Hierdie bundel is 'n keur uit Anton se liedjies; (hi)stories en "his stories", fabels en feite. Goosen se musiekloopbaan strek reeds oor 25 jaar - 15 albums, 2 SARIE-toekennings, 2 SAMA-toekennings en 'n Geraas-toekenning (2002) vir sy bydrae tot Afrikaanse musiek. Sy werk word gekenmerk deur reisverhale (Liedjieboer), kulturele ontwaking (Lappiesland) en stedelike beskouings (City/Stad).

The incredible story of Peter Frampton's positively resilient life and career told in his own words for the first time.

His monumental album Frampton Comes Alive! spawned three top-twenty singles and sold eight million copies the year it was released (more than seventeen million to date), and it was inducted into the Grammy Hall of Fame in January 2020. Frampton was on a path to stardom from an early age, first as the lead singer and guitarist of the Herd and then as cofounder - along with Steve Marriott - of one of the first supergroups, Humble Pie. Frampton was part of a tight-knit collective of British '60s musicians with close ties to the Rolling Stones, the Beatles, and the Who. This led to Frampton playing on George Harrison's solo debut, All Things Must Pass, as well as to Ringo Starr and Billy Preston appearing on Frampton's own solo debut. By age twenty-two, Frampton was touring incessantly and finding new sounds with the talk box, which would become his signature guitar effect. Frampton remembers his enduring friendship with David Bowie. Growing up as schoolmates, crossing paths throughout their careers, and playing together on the Glass Spider Tour, the two developed an unshakable bond. Frampton also shares fascinating stories of his collaborative work with Harry Nilsson, Stevie Wonder, B. B. King, and members of Pearl Jam.

He reveals both the blessing and curse of Frampton Comes Alive!, opening up about becoming the cover boy he never wanted to be, his overcoming substance abuse, and how he has continued to play and pour his heart into his music despite an inflammatory muscle disease and his retirement from the road. Peppered throughout his narrative is the story of his favorite guitar, the Phenix, which he thought he'd lost in a fiery plane crash in 1980. But in 2011, it mysteriously showed up again - saved from the wreckage.

Frampton tells of that unlikely reunion here in full for the first time, and why the miraculous reappearance is emblematic of his life and career as a quintessential artist.

This beautifully presented coffee table book includes a 50,000 word narrative by Mike Scott telling the full story of the Waterboys seven-piece band and the making of their album Room To Roam. Covering an 18-month period between Spring 1989 to Summer 1990, The Magnificent Seven includes a vast collection of previously unseen photos of the band on the road, recording at Spiddal House in the West of Ireland, as well as maps, lyrics, manuscripts, and other archival memorabilia.

The life and career of Haitian American musician Jean Beauvoir, a member of the legendary New York City punk band the Plasmatics Jean Beauvoir joined the Plasmatics in 1979, playing bass and keyboards for the most notorious band to emerge out of the New York City punk scene. By 1982, he was a member of Little Steven and the Disciples of Soul, a retro-rock revival act headed by Steven Van Zandt. The Disciples of Soul videos played on MTV during the network’s earliest years, making Beauvoir one of the first Black recording artists to cross the start-up music channel’s “color line.�  Beauvoir went on to become a multi-platinum artist, producer, and songwriter. Bet My Soul on Rock 'n' Roll follows his ride through the American music industry, detailing his encounters with rock stars such as Bruce Springsteen, Paul Stanley, Gene Simmons, and Lita Ford, as well as the actor Sylvester Stallone, the billionaire executive Richard Branson, and even Donald Trump. Beauvoir also considers the manner in which his Haitian heritage has shaped his public image, his music, and his role as an activist for the dispossessed and the poor.   Beauvoir’s collaborations—and stories—span genres, including work with KISS, Debbie Harry, Lionel Richie, and the Ramones  

Singers are faced with a unique challenge among musicians: they must express not just the music, but the lyrics too. To effectively communicate the meaning behind these words, singers must understand the many references embedded in the vast international repertoire of great art songs. They must deal with the meaning of the lyrics, frequently in a language not their own and of a culture unfamiliar to them.
From Zelter and Schubert to Rorem and Musto, Researching the Song serves as an invaluable guide for performers, teachers, and enthusiasts to the art song repertoire. Its more than 2,000 carefully researched entries supply information on most of the mythological, historical, geographical, and literary references contained in western art song. The authors explain the meaning of less familiar literary terms, figures, and authors referenced in song while placing songs in the context of larger literary sources. Readers will find entries dealing with art songs from the German, French, Italian, Russian, Spanish, South American, Greek, Finnish, Scandinavian, and both American and British English repertoires. Sources, narratives, and explanations of major song cycles are also given. Organized alphabetically, the lexicon includes brief biographies of poets, lists of composers who set each poet's work, bibliographic materials, and brief synopses of major works from which song texts were taken, including the plots of all Restoration theater works containing Purcell's vocal music.
The more performers know and understand the literary elements of a song, the richer their communication will be. Researching the Song is a vital aid for singers and teachers in interpreting art songs and buildingsong recital programs.

The brand new heartwarming festive read from bestseller Sarah Bennett!Music sensation Aurora Storm finally has her career back on track, but then she's caught up in a media storm. Desperate to distract from the story, she enlists the one man she trusts to pretend to be her boyfriend. Meanwhile, in the small seaside village of Mermaids Point, Nick Morgan never expected to see Aurora again. When she calls out of the blue needing his help, he agrees at once. It feels like she's back in his life for a reason, and he's determined to make the most of it. Aurora joins Nick and the rest of his family for their festive celebrations and, as the snow falls, Aurora finds herself caught up in the romance of Christmas. But having tasted worldwide fame, can she ever be content with village life? Two weeks is all Nick has to prove to Aurora that there's a happy ending for them both in Mermaids Point. There's always a second chance for love in a Sarah Bennett story, so escape to the seaside village of Mermaids Point for a festive, feel-good treat. Perfect for all fans of Trisha Ashley, Holly Martin and Milly Johnson. Praise for Sarah Bennett: 'A gorgeous story packed with love, romance and heartfelt emotion. Will bring sunshine into your day!' Phillipa Ashley 'Cosy, heartwarming and moving, this story is as beautiful as its cover.' Samantha Tonge 'Happy Endings at Mermaids Point has passion in spades, romance to make you blush and a community that cares. I hoped this story would just keep on going.' Celia Anderson 'What a finale to a fabulous season! I absolutely loved the story and it was wonderful to see all the characters get their much deserved happily ever after! An absolutely gorgeous Christmas read!' Katie Ginger 'This is a real page turner, with a brisk plot and a really emotional core. The community we've grown to love at Mermaid's Point is alive with love, laughter and vibrancy!' Fay Keenan 'I loved Nick and Aurora's story, and want the Morgan family to adopt me. Sarah Bennett has surpassed herself.' Jules Wake 'This is the perfect escapist read and I can't wait to follow the characters in what promises to be a wonderful series. Five sparkling stars!' Rachel Griffiths'What a Mer-mazing book! I'm so glad this is a series and I'll get to meet the characters again because you won't want to leave them after the final page.' Catherine Miller 'I inhaled this book in two days. Absolutely gorgeous. Sarah Bennett is back, and better than ever!' Rachel Burton 'A perfect heartwarming read full of family, romance and intrigue, set in a stunning location - what's not to love?' Bella Osborne

Making Hip Hop Theatre is the essential, practical guide to making hip-hop theatre. It features detailed techniques and exercises that can guide creatives from workshops through to staging a performance. If you were inspired by Hamilton, Barber Shop Chronicles, Misty, Black Men Walking or Frankenstein: How to Make a Monster, this is the book for you. Covering vocal technique, use of equipment, mixing, looping, sampling, working with venues and dealing with creative challenges, this book is a bible for both new and experienced artists alike. Additionally, with links to online video material demonstrating and elaborating on the exercises included, it offers countless useful tools for teachers and facilitators of drama, music and other creative arts. Alongside this practical guidance is an overview of hip hop history, giving theoretical and historical context for the practice. From documentation of Conrad Murray’s major productions, to commentary from leading practitioners including Lakeisha Lynch-Stevens, David Jubb, Emma Rice, Tobi Kyeremateng and Paula Varjack, readers are treated to a detailed insight into the background of hip hop theatre. Edited by scholar Katie Beswick and genre pioneer Conrad Murray, Making Hip Hop Theatre is a vital teaching tool and provides a much-needed account of a burgeoning aspect of contemporary theatre culture.

The British musical in its formative years has appeared in strikingly different guises: from the lasting hits of Oliver!, and Me and My Girl, to the successes of The Dancing Years, Bless the Bride and Expresso Bongo. This authoritative study traces what made these shows successes in the West End and how their qualities define a uniquely British interpretation of the genre. Cultural, sociological and political influences entwine with close reading of the dramatic and musical elements of this repertory to reveal a fascinating web of connections and contrasts between the times, the shows and the people who made them. Through detailed case studies, such as of The Boy Friend and Bitter Sweet, the rich individuality of each West End work is spotlighted, posing vital questions and intriguing answers as to what a British musical can be. Interdisciplinary in nature, this study brings together all the core materials to discover this period in the story of the British musical. Reviewing the Situation is insightful and lively, an invaluable resource for students and scholars of musical theatre and all those theatregoers drawn to the power of these classic British shows.