Other books that might interest you

• 

  Swifty McVay Presents: The...

  Swifty McVay

  • 0
  • 0
  • 0

  The Seventh Star is a deeply personal, unflinching and unapologetic memoir that sheds light on an intense childhood spent on Detroit's notorious West 7 Mile, the pivotal role that the area's hip hop scene played, and the rise to national prominence Swifty McVay and his peers experienced after the massive mainstream success of the group D12. 
  Ondre Moore, better known by his stage name Swift—or Swifty McVay—speaks plainly here, telling the inside story of how the members of D12 met and how their relationships have evolved throughout the years. He describes D12's close connection and initially mixed reaction to a then little-known rapper, Marshall Mathers III, better known as Eminem. 
  But Swifty also details the significant struggles each of them overcame in their personal and professional lives—including the bleak and brutal deaths of group members Bugz and Proof—as they rose through the ranks in the demanding world of rap. Finding anchors in sobriety and spirituality, Swifty continues to challenge himself creatively as he releases solo albums and tours today. 
  The Seventh Star is the unique story of an artist finding his voice in America's heartland, succinctly and intimately told by a creative powerhouse in the world of hip hop.

  Show book

• 

  Christmas Party Vol 2

  Kim Mitzo Thompson

  • 0
  • 0
  • 0

  Set the perfect atmosphere for your Christmas party with these beautiful instrumental arrangements of holiday carols and songs.

  Show book

• 

  Music Theory For Beginners

  R. Ryan Endris

  • 0
  • 0
  • 0

  Learning to read and write music is very similar to learning a new language. Music theory is the study of the fundamental elements of music and how it is written.Music Theory For Beginners was developed for anyone interested in learning to read and write music, a task that can be quite daunting for novices. This book, however, will allay any fears and set you on the path to learning what all those dots, lines, and symbols actually mean. It provides the necessary scholarly muscle to entice and inform the reader, yet it does not require any prior knowledge of music or force the reader to wade through hundreds of pages of jargon and details.Whether your goal is to gain a cursory understanding of music, become fluent in reading music, or start composing your own music, this text will provide everything you need for a solid foundation in music theory. Anyone can pick up Music Theory For Beginners and instantly start learning about—and understanding—music theory.

  Show book

• 

  Gustave Courbet

  Georges Riat

  • 0
  • 0
  • 0

  Ornans, Courbet’s birthplace, is near the beautiful valley of the Doubs River, and it was here as a boy, and later as a man, that he absorbed the love of landscape.
  He was by nature a revolutionary, a man born to oppose existing order and to assert his independence; he had that quality of bluster and brutality which makes the revolutionary count in art as well as in politics. In both directions his spirit of revolt manifested itself. He went to Paris to study art, yet he did not attach himself to the studio of any of the prominent masters. Already in his country home he had had a little instruction in painting, and preferred to study the masterpieces of the Louvre. At first his pictures were not sufficiently distinctive to arouse any opposition, and were admitted to the Salon. Then followed the Funeral at Ornans, which the critics violently assailed: “A masquerade funeral, six metres long, in which there is more to laugh at than to weep over.” Indeed, the real offence of Courbet’s pictures was that they represented live flesh and blood. They depicted men and women as they really are and realistically doing the business in which they are engaged. His figures were not men and women deprived of personality and idealised into a type, posed in positions that will decorate the canvas. He advocated painting things as they are, and proclaimed that la vérité vraie must be the aim of the artist. So at the Universal Exposition of 1855 he withdrew his pictures from the exhibition grounds and set them in a wooden booth, just outside the entrance. Over the booth he posted a sign with large lettering. It read, simply: “Courbet – Realist.” Like every revolutionary, he was an extremist. He ignored the fact that to every artist the truth of nature appears under a different guise according to his way of seeing and experiencing. Instead, he adhered to the notion that art is only a copying of nature and not a matter also of selection and arrangement. In his contempt for prettiness Courbet often chose subjects which may fairly be called ugly. But that he also had a sense of beauty may be seen in his landscapes. That sense, mingled with his capacity for deep emotion, appears in his marines – these last being his most impressive work. Moreover, in all his works, whether attractive or not to the observer, he proved himself a powerful painter, painting in a broad, free manner, with a fine feeling for colour, and with a firmness of pigment that made all his representations very real and stirring.

  Show book

• 

  Willie Nelson's Letters to America

  Willie Nelson, Turk Pipkin

  • 0
  • 0
  • 0

  An intimate collection of fond memories, personal letters, good songs, and bad jokes from a true American legend. 
  "This is your old friend, Willie, sending a note to see how you're doing and to say I'm doing fine." 
  In this series of short letters straight from the heart, Willie sends his thanks and his thoughts to everyone from his family, his fellow musicians, his heroes, and his guitar "Trigger." 
  These letters, written in the straight-shooting, heart-rending, and profound style of his songs are a lyrical homage to all Americans—past, present, and future. From his opening letter "Dear America" to his epilogue, Willie digs deep into his heart and soul—and his music—to lift us up in difficult times, and to remind us of the endless promise and continuous obligations to ourselves, to one another, and to our nation. 
  These pages are also filled with the moving lyrics to some of his most famous and insightful songs, including "Let Me Be a Man," "Family Bible," "Summer of Roses," "Me and Paul," "A Horse called Music," "Healing Hands of Time," and "Yesterday's Wine." 
  Willie Nelson's Letters to America is perfect for:Musicians and fans of country, bluegrass, and folk music.Fans of Willie’s bestselling memoir, It’s A Long Story.Anyone looking for some simple and timeless wisdom and tasteful humor. 
  All Americans: who need to be reminded that "when the going gets tough, the tough needs a little inspiration to get going."

  Show book

• 

  Edvard Munch and artworks

  Elisabeth Ingles

  • 0
  • 1
  • 0

  Edvard Munch, born in 1863, was Norway's most popular artist. His brooding and anguished paintings, based on personal grief and obsessions, were instrumental in the development of Expressionism. During his childhood, the death of his parents, his brother and sister, and the mental illness of another sister, were of great influence on his convulsed and tortuous art. In his works, Munch turned again and again to the memory of illness, death and grief. During his career, Munch changed his idiom many times. At first, influenced by Impressionism and Post-impressionism, he turned to a highly personal style and content, increasingly concerned with images of illness and death. In the 1892s, his style developed a ‘Synthetist' idiom as seen in The Scream (1893) which is regarded as an icon and the portrayal of modern humanity's spiritual and existential anguish. He painted different versions of it. During the 1890s Munch favoured a shallow pictorial space, and used it in his frequently frontal pictures. His work often included the symbolic portrayal of such themes as misery, sickness, and death. and the poses of his figures in many of his portraits were chosen in order to capture their state of mind and psychological condition. It also lends a monumental, static quality to the paintings. In 1892, the Union of Berlin Artists invited Munch to exhibit at its November exhibition. His paintings invoked bitter controversy at the show, and after one week the exhibition closed. In the 1930s and 1940s, the Nazis labeled his work “degenerate art”, and removed his works from German museums. This deeply hurt the anti-fascist Munch, who had come to feel Germany was his second homeland. In 1908 Munch's anxiety became acute and he was hospitalized. He returned to Norway in 1909 and died in Oslo in 1944.

  Show book