dejaba de salir en las listas de grandes éxitos hace unos treinta años# En cualquier caso, te doy la bienvenida».Phil Collins En Aún no estoy muerto Phil Collins nos ofrece una crónica sincera, ocurrente y sin pelos en la lengua de las canciones y los conciertos, los éxitos y los patinazos, los matrimonios y los divorcios, su irrupción en las listas de éxitos y en las portadas de los tabloides. Collins, uno de los tres músicos que ha vendido más de cien millones de discos tanto como integrante de un grupo como en solitario, no ha perdido ni al llegar a lo más alto el talento para crear canciones que emocionan al público de todo el mundo. Esta es la historia de una trayectoria épica, la de un niño actor que se convierte en uno de los compositores más exitosos de la época del pop. Collins empezó a tocar la batería casi antes de dar sus primeros pasos y aprendió el oficio en los sórdidos y apasionantes bares y clubes nocturnos del Londres de los alocados años sesenta, antes de hacerse con el puesto de batería de Genesis. Con el tiempo daría un paso al frente como cantante tras la marcha de Peter Gabriel y compondría las canciones que lo catapultarían a la fama internacional en solitario con el lanzamiento de Face Value e In The Air Tonight. Tanto cuando toca junto a Eric Clapton o Robert Plant como cuando forma una orquesta de jazz con Tony Bennett al frente, actúa por partida doble en el Live Aid o compone la oscarizada música de la exitosa Tarzán de Disney, Collins mantiene un tono íntimo y su don para contar historias no decae jamás.
B-Sides, Undercurrents and Overtones: Peripheries To Popular In Music, 1960 To The Present (Ashgate Popular and Folk Music Series)
by George PlasketesThere are undercurrents and peripheral taste preferences that are a defining part of our individual and collective cultural experience. Music is no exception. George Plasketes adapts the iconic "A-side/B-side" dichotomy from the 45 r.p.m. for use as a unique conceptual, critical, historical, and cultural framework for exploring and threading together a variety of popular music and media texts. The profiles and perspectives focus on the peripheries; on texts which might be considered "B-sides"”overlooked, underappreciated, and unsung cases, creators, patterns and productions that have unassumingly, but significantly, marked popular culture, music and media during the past 40 years. The underappreciated yet enduring contributions of a variety of creative individuals in music, television and film are a centerpiece of this volume: actress Doris Day's son, Terry Melcher, a 1960s music producer whose imprint is on the surf, country blues, garage pop and most importantly the folk rock genre; Hans Fenger's kid chorus cover project, a musical variation of "outsider art" that became representative of the tribute wave that began in the 1990s and continues today; versatile guitarist virtuoso Ry Cooder's extensive film soundtrack work; World Music "missionary efforts" of American artists beyond Paul Simon's Graceland, including Neil Diamond's precursor with Tap Root Manuscript in the 1970s and the exotic adventures of Henry Kaiser and David Lindley in Madagascar and Norway”to name just a few examples. These B-sides represent undercurrents, but they resonate as overtones in the mainstream of music and culture, many as historical hinges. Collectively, these B-sides are an A-side antidote of outskirt observations, individual snapshots of artists, artifacts and rituals, genres and generations, producers and musical productions in television, film and video. They constitute an important connect-the-dots cultural chronicle with a multi-layered context”social, legal, historic, economic, technological, generational, aesthetic”for interpreting the interrelations between creators and institutions, the music market place, the production of culture and important connections between the peripheral and the popular.
BLACKPINK: Pretty Isn't Everything - The Ultimate Unofficial Guide
by Cara StevensFilled with incredible color photos and fun facts, this unofficial fan guide tells the full story of the global phenomenon Blackpink. The girls of Blackpink are more than just pretty faces. Since they debuted in 2016, the group has broken record after record, played shows across the globe, and built up a dedicated fan army of BLINKS. Now they’re one of the biggest K-pop groups the world has ever seen. And they’re only just getting started.Read the whole story of Blackpink’s rise to fame in this extensively researched unofficial biography. Find out everything you need to know about Jennie, Jisoo, Lisa, and Rosé from their trainee days to their current lives as idols. Full of high-quality photos and fun facts, this unofficial guide is a must-have for all BLINKS and K-pop fans!
BMF: The Rise and Fall of Big Meech and the Black Mafia Family
by Mara ShalhoupIn the early 1990s, Demetrius "Big Meech" Flenory and his brother, Terry "Southwest T," rose up from the slums of Detroit to build one of the largest cocaine empires in American history: the Black Mafia Family. After a decade in the drug game, the Flenorys had it all—a fleet of Maybachs, Bentleys and Ferraris, a 500-man workforce operating in six states, and an estimated quarter of a billion in drug sales. They socialized with music mogul Sean "Diddy" Combs, did business with New York's king of bling Jacob "The Jeweler" Arabo, and built allegiances with rap superstars Young Jeezy and Fabolous. Yet even as BMF was attracting celebrity attention, its crew members created a cult of violence that struck fear in a city and threatened to spill beyond the boundaries of the drug underworld. Ruthlessness fueled BMF's rise to incredible power; greed and that same ruthlessness led to their downfall.When the brothers began clashing in 2003, the flashy and beloved Big Meech risked it all on a shot at legitimacy in the music industry. At the same time, a team of investigators who had pursued BMF for years began to prey on the organization's weaknesses. Utilizing a high-stakes wiretap operation, the feds inched toward their goal of destroying the Flenory's empire and ending the reign of a crew suspected in the sale of thousands of kilos of cocaine — and a half-dozen unsolved murders.
BOSQUE (EBOOK)
by Antonio Dal MasettoCuando Muto lee Bosque 3 Km. en un cartel acribillado a balazos, la realidad le empieza a parecer un poco fuera de foco. En esa pequeña población se ha cometido hace poco un asalto; es, por supuesto, el escenario para rodar un film sobre este hecho, y el film comenzara a rodarse de inmediato. Lo que sigue, solo Antonio Dal Masetto, con la maestría acostumbrada, puede contarlo. Precisa como un instrumento de cirugía, la prosa del autor de Siete de oro y La tierra incomparable tiende un arco prefecto entre la fragilidad de un pasado a punto de desvanecerse y la inminencia de un futuro amenazador. Bosque es una ficción que desafiá nuestra capacidad perceptiva u nuestros hábitos verbales para retratar los horrores y las paradojas de lo real. Sin teorías inútiles, sin forzar una trama tersa y acuciante, Dal Masetto logra convertir esta narración en una novela de personajes y episodios inolvidables y una parábola acerca de las causas y los efectos, los hechos y las distorsiones, la naturaleza y el artificio. Austeridad e ironía, perfección formal y de contenido: Bosque no contradice esos atributos de los libros anteriores de Antonio Dal M asetto; acaso los acentué y los exacerbe, siempre en dirección a un clasicismo del mejor cuño, nada aristocrático ni pomposa. Actual, decisivo, necesario.
BOWIELAND: Walking In The Footsteps Of David
by Peter Carpenter'Fabulous... What a ghost story! A ripping read.' IAIN SINCLAIR, author of London Orbital'Vividly celebrates Bowie as not just a chameleonic visionary, but a nomadic one, a creature informed by place and circumstance" STUART MACONIE'Bowieland will make you want to take your very own pilgrimage, accompanied by the great man's songs.' ALEXANDER LARMAN, THE OBSERVERBOWIE IS STILL OUT THERE...Following open heart surgery, poet and writer Peter Carpenter was given one instruction - 'Walk, if you want to stay on this planet'. And so when his hero and inspiration David Bowie died in 2016, he knew what he had to do. The man who was to so many a companion and guide had left no shrine, no focal point of understanding. To reconnect with Bowie, he would take a walk into the past, to the streets, towns and places where David Jones became something more.Walking to recover, to stay alive, Peter realised he was also recovering his lost hero. Leaving behind Heddon Street and Brixton, well-known Bowie shrines, he moved out through South London edgelands and suburbia to remoter Bowie haunts: Croydon, Aylesbury, Pett Level, Southend-on-Sea. Finding the windows Bowie had stared out from in Clareville Grove; the streets in Beckenham where he'd scurried by. He sifted through debris on a patch of waste ground in Tunbridge Wells where Bowie's parents first met. He turned the handle and entered Shirley Parish Hall to find the same stage where a young Davy Jones and the Kon-Rads set up to play back in 1962; and travelled to Berlin, to emerge from the S-Bahn to gape at the ruined portico of the Anhalter Bahnhof and asked 'What is this?' In Bowieland, Carpenter's peripatetic trampings seem to echo Bowie's own wandering creative spirit, the walks often uncovering hidden layers, and making fresh connections to key Bowie stories, revealing influences conscious and subconscious. Through walking, an understanding is reached of where Bowie sits in the culture, his place among the poets, painters, artists and musicians who came before him, who inhabited the same spaces and in doing so passed on their wisdom to Bowie. Through Carpenter's travels these suburban lands became a new, very real place, that anyone can visit if they take the time... Welcome to 'Bowieland'
BOWIELAND: Walking In The Footsteps Of David
by Peter Carpenter'Fabulous... What a ghost story! A ripping read.' IAIN SINCLAIR, author of London Orbital'Vividly celebrates Bowie as not just a chameleonic visionary, but a nomadic one, a creature informed by place and circumstance" STUART MACONIE'Bowieland will make you want to take your very own pilgrimage, accompanied by the great man's songs.' ALEXANDER LARMAN, THE OBSERVERBOWIE IS STILL OUT THERE...Following open heart surgery, poet and writer Peter Carpenter was given one instruction - 'Walk, if you want to stay on this planet'. And so when his hero and inspiration David Bowie died in 2016, he knew what he had to do. The man who was to so many a companion and guide had left no shrine, no focal point of understanding. To reconnect with Bowie, he would take a walk into the past, to the streets, towns and places where David Jones became something more.Walking to recover, to stay alive, Peter realised he was also recovering his lost hero. Leaving behind Heddon Street and Brixton, well-known Bowie shrines, he moved out through South London edgelands and suburbia to remoter Bowie haunts: Croydon, Aylesbury, Pett Level, Southend-on-Sea. Finding the windows Bowie had stared out from in Clareville Grove; the streets in Beckenham where he'd scurried by. He sifted through debris on a patch of waste ground in Tunbridge Wells where Bowie's parents first met. He turned the handle and entered Shirley Parish Hall to find the same stage where a young Davy Jones and the Kon-Rads set up to play back in 1962; and travelled to Berlin, to emerge from the S-Bahn to gape at the ruined portico of the Anhalter Bahnhof and asked 'What is this?' In Bowieland, Carpenter's peripatetic trampings seem to echo Bowie's own wandering creative spirit, the walks often uncovering hidden layers, and making fresh connections to key Bowie stories, revealing influences conscious and subconscious. Through walking, an understanding is reached of where Bowie sits in the culture, his place among the poets, painters, artists and musicians who came before him, who inhabited the same spaces and in doing so passed on their wisdom to Bowie. Through Carpenter's travels these suburban lands became a new, very real place, that anyone can visit if they take the time... Welcome to 'Bowieland'
BTS - The Ultimate Fan Book: Experience the K-Pop Phenomenon! (The Ultimate Fan Book)
by Malcolm CroftExperience the K-Pop phenomenon of BTS in this best-selling fanbook - FULLY UPDATED!BTS are much more than just a group of seven talented individuals, they are a band acclaimed for their record-smashing, barrier-breaking, trend-setting dance-pop and hip-hop tunes and personal philosophies. Featuring brand new content and sensational new photos, BTS: The Ultimate Fan Book includes everything you need to know about Jin, Suga, J-Hope, RM, Jimin, V and Jungkook, as well as the BTS ARMY.A celebration of the K-Pop phenomenon, exploring in stunning technicolour detail the group's origins, members and super rise to success, this Ultimate Fan Book is beautifully accompanied by photographs showcasing the band's kaleidoscope of personalities and passions that have made them famous. BTS are more than just a boy band - they are a way of life.