The Beatles Magical Mystery Tour and Yellow Submarine is the latest installment in the Beatles Album Series by Beatles historian Bruce Spizer. The book covers the songs and projects undertaken by the Beatles shortly after completion of their album Sgt. Pepper's Lonely Hearts Club Band in April 1967. In following ten months, the group wrote and recorded the song "All You Need Is Love" for the Our World TV program that was broadcast by satellite throughout the world, wrote the songs for and filmed the TV spectacular Magical Mystery Tour , wrote the songs for their feature length cartoon film Yellow Submarine , and recorded the songs "Lady Madonna" and "Across The Universe" before heading to India to study transcendental meditation in mid-February 1968. The book covers these remarkable achievements from the British, American, and Canadian perspectives, and includes chapters on the packaging of the albums and the writing and recording of the songs. It also has chapters on how the Beatles influenced our world, the friendly rivalry between the Beatles and the Rolling Stones, the Beatles Saturday morning cartoons, dozens of fan recollections, and more. The book has over 150 images.

Louis Armstrong, Duke Ellington, Billie Holiday, Ella Fitzgerald, Count Basie, Lester Young, Charlie Parker, Norman Granz, Oscar Peterson, Ray Charles, Don Ellis, and Miles Davis-these are the dozen jazz figures whom Leonard Feather chose to describe the development of jazz. This is the first Feather book to examine in-depth the innovative figures who have led the way throughout the music's history. As composer, producer, and for almost half-a-century one of its leading critics, Feather has a unique perspective of these jazz immortals. He has worked with and known all of them. "These are portraits of human beings first, analyses of musicians or musical history only peripherally if at all," says Feather in his new foreword. A warm, affectionate, and perceptive inside account of twelve originals, the book is packed with wonderful stories. As Feather says: "Most of all I am grateful for the inspiration and friendship of the artists themselves. Armstrong and Ellington were directly responsible, through their records, for drawing me to jazz. After their magic had worked on me, the others, one by one, sustained and refreshed and invigorated my interest in, an involvement with, this liveliest of twentieth-century arts."

Symposium of the Whole traces a discourse on poetry and culture that has profoundly influenced the art of our time, with precedents going back two centuries and more. Beginning with a reassertion of the complexity of poetry among peoples long labeled “primitive” and “savage,” many recent poets have sought to base a new poetics over the fullest range of human cultures. The attempt to define an ethnopoetics has been significantly connected with the most experimental and future-directed side of Romantic and modern poetry, both in the Western world and, increasingly, outside it. As a visionary poetics and as a politics, this complex redefinition of cultural and intellectual values has involved a rarely acknowledged collaboration between poets and scholars, who together have challenged the narrow view of literature that has excluded so many traditions. In this gathering, the Rothenbergs follow the idea of an ethnopoetics from predecessors such as Vico, Blake, Thoreau, and Tzara to more recent essays and manifestos by poets and social thinkers such as Olson, Eliade, Snyder, Turner, and Baraka. The themes range widely, from the divergence of oral and written cultures to the shaman as proto-poet and the reemergence of suppressed and rejected forms and images: the goddess, the trickster, and the “human universe.” The book’s three ethnographic sections demonstrate how various poetries are structured and composed, how they reflect meaning and worldview, and how they are performed in cultures where all art may be thought of as art-in-motion. Among the poetries discussed are the language of magic; West African drum language and poetry; the Huichol Indian language of reversals; chance operations in African divination poetry; picture-writings and action-writings from Australia and Africa; and American Indian sacred-clown dramas and traditional trickster narratives. The cumulative effect is a new reading of the poetic past and present—in the editors’ words, “a changed paradigm of what poetry was or now could come to be.”

These transciptions are a loosely chronological collection of recordings of artists from the Delta to Chicago. The songs include tunes that were the blues 'hits' in their days - such as Robert Johnson's "Traveling Riverside Blues" - and well-known classics - like "Baby What You Want Me to Do, " by Jimmy Reed. In addition, there are undiscovered (but no less brilliant) rarities like "South Carolina Rag, " by Willie Walker, and Lonnie Johnson's "Away Down in the Alley Blues." Together, the songs offer a sampling of blues history. Some of the techniques covered in this collection including playing in five tunings and nine keys, bottleneck playing, syncopated picking styles, and a wide range of harmonic and melodic ideas.

These interviews with Henry Rollins conducted by RE/Search (and Search & Destroy) founder V. Vale focus on Henry's travels -- often to countries considered dangerous and off-limits. There are references to Punk Rock history, the Occupy movement, and numerous personal adventures and experiences over the past 30-plus years of combing the planet giving musical and Spoken Word performances, and generally being as creative and humorous as possible no matter what the situation may be . Whatever Henry wants to do, he does it while giving his full attention, like a kind of Zen master. RE/Search tries to reveal the full scope of his creativity, achievements and darkly sardonic perceptiveness and contempt for cliche. This book is full of both humor and inspiration.

Henrik Ibsen's "The Lady From The Sea" is a powerful exploration of family dynamics and the allure of the unknown. This classic work of Norwegian drama delves into the complexities of marriage and the human spirit's connection to the sea. Ibsen masterfully crafts a narrative that resonates with timeless themes of duty, desire, and the search for personal fulfillment. A cornerstone of European drama, "The Lady From The Sea" showcases Ibsen's signature blend of realism and symbolism. This meticulously prepared print edition invites readers to experience the profound emotional depth and insightful social commentary that have made Ibsen a literary icon. Discover the enduring power of this compelling drama, a testament to the human condition and the enduring strength of the ties that bind us. A must-read for enthusiasts of classic literature and translated works. This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

Alfred is pleased to present the album-matching folio for Barbra Streisand's CD, Guilty Pleasures. Guilty Pleasures is Barbra Streisand's 2005 collaborative album with producer/songwriter/vocalist Barry Gibb. The release of Guilty Pleasures comes 25 years after the pair's first multi-platinum album, Guilty, which made pop music history as a worldwide chart-topping smash released in 1980. This book provides the lyrics with piano and chord arrangements for all the songs on the record. Titles are: Come Tomrrow * Stranger in a Strange Land * Hideaway * It's Up to You * Night of My Life * Above the Law * Without Your Love * All the Children * Golden Dawn * (Our Love) Don't Throw It All Away * Letting Go.

This book is a more personal history than has ever before been written by or about Marianne Faithfull. Anecdotal, conversational, intimate and revealing, this is her no-holds-barred account of her life, her friends, her triumphs and mistakes. A decade after the publication of ‘Faithfull’, one of the most acclaimed rock autobiographies of all time, Marianne Faithfull is back, vowing periodically leave her wicked ways behind and grow up, but finding that somehow strange things keep happening. A wry observer of her slightly off-kilter world, Marianne muses nostalgically about afternoons languishing on Moroccan cushions at George and Pattie's, getting high and listening to new songs. She fondly recalls the outlandish antics of her Beat friends Allen Ginsberg and William Burroughs; is frequently baffled at her image in the press (opening the paper to read of her own demise: 'Sixties Star in Death Plunge'); terrified by the curse sent by Kenneth Anger; mortified by her history of reckless behaviour; not to mention her near-death experience in Singapore while looking for an opium den. Marianne peoples her anecdotal memoir with legendary characters one can imagine only Marianne assembling around her, both the eccentric and the beautiful, from Henrietta Moraes and Donatella Versace to Sofia Coppola, Juliette Greco, and Yves St. Laurent's dog. Here is Marianne on the dark side of the sixties and the bright side of the nineties, which saw her collaborating with the likes of Blur and Jarvis Cocker; compelling recollections of an unconventional childhood in her father's orgiastic literary commune to a hilariously decadent few days at Lady Caroline Blackwood's deathbed. Here she is her blossoming movie career, on her records as subliminal autobiography. This is as intimate a portrait as we've ever had of Marianne, as she meditates on sex and drugs, confronts her alter-ego, the Fabulous Beast, and faces her own mortality in her battle with breast cancer. Since her last book Marianne has, in her own words, 'made quite a few records, gone on many tours, tried to play it straight, and... Well, the rest is the subject of this book.'

"The Fairy Green" is an ancient Children's poetry story book written by Rose Fyleman. This amazing story comes within the delusion and fairy story genres, taking young readers on a fable adventure through a wonderful the world complete of fairies, goblins, and other terrific animals. Fyleman's fabulous writing and ingenious storytelling take site visitors to the inexperienced lands of the Fairy Green, wherein wooded area sprites dance below the whole moon and depraved elves play tricks on unsuspecting vacationers. Each of the poems in the collection is a little works of art, full with shiny imagery and charming characters that pique the curiosity and excite the senses. "The Fairy Green" is a ways greater than a collection of poems; it's far a gateway to the lovely women of nature and the strength of the thoughts. Fyleman's eternal memories remind visitors of the importance of marvel and enchantment in some surroundings wherein humans are all too frequently distracted through the commonplace. Through its whimsical appealing people and ageless enchantment, "The Fairy Green" has charmed readers of each technology, motivating destiny generations to trust within the magic that exists simply backstage of fact.

In a tribute to the great musical loves of his life, the popular musician and performer tells the story of his legendary career as America's favorite interpreter of classical popular music and his love affair with Tin Pan Alley and friendship with Ira Gershwin. Reprint.

This scarce antiquarian book is a facsimile reprint of the original. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions that are true to the original work.

Content's Essays, 1975-1984 is the celebrated introduction to language poetry by one of its leading practitioners, Charles Bernstein. First published in 1986, and now a classic study of the poetry and poetics of late-twentieth-century America, this collection of essays conducts us with wit, intelligence, and consummate style through the elaborate relations between language and culture. Bernstein considers verbal, pictorial, and filmic language to understand why writing is never the unmediated expression of personal feeling but always charged with latent meaning.Addressing a wide range of arts, Bernstein's essays move gracefully from discussions of Mad Max, Stan Brakhage, and Arakawa, to William Carlos Williams, Louis Zukovsky and Jackson Mac Low. Rather than propose grand theories, Bernstein synthesizes the many sets of ideas that are necessary for a practical understanding of contemporary culture. Reading a variety of texts and expanding on his own thinking and method, Bernstein provides a brilliant introduction not only to language writing but to all avant-garde literary ambitions of the last two decades of the century.At once irreverent and deeply serious, as indebted to Groucho Marx as it is to Stanley Cavell, Content's Dream stakes out a clear cultural and aesthetic position for one extraordinary poet, for language poetry, and for our time.

With his dynamic on-air personality and his trademark cry of "Burn, baby! BURN!" when spinning the hottest new records, Magnificent Montague was the charismatic voice of soul music in Chicago, New York, and Los Angeles from the mid-1950s to the mid-1960s. In this memoir Montague recounts the events of his momentous radio career, which ran from the era of segregation to that of the civil rights movement; as he does so, he also tells the broader story of a life spent in the passionate pursuit of knowledge, historical and musical. Like many black disc jockeys of his day, Montague played a role in his community beyond simply spreading the music of James Brown, Otis Redding, Aretha Franklin, and other prominent artists. Montague served as an unofficial spokesman for his black listeners, reflecting their beliefs and acting as a sounding board for their concerns. Montague was based in Los Angeles in 1965 when the Watts rioters seized on his incendiary slogan, turning the shout of musical appreciation into a rallying cry for racial violence. In Burn, Baby! BURN! Montague recalls these tumultuous times, including the personal struggle he faced over whether to remain true to his listeners or bend to political pressure and stop shouting his suddenly controversial slogan. Since the mid-1950s Montague had also expressed his passion for African American culture by becoming a zealous collector of artifacts of black history. He has built a monumental collection, taking time out from his collecting to become only the second African American to build his own radio station literally from the ground up. A compelling account of a rich and varied life, Burn, Baby! BURN! gives an insider's view of half a century of black history, told with on-the-air zest by the DJ/historian who was there to see it unfold.

"A rapturous, witty, and passionate memoir ... Violin Dreams is not only the story of a man becoming an artist, it’s a history of twentieth-century music.” -- John Guare, Tony Award-winning playwright Arnold Steinhardt, for more than forty years an international soloist and the first violinist of the Guarneri String Quartet, brings warmth, wit, and fascinating insider details to the story of his lifelong obsession with the violin, that most seductive and stunningly beautiful instrument. His story is rich with vivid scenes: the terror inflicted by his early violin teachers, the sensual pleasure involved in the pursuit of the perfect violin, the charged atmosphere of high-level competitions. Steinhardt describes Bach’s Chaconne as the holy grail for the solo violin, and he illuminates, from the perspective of an ardent owner of a great Storioni violin, the history and mysteries of the renowned Italian violinmakers. Violin Dreams includes a remarkable CD recording of Steinhardt performing Bach’s Partita in D Minor as a young violinist forty years ago and playing the same piece especially for this book. A conversation between the author and Alan Alda on the differences between the two performances is included in the liner notes.

This scarce antiquarian book is a facsimile reprint of the original. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions that are true to the original work.

Excerpt from Hebrew Melody: Freely Transcribed for Violin and Piano From the Children's Suite (82361) Contents: Jumping with Tongue out - Sleep my Puppy - Birdies March of Toys - Mamma. Tell a Fairy Tale - The Top - The Cara van - Parade with Presents. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

Analyzes poetry by four Americans, none of whom directly experienced the Holocaust. For these poets, writing becomes a moral obligation as commemoration, catharsis, atonement, history, insistence on human sensitivities, resistance to brutalization, indifference, and flight from consequences. Plath attempts to work herself out of her private turmoil by using the Holocaust as a metaphor for this pain. While God and the Holocaust are equally impenetrable and unfathomable, Plath's recourse is to be found in Christian symbolism. Heyen, whose parents emigrated from Germany in 1928, leaving behind members of the family who became Nazis, felt driven to confront history as part of his own background. Stern, who grew up in the safety of America, must expiate this guilt by envisaging and transposing himself into the victims. When Rothenberg visited Poland, he realized that his parents' native town was only 15 miles from Treblinka, where nearly all of his relatives were murdered. The silence of the death camp created for him "a vacuum in which the dead are free to speak". States that if Adorno's proposition - "to write poetry after Auschwitz is barbaric" - were to be taken literally, it would undermine the validity of this endeavor. But poets from time immemorial did not permit their world to collapse because of catastrophe and calamity. Includes an introductory chapter addressing the issue raised by Adorno, as well as a survey and interpretation of the components of the Holocaust genre.