Suspended for a few seconds, they float in their own space and time with their own hidden prospects. For want of a better term, we call these moments “magical” and when we remember them they are cloaked in a halo of special meaning.’For 14-year-old Johnny Clegg, hearing Zulu street music as plucked on the strings of a guitar by Charlie Mzila one evening outside a corner café in Bellevue, Johannesburg, was one such ‘magical’ moment. The success story of Juluka and later Savuka, and the cross-cultural celebration of music, language, story, dance and song that stirred the hearts of millions across the world, is well documented. Their music was the soundtrack to many South Africans’ lives during the turbulent 70s and 80s as the country moved from legislated oppression to democratic freedom. It crossed borders, boundaries and generations, resonating around the world and back again. Less known is the story of how it all began and developed. Scatterling of Africa is that origin story, as Johnny Clegg wrote it and wanted it told. It is the story of how the son of an unconventional mother, grandson of Jewish immigrants, came to realise that identity can be a choice, and home is a place you leave and return to as surely as the seasons change.

    The eccentric group who satirised trad jazz, pop and rock, reached Number five with ‘I’m The Urban Spaceman’ in 1968. A punishing schedule of tours and television followed, including work with the future Monty Python team. The following year, broke and burned out, the Bonzos split up, leaving behind a loyal cult following.Vivian launched into myriad solo projects in music, film and theatre, giving himself several nervous breakdowns in the process. His comic masterpiece, ‘Sir Henry at Rawlinson End’, was heard in radio, on an album, and then hit the big screen. Vivian wrote the musical ‘Stinkfoot’, was narrator on ‘Tubular Bells’ and provided lyrics for Steve Winwood. In person, he was just as multi-faceted, by turns the erudite artist and the truculent Teddy Boy, breathtakingly rude. A powerful figure, tall, red-haired and never less than extravagant in his fashion, Vivian Stanshall was a hell-raiser of legendary reputation – ably assisted through much of the 1970s by Who drummer Keith Moon. Vivian drove the many who loved him to the limit, struggling with terrible tranquilliser and alcohol dependency. He died at home in a house fire in 1995. The story of his turbulent life is utterly compelling.

    In this funny, evocative, personal book, Gareth takes us on a journey of musical discovery that explains and entertains in equal measure. Over the course of three series of the Bafta award-winning The Choir, Gareth has unearthed a passion for classical music in schoolchildren, reluctant teenage boys, and even a whole town. With his infectious enthusiasm and gift for explanation, Gareth's very personal narrative takes you by the hand and leads you through a world of eccentric composers, flamboyant conductors, troubled geniuses and all the colourful personalities that make up the story of Classical Music. It will also provide a foundation of classical music understanding and give the reader the tools to appreciate a whole new world of music. So whether you want to expand your horizons, spend time with the great composers, introduce an almost infinite variety into your iPod playlist, or are just curious about what you might be missing out on, Music for The People will leave you entertained, informed and completely inspired.

    What if The Undertaker had hatched out of a giant egg? What if Daniel Bryan hadn't got his WrestleMania XXX push? What if 'Stone Cold' Steve Austin had been named Chilly McFreeze? All of this nearly happened. Over the course of wrestling history there have been many bad gimmicks, baffling angles, and confusing storylines that have left fans scratching their heads, wondering how they made it through the company's quality filter. We know all about those, we have been unfortunate enough to suffer through them. But what about those plans that never got off the drawing board? What of those ideas that remained unpopped kernels in the minds of the creative team? How different could the landscape of modern professional wrestling be had some of these shocking plans actually made it onto our screens? WhatCulture.com takes a journey behind the scenes to explore a whole host of what ifs, what might have beens, and what almost was. We look at proposed matches that never were, characters that could have been very different to what they became, booking plans that were changed at the last minute, promotional jumps that nearly happened, and backstage shenanigans that would have changed the business. The book also has a feature delving deep into the psyche of Vince McMahon penned by Attitude Era writer Vince Russo, and insight from former WWE Creative Team members George J. Rutherford and Dan Madigan. Join us as we take you on a journey into a world of Shocking Wrestling Plans You Won't Believe Almost Happened!

    It not only covers the broad spectrum of ballet vocabulary but also gives sound, practical advice to aspiring dancers. The clarity of the writing, in a field notorious for its opaqueness, is in itself a major achievement."--Merrill Ashley, Principal Dancer, New York City Ballet"An excellent, comprehensive guide to ballet pedagogy valuable to teachers and students alike. For many years Gretchen's has been a major voice in the dance community, and this extensive work details the study of classical ballet from her unique and expert point of view. I applaud her, and I heartily recommend Classical Ballet Technique."--David Howard, International Ballet Master and Master Teacher"Gretchen Warren has undertaken a monumental task and has completed it with distinction. Obviously a labor of love, this book's attention to detail and the clarity of its text and photos make it a valuable contribution to the lexicon of ballet. I recommend it to every serious student and teacher."--Thalia Mara, Founding Director, Ballet Repertory Company and National Academy of Ballet; Artistic Director, U.S.A. International Ballet Competition"Congratulations to Ms. Warren for her authoritative book on classical ballet. Thanks are in order too from the many professional teachers, dancers, and students of the art form who will benefit from this book-an essential addition to any dance lover's library."--Lawrence Rhodes, Artistic Director, Les Grands Ballets CanadiensGretchen Ward Warren studied at London's Royal Ballet and the National Ballet School of Washington, D.C. She was soloist with the Pennsylvania Ballet for eleven years and ballet mistress of American Ballet Theatre II from 1978 to 1983. She is professor of dance at the University of South Florida and frequently appears as a master teacher on the national and international circuits.Susan Cook has photographed the performing arts for the past fifteen years. Her work has appeared in Time, Newsweek, the New York Times, and many dance books. Her own books of photographs include In a Rehearsal Room and The Alvin Ailey American Dance Theater.

    Have you ever wished you could play the piano? Well, now you can! Scott "The Piano Guy" Houston teaches you to play the way the pros play, in a style enormously simpler than traditional classical piano and with an absolute minimum of note-reading. By focusing on playing the melody with the right hand (one note at a time) and simple chords with the left hand, Houston gives you the tools you need for a lifetime of musical enjoyment. Best of all, your tour guide to this adventure forces you to have fun along the way!

    Muggles of all ages will want to play these memorable themes including: Hedwig's Theme * Harry's Wondrous World * Diagon Alley * Hogwarts Forever! * Quidditch * Voldemort * Nimbus 2000 * Family Portrait. This great piano collection may be used just for fun or as supplementary study along with Level Three or Level Four piano methods.

    With 150 stunning photographs of ballet stars Maria Riccetto and Benjamin Millepied demonstrating perfect execution of positions and steps, this elegant volume brims with everything today's dance student needs, including: Practical advice for getting started, such as selecting a school, making the most of class, and studio etiquette Explanations of ballet fundamentals and major training systems An illustrated guide through ballet class -- warm-up, barre, and center floor Guidelines for safe, healthy dancing through a sensible diet, injury prevention, and cross-training with yoga and Pilates Descriptions of must-see ballets and glossaries of dance, music, and theater terms Along the way you'll find technique secrets from stars of American Ballet Theatre, lavishly illustrated sidebars on ballet history, and tips on everything from styling a ballet bun to stage makeup to performing the perfect pirouette. Whether a budding ballerina, serious student, or adult returning to ballet, dancers will find a lively mix of ballet's time-honored traditions and essential new information.

    Ballet is among the most beautiful forms of expression ever devised: an exquisite mix of sight and sound, stunning, aesthetics, and awesome technique. Ballet For Dummies is for anyone who wants to enjoy all that the dance forms offers - as an onlooker who wants to get a leg up on the forms you're likely to see or as an exercise enthusiast who understands that the practice of ballet can help you gainMore strength Greater flexibility Better body alignment Confidence in movement Comfort through stress reduction Infinite grace - for life From covering the basics of classical ballet to sharing safe and sensible ways to try your hand (and toes) at moving through the actual dance steps, this expert reference shows you how toBuild your appreciation for ballet from the ground up. Choose the best practice space and equipment. Warm up to your leap into the movements. Locate musical options for each exercise. Look for certain lifts in a stage performance. Tell a story with gestures. Picture a day in the life of a professional ballet dancer. Identify best-loved classic and contemporary ballets. Speak the language of ballet. Today you can find a ballet company in almost every major city on earth. Many companies have their own ballet schools - some for training future professionals, and others for interested amateurs. As you fine-tune your classical ballet technique - or even if you just like to read about it - you'll become better equipped to fully appreciate the great choreography and many styles of the dance. Ballet For Dummies raises the curtain on a world of beauty, grace, poise, and possibility!

    Told in eloquent, honest prose, Art’s Cello is a story about coming to terms with the past and letting go of the failures we allow to define us — and, in the process, honoring the lives of those we’ve lost. Jim McKean is an international award-winning violinmaker, author, and corresponding editor of Strings Magazine. He is a graduate of the first violinmaking school in America and the former president of the American Federation of Violin and Bow Makers. His novel, Quattrocento, was published in 2002. Cover design by Evan Twohy.

    There was no need to be nervous—Cloud Nine would be considered his greatest achievement since the seminal, All Things Must Pass.In George Harrison: Reconsidered, the process of getting to that pressing is presented—as well as remembrance of those things past.Timothy White honed his journalistic skills the old-fashioned way, working first as a copyboy for the Associated Press, then moving on to cover sports and entertainment. White was managing editor, then senior editor, of the music magazine Crawdaddy. He joined Rolling Stone as an associate editor, and rose through the ranks to become senior editor. In the last eleven years of his life, he served as editor-in-chief of Billboard. A prolific, award-winning writer, Timothy White interviewed hundreds of musicians, and became known as a champion of unknown artists.

    *Includes some of Martin's most colorful quotes. *Includes a Bibliography for further reading. "If people want to think I get drunk and stay out all night, let 'em. That's how I got here, you know." - Dean Martin A lot of ink has been spilled covering the lives of history's most influential figures, but how much of the forest is lost for the trees? In Charles River Editors' American Legends series, readers can get caught up to speed on the lives of America's most important men and women in the time it takes to finish a commute, while learning interesting facts long forgotten or never known. Like Frank Sinatra, Dean Martin is an American legend for his longevity and success across a garden variety of different platforms. Martin began as a nightclub singer, performed in a comedy act, starred in films, recorded hit albums, and capped his career by serving as a television host. In fact, there may be no star who was better able to transcend the different avenues of entertainment. Martin's success was made all the more amazing by the fact that he never had to change his personality or persona to find success in his different endeavors. From the beginning, Martin's public persona remained largely unchanged. He grew more famous and wealthy, but he always remained the smooth-talking Italian with the easy charm and the cool veneer. As Jerry Lewis noted in his memoirs about Martin, "Dean had this uncanny way of making everything bad look like it wasn't all that bad." If anything, Martin suggested that no matter the circumstances, people can always face their situation with leisurely charm. Martin's versatility is unprecedented even today, an era in which stars routinely alternate between film and musical careers. Martin was able to simultaneously work across different media at the same time; even after rising to fame as a singer, he continued to perform with Jerry Lewis and star in films. But after his film career took off, he continued to perform the crooning style of music that had made him famous and had long since been outdated. While other actors were forced to drastically alter their persona to keep up with the times, Martin's ability to fuse suave glamour with an everyday ordinariness ensured he didn't need to transform anything. Martin's life and career are often compared to his close friend and contemporary Frank Sinatra, and for good reason. Both came from proud Italian families, both were cohorts in the famed Rat Pack in the 1960s, and they each maintained success even late in their careers. However, Sinatra's career was filled with far more ups and downs than Martin, and his public image experienced highs and lows along with it. It's also somewhat ironic that it was Martin who Anglicized his name but remained a bigger Italian icon than Sinatra. They each began their careers as Italian crooners, but Martin maintained his style while Sinatra adopted a brasher, more "All-American" singing method. Martin never strayed far from his humble background, even as he became one of America's biggest stars. American Legends: The Life of Dean Martin profiles the life and career of one of America's most famous performers. Along with pictures of important people, places, and events, you will learn about Dean Martin like you never have before, in no time at all.

    This book is the story of Volpe's years leading up to those at the Met, from his first job as a stagehand at the Morosco Theater to the odd jobs he picked up moonlighting: setting up a searchlight or laying down a red carpet for a movie premiere, changing titles on the marquees at the Astor, Victor, and Paramount theaters. It is his Met years--from apprentice carpenter to general manager--that give us a story about New York and the business of culture. Volpe looks at the Met today, an institution full of vast egos and complicated politics, as well as its glittering past--the old Met at Thirty-ninth and Broadway, and the political and artistic intrigues that exploded around its move to Lincoln Center. With stunning candor, he writes about the general managers he worked under, including Rudolf Bing and Anthony Bliss; his own embattled rise to the top; the maneuverings of the blue-chip board; his bad-cop, good-cop collaboration with the conductor James Levine; and his masterful approach to making a family of such highly charged artist-stars as Luciano Pavarotti, Placido Domingo, Teresa Stratas, and Renee Fleming, and such visionary directors as Franco Zeffirelli, Robert Wilson, and Julie Taymor.

    That night, Sater came home and began writing the first lyric of Spring Awakening: "Mama Who Bore Me" - a lyric which still stands, verbatim, just as he first wrote it. Ten years later, in the wake of the enormous international success of this groundbreaking, multiaward-winning show, its original director, Michael Mayer, urged Sater to write notes explicating its famously evocative, poetic lyrics. In rich detail, Sater's notes address the literary sources and allusions of each lyric. He also writes feelingly of what prompted the songs over the course of the show's eight years of development. In so doing, Sater expands on his partnership with Sheik and his experiences with original cast members, Lea Michele and Jonathan Groff, now also known from Glee. These notes will prove invaluable for fans of the show, for all those interested in theater, and most especially for all the young performers who will play the roles and sing these songs.

    Traces the long career of the popular rock guitarist, discusses the influences of his music, and assesses each of his albums.