Download Television's Marquee Moon (33 1/3 Series) by Bryan Waterman PDF

By Bryan Waterman

Marquee Moon (33 1/3)
by Bryan Waterman

Show description

Read or Download Television's Marquee Moon (33 1/3 Series) PDF

Similar music books

Television's Marquee Moon (33 1/3 Series)

Marquee Moon (33 1/3)
by Bryan Waterman

We Rock! (Music Lab): A Fun Family Guide for Exploring Rock Music History: From Elvis and the Beatles to Ray Charles and The Ramones, Includes Bios, Historical Context, Extensive Playlists, and Rocking Activities for the Whole Family!

Ultimately! A hip, enjoyable and culturally suitable sequence of song appreciation books, ideal for contemporary music-loving households who are looking to make the most of this period of exploding musical entry! Get a private guided travel via an awesome old back-catalog of track that was once formerly unavailable. We Rock!

Music 109: Notes on Experimental Music

Composer and peformer Alvin Lucier brings readability to the area of experimental tune as he's taking the reader via greater than 100 groundbreaking musical works, together with these of Robert Ashley, John Cage, Charles Ives, Morton Feldman, Philip Glass, Pauline Oliveros, Steve Reich, Christian Wolff, and l. a. Monte younger.

Additional resources for Television's Marquee Moon (33 1/3 Series)

Example text

Half a century later, an estimated 25,000 men lived in Bowery missions and welfare hotels. Through the middle of the twentieth century the Third Avenue El ran along the Bowery, casting a permanent shadow on sidewalks along either side. One result: the Bowery remained the domain of the down-and-out for 150 years. In CB’s early days, the walls next to the stage featured oversized portraits of nineteenth-century Bowery burlesquers, an homage to the street’s pop cultural legacy. Hilly’s primary clientele in the early ’70s was as uneven as the neighborhood’s reputation.

I just liked the sound of it.  . ”12 In their renaming, the choice of Verlaine and Rimbaud as antecedents was hardly accidental: they were a pair, perhaps literary history’s most famous gay lovers. The title of Rimbaud’s A Season in Hell refers to their tempestuous, violent, dragging-themselves-drunk-through-the-streets relationship. At one point Verlaine had fired shots at Rimbaud, who had him arrested on attempted murder charges and examined to evaluate his sanity. This dimension of their relationship, fundamental to their ­legendary stature, seems to have been on Hell’s radar.

Verlaine’s vocals were adenoidal and anguished. Kristal’s memories of Television’s first shows as terrible may have been accurate, judging from footage of loft rehearsals taken sometime in ’74. The band’s energy discernibly derives from the Velvets’ “Sister Ray” or the Elevators’ more frenetic side. If they retained psychedelic traces, as critics would frequently suggest, they mixed San Francisco sounds with Music Machine’s testosterone-fuelled, bass-heavy “Talk Talk” or the Count Five’s “Psychotic Reaction,” the latter of which they covered in early sets.

Download PDF sample

Rated 4.99 of 5 – based on 41 votes