The Encyclopedia of Dead Rock Stars: Heroin, Handguns, and by Jeremy Simmonds

By Jeremy Simmonds

<P style="MARGIN: 0in 0in 0pt">The bible of music’s deceased idols—Jeff Buckley, Sid Vicious, Jimi Hendrix, Tupac, Elvis—this is the final word checklist of all those that arrived, rocked, and looked at during the last 40-odd years of quickly autos, inner most jets, challenging medications, and reckless residing. The truths in the back of millions of interesting stories—such as how blood brother Holly in basic terms determined to fly so he’d have time to complete his laundry—are coupled with perennial questions, together with Which band boasts the main lifeless individuals? and Who had the intense inspiration of fixing a mild bulb whereas status within the shower?, in addition to a number of stories of lesser-known rock tragedies. up to date to incorporate the entire rock deaths because the prior edition—including Ike Turner, Dan Fogelberg, Bo Diddley, Isaac Hayes, Eartha Kitt, Michael Jackson, Clarence Clemons, Amy Winehouse, and lots of, many more—this re-creation has been comprehensively revised all through. An fundamental reference packed with invaluable and lifeless info, with enormous quantities of images of the nice, the undesirable, and the foolish, this assortment is sure to rock the area of trivialities buffs and diehards alike.

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This limited circle of pure sounds must be broken, and the infinite variety of noise-sound conquered. We Futurists have deeply loved and enjoyed the harmonies of the great masters. For many years Beethoven and Wagner shook our nerves and hearts. Now we are satiated and we find far more enjoyment in the combination of the noises of trams, backfiring motors, carriages and bawling crowds than in listening again, for example, to the Eroica or the Pastorale. Away! Let us break out since we cannot much longer restrain our desire to create finally a new musical reality, with a generous distribution of resonant slaps in the face, discarding violins, pianos, double-basses and plaintive organs.

This gave much of their music its detached, disembodied serenity. Vexations (1893) was Satie’s most enigmatic and abstract work. ” This previously unknown work was brought to 32 ELECTRONIC AND EXPERIMENTAL MUSIC the attention of John Cage in 1949, and in 1963 Cage produced its first performance using a relay team of ten pianists. The performance took more than eighteen hours. Had the term “minimalism” been in vogue at the time, Vexations would no doubt have been branded as its granddaddy. Cage summed up the performance in this way: The experience over the 18 hours and 40 minutes of those repetitions was very different from the thought of them or the realization that they were going to happen.

Once it hit the drone, I would pull the plug on the machine and the whole thing ended. It’s the ultimate process piece. It’s me making my peace with Cage. It’s audible sculpture. 22 What began as a straightforward compositional process ended with the cacophony of an opposing process: uncontrolled electronic feedback. 1949) has been creating electronic music using only feedback for over twenty years. His is not feedback of the acoustic variety, however, for the sound does not result from the interference of a highly amplified signal in the proximity of a loud-speaker.

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