(Book). Forever Changes Arthur Lee and the Book of Love tells the life story of an incredible contemporary musical talent who died tragically of leukemia. Fronting the first ever fully integrated rock band, Lee emerged from the nascent L.A. folk-rock scene on the Sunset Strip in 1965 with the band Love to become the prince of the Strip. Love's first three albums were groundbreaking, combining elements of folk-rock, garage-punk, jazz, blues, flamenco, and classical music. Through exclusive interviews with those closest to Lee, Forever Changes paints a portrait of this intriguing, remarkable cult figure. The book also includes Lee's own voice throughout, drawn from his personal writings, letting both dedicated fans and newcomers discover this singular artist like never before.
'Forever Changes' may be thirty-six years old at the time of this writing, but its hermetic fusion of the personal and the political feels more relevant than ever. It speaks to the present in ways that, say, a Jefferson Airplane record never could, whatever the parallels between the late U60s and our contemporary morass.
For a girl who doesn’t have much time, every infinitesimal moment counts Brianna is a math whiz. She’s almost certain to be admitted to MIT—that is, if she survives to see her nineteenth birthday. Brianna has cystic fibrosis, and after her friend Molly died six months ago, it’s hard for Brianna to let go of the feeling that she’s next. Numbers make sense to Brianna—they give her something to think about besides her own crummy odds. To her great surprise, it is in math class that she discovers the infinity that exists between eighteen and nineteen. Poignant and true, this story of one extraordinary teenage life is riveting. With Forever Changes, Brendan Halpin has crafted an unparalleled protagonist who will leave an indelible mark on readers.
"Conceived as the last testament of a charismatic recluse who believed he was about to die, Forever Changes is one of the defining albums of an era. Here, Andrew Hultkrans explores the myriad depths of Love's bizarre and brilliant record. Charting bohemian Los Angeles descent into chaos at the end of the 60s, he teases out the literary and mystical influences behind Arthur Lee's lyrics, and argues that Lee was both inspired and burdened by a powerful prophetic urge."--Bloomsbury Publishing.
Love are one of those acts, a bit like Gram Parsons, who are very hip to namecheck as an influence. Their seminal album, Forever Changes, is often cited by many musicians as one of their favorites (it was #40 in Rolling Stone magazine's Top 500 albums) and the band have an aura of the Californian "Turn on, tune in, drop out" vibe. A hard band to pigeonhole, their music drew on many influences from rock, garage, folk and psychedelia, but they were one of the first racially diverse groups. For such an influential band, surprisingly little has been written about them. This book is a welcome addition therefore, particularly as it is penned by the band's official historian, Bruno Ceriotti. Johnny Echols' Love Revisited are still keeping the memory alive, but Ceriotti has wisely chosen to focus only up to 1971 when the original band split up.The book is in the handy timeline format with many original pictures and interviews. Ceriotti leaves no stone unturned to tell the Love story from Arthur Lee's birth in Tennessee though to his breaking up the original band in 1971. Echols contributed a foreword, as did Michael Stuart-Ware, the band's drummer from back in the day who played on Forever Changes and Da Capo.Whilst not an official biography, Arthur Lee's widow, Diane, has offered encouragement to the author as she is keen to keep her late husband's memory alive. The timing of this book couldn't be better. 2016 is the 50th anniversary of the band's debut album so interest will be high. In fact, the book will get two bites of the cherry as 2017 is the 50th anniversary of Forever Changes and all things psychedelic are likely to be in vogue with it being 50 years since the summer of love. By the way, the book's title derives from a Love song from their first album, written by Bacharach and David. The former was unimpressed with Love's version!
Ovid devoted about half of his poetic career to the production of several collections of amatory verse, all composed in elegiac couplets. Indeed, his irrepressible interest in love, sex and elegiac poetry is one of the defining features of his entire output. Here Rebecca Armstrong offers a thematic examination of some important aspects of the Amores, Ars Amatoria and Remedia Amoris. Starting from an investigation of the narrator's self-creation and presentation of other characters within his amatory verse, she assesses the importance of mythical and contemporary reference, as well as the influence of the erotic on Ovid's later works. By looking at the Ars and Remedia alongside the Amores, the continuities and contradictions in the poet's elegiac outlook are revealed, and a complex picture is formed of the Ovidian world of love. Ovid's erotic works present the reader with a glimpse inside the minds of both poets and lovers, mediated through eyes which are frequently inclined to comedy and even cynicism, but always sharp, perceptive and above all fascinated by human behaviour.
Love was one of the legendary bands of the late '60s U.S. West Coast scene, and their masterpiece 'Forever Changes' still regularly appears in critics' polls of the greatest albums ever recorded. Yet the band never truly achieved its potential...and so, were never able to break through to the L.A. premier league; the one inhabited by groups like The Byrds, and The Doors. Now, Michael Stuart-Ware, drummer on LOVE's 'Da Capo' and 'Forever Changes', shares his inside perspective on the band's recording and performing career, and tells how money-wrangles, drugs and egos thwarted the success of one of the great rock ensembles of the burgeoning psychedelic era. The author also vividly portrays LOVE's life away from the stage and the recording studio - hanging out in Laurel Canyon, smoking weed and shooting the breeze with his fellow band members, back in the summer of love.
Warner has written daily devotions based on promises from the Bible with illustrations from his varied life experiences. They give inspiration, pause for thought, peace, strength and a deeper relationship with God.
God's kingdom is our true home, but we've picked up a habit of resisting it. And when, finally, we do fall in, most of us find we've survived so long outside his kingdom that we've lost all instinct for thriving in it. That's where Roger Helland meets us. Roger has thought long and studied hard on these matters. He has pondered deeply what it means to be fully alive in Christ and for Christ, and he's tested his insights in classrooms, in churches, with denominations, but mostly in his own life. In Magnificent Surrender, he's distilled what he's learned into a field guide for kingdom living. But Roger draws from an even deeper source. His book derives its force and depth from Paul's letter to the Colossians. Indeed, Magnificent Surrender is an extended pastoral reflection on and application of that letter. Colossians, in four brief chapters, presents the glory of Jesus Christ and the glory of a life wholly submitted to him. It is a manifesto of the rich life. Magnificent Surrender heralds that brilliantly. It's a wise, loving, and sometimes stern invitation to read Colossians again, with fresh eyes and fierce resolve. It's also a challenge to take to heart its promise and its exhortation--that we can and must live in, through, with, and for Christ, who is all and in all, supreme and sufficient. -Mark Buchanan, from the Foreword
Just average twelve-year-old's who one day by mountain stream discovered that aside from the mysterious gift of Perception or Second Sight, there was just one more reason, added to a growing list of reasons they were not like other boys their age. Chris Keagan and Travis Kincaid were gay and liked each other far too much to engage in shoving and pushing other guys, to say nothing about each other around on a baseball diamond every afternoon in earl spring, and each was far too sophisticated to kick the other and a rag of inflated pigskin around the football field behind the Middle school during the late fall and winter months, Chris, a tall boy with blond hair and eerie silver/blue eye lost his parents tragically in the plane crash when he was just ten years old. Although still relatively new to Center City, he's is already an outspoken individual with set ideas about how one should live his life. Travis Kincaid, who on the other hand, boasts a head of thick dark blonde hair and expressive violet/blue eyes, and one day befriends a lonely kid in a schoolyard outside Center City Elementary school his first year in Center City. They not become best friends, but Travis's father becomes Chris's Surrogate father and he loves Chris like he loves Travis. They, in turn, take an oath of forever-friendship and are inseparable until tragedy strikes and war intervenes. Thirty years later at almost forty, they come together again following the death of Travis's father, only to discover that BFF does not mean committed Lovers.
The instant New York Times bestseller from author, comedian and actor Patton Oswalt, a “heartfelt and hilarious” (USA TODAY) memoir about coming of age as a performer during the late 1990s while obsessively watching classic films at a legendary theater in Los Angeles. “[Oswalt has] a set of synapses like a pinball machine and a prose style to match” (The New York Times). Between 1995 and 1999, Patton Oswalt lived with an unshakable addiction. It wasn’t drugs, alcohol, or sex: it was film. After moving to Los Angeles, Oswalt became a huge film buff (or as he calls it, a sprocket fiend), absorbing classics, cult hits, and new releases at the famous New Beverly Cinema. Silver screen celluloid became Patton’s life schoolbook, informing his notion of acting, writing, comedy, and relationships. Set in the nascent days of LA’s alternative comedy scene, Silver Screen Fiend chronicles Oswalt’s journey from fledgling stand-up comedian to self-assured sitcom actor, with the colorful New Beverly collective and a cast of now-notable young comedians supporting him all along the way. “Clever and readable...Oswalt’s encyclopedic knowledge and frothing enthusiasm for films (from sleek noir classics, to gory B movies, to cliché-riddled independents, to big empty blockbusters) is relentlessly present, whirring in the background like a projector” (The Boston Globe). More than a memoir, this is “a love song to the silver screen” (Paste Magazine).
Ecstasy did for house music what LSD did for psychedelic rock. Now, in Energy Flash, journalist Simon Reynolds offers a revved-up and passionate inside chronicle of how MDMA (“ecstasy”) and MIDI (the basis for electronica) together spawned the unique rave culture of the 1990s. England, Germany, and Holland began tinkering with imported Detroit techno and Chicago house music in the late 1980s, and when ecstasy was added to the mix in British clubs, a new music subculture was born. A longtime writer on the music beat, Reynolds started watching—and partaking in—the rave scene early on, observing firsthand ecstasy’s sense-heightening and serotonin-surging effects on the music and the scene. In telling the story, Reynolds goes way beyond straight music history, mixing social history, interviews with participants and scene-makers, and his own analysis of the sounds with the names of key places, tracks, groups, scenes, and artists. He delves deep into the panoply of rave-worthy drugs and proper rave attitude and etiquette, exposing a nuanced musical phenomenon. Read on, and learn why is nitrous oxide is called “hippy crack.”
Bring the Noise weaves together interviews, reviews, essays, and features to create a critical history of the last twenty years of pop culture, juxtaposing the voices of many of rock and hip hop’s most provocative artists—Morrissey, Public Enemy, The Beastie Boys, The Stone Roses, P.J. Harvey, Radiohead—with Reynolds’s own passionate analysis. With all the energy and insight you would expect from the author of Rip It Up and Start Again, Bring the Noise tracks the alternately fraught and fertile relationship between white bohemia and black street music. The selections transmit the immediacy of their moment while offering a running commentary on the broader enduring questions of race and resistance, multiculturalism, and division. From grunge to grime, from Madchester to the Dirty South, Bring the Noise chronicles hip hop and alternative rock’s competing claims to be the cutting edge of innovation and the voice of opposition in an era of conservative backlash. Alert to both the vivid detail and the big picture, Simon Reynolds has shaped a compelling narrative that cuts across a thrillingly turbulent two-decade period of pop music.
In A Dry Season is the tenth novel in Peter Robinson's Inspector Banks series, following on from Dead Right. During a blistering summer, drought has depleted Thornfield Reservoir, uncovering the remains of a small village called Hobb's End – hidden from view for over forty years. For a curious young boy this resurfaced hamlet is a magical playground . . . until he unearths a human skeleton. Detective Chief Inspector Alan Banks is given the impossible task of identifying the victim – a woman who lived in a place that no longer exists, whose former residents are scattered to the winds. Anyone else might throw in the towel but DCI Banks is determined to uncover the murky past buried beneath a flood of time . . . In A Dry Season is followed by the eleventh book in this Yorkshire-based crime series, Cold is the Grave.
In Generation Ecstasy, Simon Reynolds takes the reader on a guided tour of this end-of-the-millenium phenomenon, telling the story of rave culture and techno music as an insider who has dosed up and blissed out. A celebration of rave's quest for the perfect beat definitive chronicle of rave culture and electronic dance music.
From the author of the acclaimed Revolution in the Head, Ian MacDonald takes us on a journey through the music of the sixties and seventies. Starting with one of the most important assessments of Bob Dylan to appear in print for many years, these essays range from the psychedelia of the Beatles and the rebellion of the Rolling Stones to the political activism of John Lennon, the 'dark doings' of David Bowie and the spiritual quest of Nick Drake. In the central essay of this collection, The People's Music, MacDonald argues that the emergence of the Beatles in the early sixties changed the world of music for ever, as the power in the industry shifted to the audience. Combining a close reading of the music with a detailed understanding of the times, this collection confirms Ian MacDonald's reputation as one of Britain's most important music journalists. Enlightening and entertaining, The People's Music is music writing as its best.