libristo what is this thing called jazz 4616881
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149,99 zł
What Is This Thing Called Jazz?
Książki Obcojęzyczne>Angielskie>Humanities>History>Specific events & topicsKsiążki Obcojęzyczne>Angielskie>The arts>Music>Musi...
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Sklep: Gigant.pl
84,99 zł
67,99 zł
94,99 zł
104,99 zł
11,15 zł
Spalona Żywcem Wyd. Kieszonkowe - Souad
Książki & Multimedia > Książki
Opis - Pierwsze na świecie świadectwo ofiary zbrodni honorowej. Miała siedemnaście lat i zakochała się: zhańbiła rodzinę. Więc rodzina wydała na nią wyrok śmierci... Pokochała go pierwszą miłością. Myślała, że się z nią ożeni. Ale ukochany zniknął, a ona odkryła, że jest w ciąży. A w jej świecie to najcięższa zbrodnia... W zapomnianej przez Boga wiosce w Cisjordanii kobiety są warte mniej niż zwierzęta domowe. Tu mężczyzna jest panem życia i śmierci żony, córki, siostry. Brat może bezkarnie zabić siostrę, matka - córkę, kolejną bezużyteczną dziewczynkę, jaka się urodzi. Tu kobiecie odbiera się godność, a nawet życie zgodnie z odwiecznym obyczajem i uświęconą tradycją. A śmierć jest karą dla dziewczyny, która zhańbi rodzinę. Tak jak Souad. Wyrok wydaje jej ojciec. Szwagier dokonuje egzekucji. Oblewa Souad benzyną i podpala... SOUAD przeżyła - cudem, ale rodzina usiłowała zabić ją nawet w szpitalu. Na zawsze jednak pozostanie straszliwie okaleczona - na ciele i duszy. I wciąż musi się ukrywać; dopóki żyje, jej rodzinę okrywa hańba. Spalona żywcem, opublikowana pod pseudonimem szokująca opowieść o piekle, jakim było jej dzieciństwo i młodość, stała się międzynarodowym bestsellerem. Wydana w 37 w krajach książka przerywa tabu milczenia wobec istniejącej nadal w krajach muzułmańskich barbarzyńskiej tradycji. Nieludzkiego obyczaju, prawa mężczyzn, na mocy którego co najmniej pięć tysięcy kobiet pada co roku ofiarą zbrodni honorowej. Nazwa - Spalona Żywcem Wyd. Kieszonkowe Autor - Souad Oprawa - Miękka Wydawca - Amber Kod ISBN - 9788324159406 Kod EAN - 9788324159406 Wydanie - 1 Rok wydania - 2016 Tłumacz - 31182,maria rostworowska; Format - 110 x 175 x 14 Ilość stron - 224 Podatek VAT - 5% Premiera - 2016-06-23
Sklep: InBook.pl
40,80 zł
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
Sklep: Albertus.pl
36,78 zł
Looking Walking Being (*) - Aga Zaryan (Płyta CD)
Książki & Multimedia > Muzyka
Opis - Aga Zaryan to pierwsza polska artystka, której album ukazał się pod szyldem jednej z najbardziej prestiżowych wytwórni jazzowych na świecie: Blue Note Records. `Looking Walking Being` to piąty, autorski album artystki z jej własnymi tekstami oraz wierszami współczesnej amerykańskiej poetki Denise Levertov. Muzykę skomponowali: Michał Tokaj, Larry Koonse (znany ze współpracy z Natalie Cole czy Dianą Krall), David Dorużka i Zbigniew Wegehaupt. Dwanaście utworów w których słychać wpływy bossa novy, samby, rytmów afrykańskich, jazzu, a nawet jazz rocka. Kompozycje zaskakują świeżością i bogactwem tradycji. Stylistycznie materiał różni się od dotychczasowych dokonań artystki. Ze względu na różnorodność, pozostaje jednak w nurcie szeroko rozumianej muzyki jazzowej. Liryczne, nastrojowe ballady w połączeniu z tekstami Agi Zaryan i filozoficznymi wierszami Denise Levertov, tworzą niepowtarzalny klimat. Album był nagrywany w studiach w Warszawie oraz w Los Angeles. W sesjach brali udział pierwszorzędni muzycy o międzynarodowej reputacji. Nowe brzmienie zostało osiągnięte między innymi poprzez poszerzenie składu zespoł, który obecnie tworzą:. Michał Tokaj - fortepian, Michał Barański - kontrabas, Łukasz Żyta - perkusja, David Dorużka - gitary oraz światowej sławy amerykański perkusjonista Munyungo Jackson, znany m.in. ze współpracy z Milesem Davisem, Stingiem oraz Stevie Wonderem. Lista utworów - Płyta 1 1. Cherry tree avenue 2. Looking walking being 3. Let me 4. For the new year 5. The stars are as lonely As us 6. Seeking my love 7. February evening in new york 8. My name 9. Temptation game 10. Wanting The moon 11. What is this thing called happiness 12. The thread Nazwa - Looking Walking Being (*) Autor - Aga Zaryan Wydawca - Warner Music Kod EAN - 5099963139020 Rok wydania - 2010 Nośnik - Płyta CD Ilość elementów - 1 Podatek VAT - 23% Premiera - 2010-03-16
Sklep: InBook.pl
34,43 zł
Moon Over Soho Orion Publishing Group
Książki / Literatura obcojęzyczna
I was my dad's vinyl-wallah: I changed his records while he lounged around drinking tea, and that's how I know my Argo from my Tempo. And it's why, when Dr Walid called me to the morgue to listen to a corpse, I recognised the tune it was playing. Something violently supernatural had happened to the victim, strong enough to leave its imprint like a wax cylinder recording. Cyrus Wilkinson, part-time jazz saxophonist and full-time accountant, had apparently dropped dead of a heart attack just after finishing a gig in a Soho jazz club. He wasn't the first. No one was going to let me exhume corpses to see if they were playing my tune, so it was back to old-fashioned legwork, starting in Soho, the heart of the scene. I didn't trust the lovely Simone, Cyrus' ex-lover, professional jazz kitten and as inviting as a Rubens' portrait, but I needed her help: there were monsters stalking Soho, creatures feeding off that special gift that separates the great musician from someone who can raise a decent tune. What they take is beauty. What they leave behind is sickness, failure and broken lives.And as I hunted them, my investigation got tangled up in another story: a brilliant trumpet player, Richard 'Lord' Grant - my father - who managed to destroy his own career, twice. That's the thing about policing: most of the time you're doing it to maintain public order. Occasionally you're doing it for justice. And maybe once in a career, you're doing it for revenge.
Sklep: Libristo.pl
71,34 zł
Becoming a Marihuana User The University of Chicago Press
Książki / Literatura obcojęzyczna
OG Kush. Sour Diesel. Wax, shatter, and vapes. Marijuana has come a long way since its seedy days in the back parking lots of our culture. So has Howard S. Becker, the eminent sociologist, jazz musician, expert on "deviant" culture, and founding NORML board member. When he published Becoming a Marihuana User more than sixty years ago, hardly anyone paid attention-because few people smoked pot. Decades of Cheech and Chong films, Grateful Dead shows, and Cannabis Cups later, and it's clear-marijuana isn't just an established commodity, it's an entire culture. And that's just the thing-Becker totally called it: pot has everything to do with culture. It's not a blight on culture, but a culture itself-in fact, you'll see in this book the first use of the term "users," rather than "abusers" or "addicts." Come along on this short little study-now a famous timestamp in weed studies-and you will be astonished at how relevant it is to us today. Becker doesn't judge, but neither does he holler for legalization, tell you how to grow it in a hollowed-out dresser, or anything else like that for which there are plenty of other books you can buy. Instead, he looks at marijuana with a clear sociological lens-as a substance that some people enjoy, and that some others have decided none of us should. From there he asks: so how do people decide to get high, and what kind of experience do they have as a result of being part of the marijuana world? What he discovers will bother some, especially those who proselytize the irrefutably stunning effects of the latest strain: chemistry isn't everything-the important thing about pot is how we interact with it. We learn to be high. We learn to like it. And from there, we teach others, passing the pipe in a circle that begins to resemble a bona fide community, defined by shared norms, values, and definitions just like any other community. All throughout this book, you'll see the intimate moments when this transformation takes place. You'll see people doing it for the first time and those with considerable experience. You'll see the early signs of the truths that have come to define the marijuana experience: that you probably won't get high at first, that you have to hold the hit in, and that there are other people here who are going to smoke that, too.
Sklep: Libristo.pl
59,99 zł
GREAT DIVAS CD X 10 PIAF FITZGERALD GARLAND FOLIA
Kultura i rozrywka > Muzyka > Płyty kompaktowe > Jazz, Swing
1 CD 1-1, Ella Fitzgerald
Sklep: ksiazkitanie.pl
35,00 zł
Jay & Kai - Jay & Kai - LP Savoy Records
Muzyka > Płyty winylowe > Jazz, Swing
Jay & Kai - Jay & Kai - LP wydanie USA , płyta oryginalna, używana stan płyty: VERY GOOD ( VG ) wg Record Collector's Grading System stan okładki: VERY GOOD - ( VG - ) wg Record Collector's Grading System płyta przesłuchana, nie przeskakuje, nie zacina się odsłuchana na Technics SL-1500, wkładka Audio-Technica AT-F7 Label: Savoy Records
Sklep: Allcollect
78,25 zł
AGA ZARYAN CD LOOKING WLAKING BEING LET ME WYDAWCA
Muzyka > Płyty kompaktowe > Jazz, Swing
Aga Zaryan: Looking, Walking, Being (digipack) [CD] 1. Cherry Tree Avenue - Aga Zaryan 2. Looking Walking Being - Aga Zaryan 3. Let Me - Aga Zaryan 4. For The New Year - Aga Zaryan 5. The Stars Are As Lonely As Us - Aga Zaryan 6. Seeking My Love - Aga Zaryan 7. February Evening In New York - Aga Zaryan 8. My Name - Aga Zaryan 9. Temptation Game - Aga Zaryan 10. Wanting The Moon - Aga Zaryan 11. What Is This Thing Called Happiness - Aga Zaryan 12. The Thread - Aga Zaryan
Sklep: ksiazkitanie.pl
136,49 zł
ELLA FITZGERALD THE VERY BEST OF THE COLE PORTER SONG BOOK CD WYDAWCA
Muzyka > Płyty kompaktowe > Jazz, Swing
ELLA FITZGERALD THE VERY BEST OF THE COLE PORTER SONG BOOK CD 1. Just One of Those Things - Ella Fitzgerald 2. I Get a Kick out of You - Ella Fitzgerald 3. Night and Day - Ella Fitzgerald 4. Easy to Love - Ella Fitzgerald 5. What Is This Thing Called Love? - Ella Fitzgerald 6. In the Still of the Night - Ella Fitzgerald 7. I've Got You Under My Skin - Ella Fitzgerald 8. I Concentrate on You - Ella Fitzgerald 9. Begin the Beguine - Ella Fitzgerald 10. Love for Sale - Ella Fitzgerald 11. It's All Right with Me - Ella Fitzgerald 12. Let's Do It (Let's Fall in Love) - Ella Fitzgerald
Sklep: ksiazkitanie.pl
167,43 zł
FRISELL MOTIAN HADEN CD ON BROADWAY LIZA LAST NIGHT WYDAWCA
Muzyka > Płyty kompaktowe > Jazz, Swing
FRISELL MOTIAN HADEN CD ON BROADWAY LIZA LAST NIGHT 1. Liza - Paul Motian, Joe Lovano, Bill Frisell, Charlie Haden 2. Somewhere over the rainbow - Paul Motian, Joe Lovano, Bill Frisell, Charlie Haden 3. They didn't believe me - Paul Motian, Joe Lovano, Bill Frisell, Charlie Haden 4. What is this thing called love - Paul Motian, Joe Lovano, Bill Frisell, Charlie Haden 5. My heart belongs to daddy - Paul Motian, Joe Lovano, Bill Frisell, Charlie Haden 6. Last night when we were young - Paul Motian, Joe Lovano, Bill Frisell, Charlie Haden 7. I concentrate on you - Paul Motian, Joe Lovano, Bill Frisell, Charlie Haden 8. Someone to watch over me - Paul Motian, Joe Lovano, Bill Frisell, Charlie Haden 9. So in love - Paul Motian, Joe Lovano, Bill Frisell, Charlie Haden
Sklep: ksiazkitanie.pl
Sklepy zlokalizowane w miastach: Warszawa, Kraków, Łódź, Wrocław, Poznań, Gdańsk, Szczecin, Bydgoszcz, Lublin, Katowice
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