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An inspiring story of one man’s rise from poverty and oppression to success and fame in the international world of opera...
It is a difficult undertaking for any human to escape the cycle of poverty, but to do so from one of the world’s most complex political systems, with a brutal history of segregation and deprivation, is nothing short of a miracle. Yet Musa Ngqungwana’s story doesn’t end there. Not only did he manage to extricate himself from his impoverished past, but he found his way to the great opera houses of the world, attaining immense success in an affluent art form that bears no resemblance to his upbringing or culture. Musa’s life and career are proof that any human can overcome the devastating effects of discrimination and poverty.
Odyssey Of An African Opera Singer chronicles Musa’s journey from the townships of South Africa to the world stage. It is a story of hope, showing how humans, no matter their situation, have the opportunity to claim their gifts, develop them and use them to help others in need. A captivating story that will inspire anyone who has ever had a dream...
Madame Jenkins couldn't carry a tune in a bucket: despite that, in 1944 at the age of 76, she played Carnegie Hall to a capacity audience and had celebrity fans by the score. Her infamous 1940s recordings are still highly-prized today. In his well-researched and thoroughly entertaining biography, Darryl W. Bullock tells of Florence Foster Jenkins meteoric rise to success and the man who stood beside her, through every sharp note.
Florence was ridiculed for her poor control of timing, pitch, and tone, and terrible pronunciation of foreign lyrics, but the sheer entertainment value of her caterwauling packed out theatres around the United States, with the 'singer' firmly convinced of her own talent, partly thanks to the devoted attention from her husband and manager St Clair Bayfield. Her story is one of triumph in the face of adversity, of courage, conviction and of the belief that with dedication and commitment a true artist can achieve anything.
Now a major Hollywood movie starring Meryl Streep and Hugh Grant, the genius of Florence Foster Jenkins is about to be discovered by a whole new audience.
In this follow-up to his 2013 memoir My Life With Deth, Megadeth bassist and co-founder David Ellefson carries on where he left off, charting his mid-2000s departure from Megadeth through his triumphant return in 2010, and offering an inside look at the continuing saga of one of the world s biggest and most enduring heavy-metal bands. Co-written with his business partner, Thom Hazaert a celebrated music-industry figure, radio personality, and music journalist More Life With Deth chronicles Megadeth s record-shattering `Big 4 shows alongside Metallica, Slayer, and Anthrax, and the release of their Grammy-winning Dystopia their highest-charting record in over twenty-five years and the massive two-year world tour supporting it. Far more than your typical rock star tell-all, More Life also delves deeper into the origins of Megadeth and David s roots in rural Minnesota, and tells the stories behind the creation of his hugely successful EMP Label Group, Ellefson Coffee Co., and the relaunch of the famed metal label Combat Records, as well as his continued personal journey of spirituality and sobriety. Told through the words of Ellefson, Hazaert, and friends including Alice Cooper, Brian `Head Welch (Korn), Kristian Nairn (Game Of Thrones), Mark Tremonti, K.K. Downing (Judas Priest), Brian Slagel (Metal Blade Records), Frank Bello (Anthrax), Jason McMaster (Dangerous Toys), Dirk Verbeuren (Megadeth), Kiko Loureiro (Megadeth), Chris Adler (Lamb Of God, Megadeth), Dan Donegan (Disturbed), and many more, More Life With Deth is an insightful and personal look at one of the most revered rock musicians and preeminent heavy-metal entrepreneurs of our time.
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).
`Music is an outburst of the soul.' Frederick Delius Explore a wealth of inspiring words in this spirited little book. Filled with the wit and wisdom of some of the world's most renowned personalities, it's sure to help get you in tune with your creative side.
The remarkable memoir of Zuzana Ruzickova, Holocaust survivor and world-famous harpsichordist. Zuzana Ruzickova grew up in 1930s Czechoslovakia dreaming of two things: Johann Sebastian Bach and the piano. But her peaceful, melodic childhood was torn apart when, in 1939, the Nazis invaded. Uprooted from her home, transported from Auschwitz to Hamburg to Bergen-Belsen, bereaved, starved, and afflicted with crippling injuries to her musician's hands, the teenage Zuzana faced a series of devastating losses. Yet with every truck and train ride, a small slip of paper printed with her favourite piece of Bach's music became her talisman. Armed with this `proof that beauty still existed', Zuzana's fierce bravery and passion ensured her survival of the greatest human atrocities of all time, and would continue to sustain her through the brutalities of post-war Communist rule. Harnessing her talent and dedication, and fortified by the love of her husband, the Czech composer Viktor Kalabis, Zuzana went on to become one of the twentieth century's most renowned musicians and the first harpsichordist to record the entirety of Bach's keyboard works. Zuzana's story, told here in her own words before her death in 2017, is a profound and powerful testimony of the horrors of the Holocaust, and a testament in itself to the importance of amplifying the voices of its survivors today. It is also a joyful celebration of art and resistance that defined the life of the `first lady of the harpsichord'- a woman who spent her life being ceaselessly reborn through her music. Like the music of her beloved Bach, Zuzana's life is the story of the tragic transmuted through art into the state of the sublime.
for SATB and piano or small orchestra John Rutter's arrangement of this popular Christmas-themed African-American spiritual is lively and joyful, with a hillbilly flavour and a hint of bluegrass fiddle. Conductor's scores and instrumental parts are available on sale and on hire/rental.
In 1987, four friends from London, Paul Oakenfold, Danny Rampling, Nicky Holloway and Johnny Walker, took a week-long holiday to Ibiza. What they saw there, and brought back home, would give rise to a new global music and counterculture movement. As the eighties drew to their close, with Thatcherism holding the nation tight in its grip, something funny was happening right across the jungle of Britain's nightlife scene. People were dressing down, not up, to go to clubs. And they were dancing right through the night armed seemingly with only bottles of water. Ecstasy and acid house music had arrived on British shores, and a tribal battle between for the moral future of the nation, between the youth and the establishment, had begun. In The Second Summer of Love, author and dance music promoter Alon Shulman uses exclusive contributions from the world's biggest DJs, including Paul Oakenfold, Carl Cox, Fatboy Slim, Moby, The Prodigy, Boy George and many others to faithfully recreate the story of the summers of 1988 and 1989, and chart the birth and rise of Acid House, dance music and club culture right through to the modern day. Complete with stunning unseen photographs, this is the first authentic account of what really happened in that glorious period - from the politics and the people to the music, the drugs, the fashion and the culture - told by people who were there, as they bring to life the creation of an underground scene which inadvertently altered the course of modern global youth culture forever.
A writer-musician examines how the switch from analog to digital audio is changing our perceptions of time, space, love, money, and power. Our voices carry farther than ever before, thanks to digital media. But how are they being heard? In this book, Damon Krukowski examines how the switch from analog to digital audio is changing our perceptions of time, space, love, money, and power. In Ways of Hearing-modeled on Ways ofSeeing, John Berger's influential 1972 book on visual culture-Krukowski offers readers a set of tools for critical listening in the digital age. Just as Waysof Seeing began as a BBC television series, Ways of Hearing is based on a six-part podcast produced for the groundbreaking public radio podcast network Radiotopia. Inventive uses of text and design help bring the message beyond the range of earbuds. Each chapter of Ways of Hearing explores a different aspect of listening in the digital age: time, space, love, money, and power. Digital time, for example, is designed for machines. When we trade broadcast for podcast, or analog for digital in the recording studio, we give up the opportunity to perceive time together through our media. On the street, we experience public space privately, as our headphones allow us to avoid "ear contact" with the city. Heard on a cell phone, our loved ones' voices are compressed, stripped of context by digital technology. Music has been dematerialized, no longer an object to be bought and sold. With recommendation algorithms and playlists, digital corporations have created a media universe that adapts to us, eliminating the pleasures of brick-and-mortar browsing. Krukowski lays out a choice: do we want a world enriched by the messiness of noise, or one that strives toward the purity of signal only?
Alan Krueger, the former chairman of the president's Council of Economic Advisers, uses the music industry, from rock artists to music executives, from managers to promoters, as a way in to explain the principles of economics, and the forces shaping our economic lives. As economists recognize, the music industry is often a leading indicator of today's economy; it is among the first to be disrupted by the latest wave of technology, and examining the ins and outs of how musicians create and sell new songs and plan concert tours offers valuable lessons for what is in store for businesses and employees in other industries that are struggling to adapt. Drawing on interviews with leading band members, music executives, managers, promoters, and using the latest data on revenues, royalties, tour dates, and merchandise, Rockonomics takes readers backstage to show how the music industry really works--who makes money and how much, and how the economics of the music industry has undergone a radical transformation during the last twenty years. Before digitalization and the ability to stream music over the Internet, rock musicians made the bulk of their income from record sales. Today, income from selling songs has plummeted, even for superstars like Taylor Swift; the real money nowadays is derived from concert sales. In 2016, for example, Billy Joel earned $212.4 million from his live performances, and less than $1 million from record sales and streaming. Even Paul McCartney, who has written and recorded more number one songs than anyone in music history, today, earns 93 percent of his income from live concerts. Krueger tackles common questions: How does a song become popular? And how does a new artist break out in today's winner-take-all economy?
A meditation on what was lost-and on what is worth preserving-in the movement away from analog music and culture. Although digital media have created new possibilities for music making and sharing, they have also given rise to new concerns. What do we lose in embracing the digital? Do streaming services discourage us from listening closely? In this book, musician Damon Krukowski uses the sound engineer's distinction between signal and noise to examine what we have lost as a technological culture, and to identify what is worth preserving. Krukowski examines experiences from the production and consumption of music that have changed since the analog era-the disorientation of headphones, flattening of voice, silence of media, loudness of mastering, and manipulation of time-and employs them as a lens through which to consider digital culture. When music went digital through such streaming services as Napster and iTunes, it was reduced to signal only, stripped of its analog-era noise. But the analog and the digital need not exist in isolation from one another, Krukowski argue; noise can be as communicative as signal, conveying time, location, and space. The New Analog urges us to reconsider the role of noise in our increasingly digital lives, to appreciate its continued relevance, and to plug in without tuning out.
Sequel to Grammy-nominated bestseller Under the Big Black Sun, continuing the up-close and personal account of the L.A. punk scene, with 50 rare photos Picking up where Under the Big Black Sun left off, More Fun in the New World explores the years 1982 to 1987, covering the dizzying pinnacle of L.A.'s punk rock movement as its stars took to the national -- and often international -- stage. Detailing the eventual splintering of punk into various sub-genres, the second volume of John Doe and Tom DeSavia's west coast punk history portrays the rich cultural diversity of the movement and its characters, the legacy of the scene, how it affected other art forms, and ultimately influenced mainstream pop culture. The book also pays tribute to many of the fallen soldiers of punk rock, the pioneers who left the world much too early but whose influence hasn't faded. As with Under the Big Black Sun, the book features stories of triumph, failure, stardom, addiction, recovery, and loss as told by the people who were influential in the scene, with a cohesive narrative from authors Doe and DeSavia. Along with many returning voices, More Fun in the New World weaves in the perspectives of musicians Henry Rollins, Fishbone, Billy Zoom, Mike Ness, Jane Weidlin, Keith Morris, Dave Alvin, Louis P rez, Charlotte Caffey, Peter Case, Chip Kinman, Maria McKee, and Jack Grisham, among others. And renowned artist/illustrator Shepard Fairey, filmmaker Allison Anders, actor Tim Robbins, and pro-skater Tony Hawk each contribute chapters on punk's indelible influence on the artistic spirit. In addition to stories of success, the book also offers a cautionary tale of an art movement that directly inspired commercially diverse acts such as Green Day, Rancid, Red Hot Chili Peppers, Wilco, and Neko Case. Readers will find themselves rooting for the purists of punk juxtaposed with the MTV-dominating rock superstars of the time who flaunted a "born to do this, it couldn't be easier" attitude that continued to fuel the flames of new music. More Fun in the New World follows the progression of the first decade of L.A. punk, its conclusion, and its cultural rebirth.
for SATB (with divisions) unaccompanied Part of the John Rutter Anniversary Edition, this a cappella anthem, suitable as an introit or call to worship, was inspired by Celtic folksong.
Suitable for unison voices and piano, this work contains a shortened version of the original with a simplified piano accompaniment.
Tracing the the potential of sound, infrasound, and ultrasound to access anomalous zones of transmission between the realms of the living and the dead. For as long as recording and communications technologies have existed, operators have evoked the potential of sound, infrasound, and ultrasound to access anomalous zones of transmission between the realms of the living and the dead. In Unsound:Undead, contributors from a variety of disciplines chart these undead zones, mapping out a nonlinear timeline populated by sonic events stretching from the 8th century BC (the song of the Sirens), to 2013 (acoustic levitation), with a speculative extension into 2057 (the emergence of holographic and holosonic phenomena). For the past seven years the AUDINT group has been researching peripheral sonic perception (unsound) and the ways in which frequencies are utilized to modulate our understanding of presence/non-presence, entertainment/torture, and ultimately life/death. Concurrently, themes of hauntology have inflected the musical zeitgeist, resonating with the notion of a general cultural malaise and a reinvestment in traces of lost futures inhabiting the present. This undead culture has already spawned a Lazarus economy in which Tupac, ODB, and Eazy-E are digitally revivified as laser-lit holograms. The obscure otherworldly dimensions of sound have also been explored in the sonic fictions produced by the likes of Drexciya, Sun Ra, and Underground Resistance, where hauntology is virtually extended: the future appears in the cracks of the present. The contributions to this volume reveal how the sonic nurtures new dimensions in which the real and the imagined (fictional, hyperstitional, speculative) bleed into one another, where actual sonic events collide with spatiotemporal anomalies and time-travelling entities, and where the unsound serves to summon the undead.
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