Ten Songs About Girls FORTUNA

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Anthology Live: 101 Songs About Cars Girls & Food CD BABY

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Songs About Girls & . . INGOT ROCK

Muzyka>Pop

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Ten Songs About Girls FORTUNA

Muzyka>Rock

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Songs About Girls

Książki Obcojęzyczne>Nieprzypisane

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Songs about Girls

Książki

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NAJLEPSZE HITY DLA CIEBIE 3 CD BREAKUP SONGS WYDAWCA

Muzyka > Płyty kompaktowe

Lista utworów: CD 1: 1. Justin Bieber

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High Fidelity Penguin Books

Książki / Literatura obcojęzyczna

High Fidelity is Nick Hornby's hilarious and heart-breaking first novel bestseller. Do you know your desert-island, all-time, top five most memorable split-ups? Rob does. He keeps a list, in fact. But Laura isn't on it - even though she's just become his latest ex. He's got his life back, you see. He can just do what he wants when he wants: like listen to whatever music he likes, look up the girls that are on his list, and generally behave as if Laura never mattered. But Rob finds he can't move on. He's stuck in a really deep groove - and it's called Laura. Soon, he's asking himself some big questions: about love, about life - and about why we choose to share ours with the people we do. A million-copy bestseller, and adapted into a 2000 film starring John Cusack, High Fidelity explores the world of break-ups, make-ups and what it is to be in love. This astutely observed and wickedly funny book will be enjoyed by readers of David Nicholls and William Boyd, and by generations of readers to come. "It will give enormous pleasure at the same time as expanding in a small but worthwhile way, the range of English literature". (Independent on Sunday). "Leaves you believing not only in the redemptive power of music but above all the redemptive power of love. Funny and wise, sweet and true". (Independent). "A triumphant first novel. True to life, very funny and moving". (Financial Times). Nick Hornby has captivated readers and achieved great critical acclaim for his comic, well-observed novels About a Boy, How to be Good, A Long Way Down (shortlisted for the Whitbread Award), Slam and Juliet, Naked. His three works of non-fiction, 31 Songs (shortlisted for the National Book Critics Circle Award), Fever Pitch (winner of the William Hill Sports Book of the Year Award) and The Complete Polysyllabic Spree are also available from Penguin.

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Letter from America Penguin

Powieści i opowiadania

When Alistair Cooke retired in March 2004 and then died a few weeks later, he was acclaimed by many as one of the greatest broadcasters of all time. His Letters from America, which began in 1946 and continued uninterrupted every week until early 2004, kept the world in touch with what was happening in Cooke's wry, liberal and humane style. This selection, made largely by Cooke himself and supplemented by his literary executor, gives us the very best of these legendary broadcasts. Over half have never appeared in print before. It is a remarkable portrait of a continent - and a man. Fred Astaire 26 June 1987 Movie stars don't make it. Nor statesmen. Not Prime Ministers, or dictators unless they die in office. Not even a world-famous rock star, unless he's assassinated. But last Monday, none of the three national television networks hesitated about the story that would lead the evening news. On millions of little screens in this country and I don't doubt in many other countries around the world, the first shots were of an imp, a graceful wraith, a firefly in impeccable white tie and tails. And for much longer than the lead story usually runs, for a full five minutes on NBC, we were given a loving retrospective of the dead man, ending with the firm declaration by Nureyev that 'He was not just the best ballroom dancer, or tap dancer, he was simply the greatest, most imaginative, dancer of our time.' And the newsmen were right to remind us of the immortal comment of the Hollywood mogul, who, with the no-nonsense directness of an expert, reported on Fred Astaire's first film test: 'Has enormous ears, can't act, can't sing, dances a little.' That Hollywood mogul, long gone, spent his life ducking round corners, to avoid being identified as the oaf who looked in the sky and never saw the brightest star. However, that expert opinion was, as the lawyers say, controlling at the time and in Astaire's first movies, there was no thought of allowing him to act or sing. But not for long. And thanks to the invention of television, and the need to fill vast stretches of the afternoon and night with old movies, it has been possible for my daughter, for instance, to claim Fred Astaire as her favourite film star from the evidence of all the movies he made fifteen, ten, five, three years before she was born. When I got the news on Monday evening here, and realized with immediate professional satisfaction that the BBC had smartly on hand a musical obituary tribute to him I put together eight years ago, I couldn't help recalling the casual, comic way this and similar radio obituaries came about. I was in London at the end of 1979, and Richard Rodgers - one of the two or three greatest of American songwriters - had just died, I believe on New Year's Eve or the night before. Britons, by then, were getting accustomed, without pain, to making what used to be a two-day Christmas holiday into a ten-day much-needed rest. For all laborious research purposes, the BBC was shut up. And there was no retrospective programme on the life and music of Richard Rodgers in the BBC's archives. Of course, in a gramophone library that looks like an annex to the Pentagon, there were hundreds, perhaps thousands, of recordings of his songs. The SOS went out to a writer, a producer, and - I presume - a man who had the key to the gramophone library. The silent place was unlocked, and the three of them laboured through the day to put together an hour's tribute to Richard Rodgers. It was done. It was competent enough, but rushed to an impossible deadline. This hasty improvisation happened just when my own music producer and I, who had enjoyed working together for six years or so on American popular music, were wondering what we could offer next. We'd done a sketch history of jazz, through individuals. We'd gone through all the popular music of the 1920s, 1930s and 1940s, and were stumped for a new series, at which point I asked if we mightn't go and talk to the head of the channel, network or whatever. We went in, and the genial boss asked me what we had in mind. 'A morgue,' I said. A what? 'Where', I asked, 'is your morgue?' He was not familiar with the word, a newspaper term. 'Well,' I said, 'all newspapers have them.' 'How d'you mean?' 'If, I explained, 'Mrs Thatcher died tonight and you woke up and read a two-sentence obituary, you'd be rightly outraged. But if you saw a two-page obituary, you'd take it for granted. When d'you suppose it was written?' 'That's right,' he said thoughtfully. What I was proposing was a morgue of the Americans eminent in popular music and jazz, so they'd not get caught short again. A splendid idea, the man said; pick your stars. We made a list and were commissioned to return to America and finish all of them. Naturally, we looked at a calendar, and birthdates of Hoagy Carmichael, Earl Hines, Harold Arlen, Ethel Merman, Stephane Grappelli, Ella Fitzgerald. But then, in a spasm of panic, we thought of two giants - if the word can be used about two comparative midgets: Irving Berlin and Fred Astaire. Berlin was then 91. And Fred Astaire was just crowding 80. The boss man, to whom the idea of a morgue had been, only a few minutes before, quaint if not morbid, wondered what we were waiting for. Better get busy, at once, on Berlin and then on Astaire. I remember doing the Astaire obit, then and there, while I was still in London. Meanwhile, we'd simply pray every night that the Lord would keep Irving Berlin breathing till I could get home and get busy. I remember being picked up in a car by a charming young girl to get to the BBC and record my Astaire narration - there wasn't a moment to lose. She asked me, in the car, what the script was that I was clutching. 'It's an obituary', I said, 'of Fred Astaire.' 'Fred Astaire,' she shrieked, 'dead?' and almost swerved into a bus. 'Of course, he's not dead,' I said, 'but he's going to be one day.' She, too, was new to the institution of a morgue. I recalled that when I was a correspondent for a British paper in the United States, and when for example. Dean Acheson was appointed Secretary of State, the first cable I had from my editor said, 'Welcome Acheson obituary soonest.' How ghoulish, she said. I imagine that to two generations at least, it's assumed that Fred Astaire, this slim, pop-eyed newcomer to Hollywood who couldn't act, couldn't sing, danced a little, only made a fool of the mogul through the movies he made, with Ginger Rogers, in the mid- and late 1930s. But long before then, from the mid-1920s on, he was already an incomparable star - as a dancer - to theatre audiences both in New York and in London. Perhaps more in London than anywhere, certainly in the 1920s, with the early Gershwin hits, Funny Face and Lady Be Good, and lastly, in 1933, in Cole Porter's Gay Divorce (which was the title of the theatre show; Hollywood would not then allow so shocking a title and called the movie version, The Gay Divorcee). Of all the thousands of words that have been written this week, and will be written, there is a passage I went back to on Tuesday night which, I think, as well as anything I know, sums up Astaire's overall appeal - the appeal that takes in but transcends one's admiration for his dancing and for his inimitably intimate singing style. This was written in November 1933, by a theatre critic who had so little feel for dancing that he marvelled why London should go on about 'Mr Astaire's doing well enough what the Tiller Girls at Blackpool do superbly'. The critic, the writer, was James Agate, the irascible, dogmatic, opinionated but brilliant journalist, and I believe the best critic of acting we have had this century. He is writing his review of Gay Divorce, after declaring yet again his contempt for musical comedy as an entertainment for idiots, deploring the play's plot and the acting and hoping 'Micawberishly, for something to turn up'. 'Presently,' he wrote, 'Mr Fred Astaire obliged, and there is really no more to be said.' Except

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Beginners Knopf Doubleday Publishing Group

Książki / Literatura obcojęzyczna

Vanderbilt elegantly and persuasively tackles one of the most pernicious of the lies we tells ourselves that the pleasures of learning are reserved for the young. Malcolm Gladwell, bestselling author of OutliersWhy do so many of us stop learning new skills as adults? Are we afraid to be bad at something? Have we forgotten the sheer pleasure of beginning from the ground up? Inspired by his young daughter s insatiable curiosity, Tom Vanderbilt embarks on a yearlong quest of learning purely for the sake of learning. Rapturously singing Spice Girls songs in an amateur choir, losing games of chess to eight-year-olds, and dodging scorpions at a surf camp in Costa Rica, Vanderbilt tackles five main skills but learns so much more. Along the way, he interviews dozens of experts about the fascinating psychology and science behind the benefits of becoming an adult beginner and shows how anyone can get better at beginning again and, more important, why they should take those first awkward steps. Funny, uplifting, and delightfully informative, Beginners is about how small acts of reinvention, at any age, can make life seem magical.

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ELTON JOHN - Elton 60: Live At Madison Square Garden EMI MUSIC POLAND

LISTA KATEGORII > Filmy Blu-ray > muzyczny > pop

brak polskiej wersji językowej Tytuł oryginalny: Elton 60 Wydanie: 1 Blu-ray Obsada: Elton John Opis: Urodziny Eltona Johna na BLU-RAY! Wydawnictwo o tytule "Elton 60: Live At Madison Square Garden" jest zapisem koncertu jaki miał miejsce 25 marca 2007 w Madison Square Garden. Okazją do koncertu była 60 rocznica urodzin znakomitego artysty. Utwory: Sixty Years On Madman Across the water Where to Now St. Peter? Hercules Ballad of a Well Known Gun Take Me to the Pilot High Flying Bird Holiday Inn Burn Down the Mission Better Off Dead Levon Empty Garden Daniel Honky Cat Rocket Man I Guess That's Why They Call It the Blues The Bridge Roy Rogers Mona Lisa's and Mad Hatters Sorry Seems to be the Hardest Word Bennie and the Jets All the Girls Love Alice Tiny Dancer Something About the Way You Look Tonight Philadelphia Freedom Sad Songs (Say So Much) Don't Let the Sun Go Down on Me I'm Still Standing The Bitch is Back Crocodile Rock Saturday Night's Alright for Fighting Funeral for a Friend / Love Lies Bleeding Your Song Dodatki: bezpośredni dostęp do scen Format i język dźwięku: angielski (PCM 2.0), angielski (PCM 5.1) Napisy: brak Format obrazu: 1080i 16:9 Czas: 200 minut Rok produkcji: 2009

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Which Side Are You On Continuum Publishers Co

Sztuka

In 1932 Florence Reece, the wife of a Kentucky coal miner, wrote one of the classic topical songs preserved in the folk musical revival. The song, "Which Side Are You On?," contrasts the lot of the working class and the bosses, and asks the listener to choose. This politically charged song was performed again during the Civil Rights Movement, with its lyrics appropriate to the 1960s. It was recorded more recently by Billy Bragg. Indeed, the story of this song might serve as a microcosm of the entire history of the folk music revival. Dick Weissman, former member of the Journeymen and a musician still releasing CDs of his original compositions, brings his personal and professional involvement to this definitive history. Which Side Are You On? includes chapters and sections on the Lomaxes, Harry Smith, the little known Lawrence Gellert, Woody Guthrie, Josh White, Leadbelly, Pete Seeger, groups such as the Weavers and the Kingston Trio, Dave Van Ronk, Bob Dylan, Joan Baez, Paul Simon, Joni Mitchell, Judy Collins, Mary Chapin Carpenter, Natalie Merchant, Ani Difranco, Bela Fleck, Nickel Creek, the Indigo Girls, and many others. Which Side Are You On? also explores the folk music business in depth: how it all works, where the power really lies, how the artists have been manipulated and often exploited, the dynamic between artist and audience. Though he writes as a historian, Weissman also has seen it all from the inside, and includes anecdotes that are both funny and poignant: My friend and guitarist-singer Artie Traum took care of one of two houses that Bob Dylan owned in Woodstock, some thirty five years ago. The house had thirty seven rooms! Artie was instructed not to give out Dylan's phone number to any caller. The first caller was Joan Baez, and Artie followed instructions, calling Dylan at the other house to relay the call. During Artie's house-sitting chores, I visited him. He took me on a brief tour of the house. In one room were sacks of mail. We randomly opened a half-dozen letters. The one that I remember was by a female fan in North Dakota. She had been to a Dylan concert and reminded him that they had met. There was something touching though pathetic about the letter.

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