A Bio-discography of the Works of Groucho, Harpo, Chico, Gummo, and Zeppo Marx
Author: Michael A. Yahn
Publisher: Publishamerica Incorporated
In the 1930s and 40s the Marx Brothers kept the world laughing in good times and bad with such screen classics as Animal Crackers, Duck Soup and A Night at the Opera. Comedy was always the driving force behind the Marx Brothers team on-screen. Off-screen they were three unique individuals who shared a love of music. Music from Marx Brothers plays and movies has been recorded by a variety of artists since the early 1920s, but it may surprise some to learn that the Marx Brothers, themselves, also left behind an impressive body of work on record.
Timothy Taylor is formalizing and extending the map of today s musical landscape he has recently traced in Music and Capitalism: A History of the Present. He here broadens the time frame to deal with 20th-century as well as 21st-century music, and in order to display the plurality of modes in which globalizing capitalisms have shaped the production and consumption of music, he gives us a set of jewel-like essays. Some of them address the rise of new technologies (such as the player piano, an analog technology, but he also includes digital). Other chapters consider the increased emphasis on taste in the cultural industries, others look at the effects of globalization on the rise in music-making and listening of such concepts as intangible cultural heritage. Taylor is a leading expert on the workings of the music industry, and here he gives us a splendid essay on its efforts to genericize world music, putting it in a place amenable to the needs of broadcasters, advertisers, and filmmakers. And of course he deals with the commodification of music as sound, the employment of sophisticated search systems which enable users to find music they want to hear in a virtual paradise of unlimited quantities of easily accessible recordings, all this while including a chapter on world music festivals. Too, he takes up early 20th-century composers (Stravinsky and Debussy, principal among them) to explore the ways they could hear unfamiliar music as something they could appropriate for use in their own musiccorresponding with the historical rise of finance capital and its ideologies of exchangeability. This book shows how the study of music has suffered a conspicuous absence of analysis of culture and of music and emotion in the West."
Legendary musician Richard Marx offers an enlightening, entertaining look at his life and career. Richard Marx is one of the most accomplished singer-songwriters in the history of popular music. His self-titled 1987 album went triple platinum and made him the first male solo artist (and second solo artist overall after Whitney Houston) to have four singles from their debut crack the top three on the Billboard Hot 100. His follow-up, 1989’s Repeat Offender, was an even bigger smash, going quadruple platinum and landing two singles at number one. He has written fourteen number one songs in total, shared a Song of the Year Grammy with Luther Vandross, and collaborated with a variety of artists including NSYNC, Josh Groban, Natalie Cole, and Keith Urban. Lately, he’s also become a Twitter celebrity thanks to his outspokenness on social issues and his ability to out-troll his trolls. In Stories to Tell, Marx uses this same engaging, straight-talking style to look back on his life and career. He writes of how Kenny Rogers changed a single line of a song he’d written for him then asked for a 50% cut—which inspired Marx to write one of his biggest hits. He tells the uncanny story of how he wound up curled up on the couch of Olivia Newton-John, his childhood crush, watching Xanadu. He shares the tribulations of working with the all-female hair metal band Vixen and appearing in their video. Yet amid these entertaining celebrity encounters, Marx offers a more sobering assessment of the music business as he’s experienced it over four decades—the challenges of navigating greedy executives and grueling tour schedules, and the rewards of connecting with thousands of fans at sold-out shows that make all the drama worthwhile. He also provides an illuminating look at his songwriting process and talks honestly about how his personal life has inspired his work, including finding love with wife Daisy Fuentes and the mystery illness that recently struck him—and that doctors haven’t been able to solve. Stories to Tell is a remarkably candid, wildly entertaining memoir about the art and business of music.
Ten progressively advanced sections, each with notations and keyboard diagrams, make up a new approach to learning how to play the piano quickly and pleasurably, with no scale exercises and a minimum of memorization
The site includes an introduction to Brazilian music, a bibliography, links to related sites, as well as indexes to the contents of the Brazilian Music Collection of the University of Akron Bierce Library which focuses on Brazilian composers of the 18th to 20th centuries.
Employing the insights of recent cultural critics, Reading Marx Writing uses the eight notebooks (the Grundrisse) Marx worked on in 1857-58 to examine his literary, political, and scientific imagination and the fictional writers he admired. By exploring the Grundrisse, the project or plan that Marx did not carry through, the author speculates on the limits and possibilities of Marx's interpretive approach for addressing current issues in philosophy and hermeneutics, critical sociology and political economy, and aesthetics and literary criticism. The study employs certain literary works - notably a scene from Goethe's Faust and several stories from Balzac's Comedie humaine - as looking-glasses or sounding boards for Marx's political and scientific concerns and to connect themes emerging from the cultural economy of the nineteenth century. These literary works are treated less as dramatic illustrations of Marx's life or depictions of his scientific insights than as interpretive frameworks or social fictions which give shape to both Marx's text and the writings of others working in his wake. Through an innovative blend of German critical theory (Lukacs, Marcuse, and Habermas), French post-structuralism (Althusser, Lyotard, and Baudrillard), and Anglo-American cultural criticism (Jameson, Mitchell, and O'Neill), the author develops a unique method for articulating the play of image, text, and even music within Marx's human scientific discourse.