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Le 23 juillet 2011, Amy Winehouse disparaissait tragiquement à l'âge de vingt-sept ans. Encensée par la critique et acclamée par des millions de fans, elle a vécu sous le feu des projecteurs, entre triomphes et tragédies, jusqu'à devenir une légende. Pour la première fois, son père nous dévoile la vision qu'il a d'elle : petite fille adorée, artiste superstar, combattante. A l'aide d'histoires personnelles, de photos inédites et de souvenirs, il brosse le portrait d'une fille aimante et espiègle, à la voix merveilleuse, bercée de jazz et de rêves de gloire. Un livre hommage qui raconte avec sincérité l'ascension fulgurante et les périodes plus sombres d'une icône trop tôt disparue.
The intimate, inside story of the ultimately tragic life of multiple Grammy Award-winning singer and songwriter Amy Winehouse (“Rehab,” “Back to Black”) is told by the one person most able to tell it—Amy’s closest advisor, her inspiration, and best friend: her father, Mitch. Amy, My Daughter includes exclusive, never-before-seen photos and paints an open and honest portrait of one of the greatest musical talents of our time.
“Amy was one of those rare people who made an impact . . . She was a bundle of emotions, at times adorable and at times unbearable. . . . Amy’s passing did not follow a clear line. It was jumbled, and her life was unfinished—not life’s natural order at all. She left no answers, only questions, and in the years since her death I’ve found myself trying to make sense of the frayed ends of her extraordinary existence.” Arguably the most gifted artist of her generation, Amy Winehouse died tragically young, aged just twenty-seven. With a worldwide fan base and millions of record sales to her name, she should have had the world at her feet. Yet in the years prior to her death, she battled with addiction and was frequently the subject of lurid tabloid headlines. Amy’s mother, Janis, knew her in a way that no one else did. In this warm, poignant, and at times heartbreaking memoir, she tells the full story of the daughter she loved so much. As the world watched the rise of a superstar, then the free fall of an addict to her tragic death, Janis simply saw her Amy: the daughter she’d given birth to, the girl she’d raised and stood by despite her unruly behavior, the girl whose body she was forced to identify two days after her death—and the girl she’s grieved for every day since. Including rare photographs and extracts from Amy’s childhood journals, Loving Amy offers a new and intimate perspective on the life and untimely death of a musical icon.
In 1828 Victor Hugo had just completed Cromwell, and was about to write Manon de Lorme. Cromwell was not his first drama; several years earlier he had written one: Amy Robsart. Six years had passed, and M. Hugo had entirely forgotten his first play, when the younger of his two brothers-in-law, Paul Foucher, who had a strong inclination for the stage, begged him to let him read it. But the play was not produced as the author wrote it at the age of nineteen. Victor Hugo did to Amy Robsart what he had done to Bug Jargal, and what he would have done to Cromwell, had not Talma’s death prevented its production. He modified and compressed the drama, and did not allow it to be played until he had prepared it for the stage.
Music in the Middle Ages and the Renaissance by Harold Gleason,Warren Becker Pdf
This is a complete revision of the second edition, designed as a guide and resource in the study of music from the earliest times through the Renaissance period. The authors have completely revised and updated the bibliographies; in general they are limited to English language sources. In order to facilitate study of this period and to use materials efficiently, references to facsimiles, monumental editions, complete composers' works and specialized anthologies are given. The authors present this systematic organization in this volume in the hope that students, teachers, and performers may find in it a ready tool for developing a comprehensive understanding of the music of this period.
Amy Winehouse - The Untold Story by Chloe Govan Pdf
If Amy Winehouse was a car, and life was a highway, her biggest mistake was never applying the brakes. Yet why and how did the song 'Rehab' stop being a multi-million selling work of genius and start becoming the soundtrack to a tragically short life? Packed with exclusive interviews and previously untold stories, as well as expert psychological insights, this biography gets behind the newspaper headlines to answer that question, entering the real world of a talented yet troubled musical legend. From a suicide attempt by overdose at the tender age of 10, and a teenage arrest for indecent exposure, to an account of what really happened at her final show in Serbia by someone who was on the same stage with her, this book is full of unique revelations. The book also reveals the real story of her notorious love affair with ex-husband Blake Fielder-Civil, complete with suicide threats and self-harm sessions, which at times seemed more addictive than any drug.
British Nautical Melodramas, 1820–1850 by Arnold Schmidt Pdf
During the 1820s and 30s nautical melodramas "reigned supreme" on London stages, entertaining the mariners and maritime workers who comprised a large part of the audience for small theatres. These plays mixed sentimental moments and comic interludes of domestic melodrama with patriotic images that communicated and reinforced imperial themes. However, generally the study of British theatre history moves from medieval and renaissance plays directly to the realism and naturalism of late Victorian and modern drama. Readers typically encounter a gap between Restoration and eighteenth-century plays like those of Oliver Goldsmith and Richard Brinsley Sheridan, and late-nineteenth plays by Henrik Ibsen and Oscar Wilde. Nineteenth-century drama, with the possible exception of plays by Byron, Shelley, and Wordsworth, remains all but invisible. Until recently, melodramatic plays written and performed during this "gap" received little scholarly attention, but their value as reflections of Britain’s promulgation of imperial ideology — and its role in constructing and maintaining class, gender, and racial identities — have given discussions of melodrama force and momentum. The plays included in these three volumes have never appeared in a critical anthology and most have not been republished since their original nineteenth-century editions. Each play is transcribed from original documents and includes an author biography, a headnote about the play itself, full annotations with brief definitions of unfamiliar vocabulary, and explanatory notes. Comprehensive editorial apparatus details the nineteenth-century imperial, naval, political, and social history relevant to the plays’ nautical themes, as well as discussing nineteenth-century theatre history, melodrama generally, and the nautical melodrama in particular. Contemporary theatre practices — acting, audiences, staging, lighting, special effects — are also examined. An extensive bibliography of primary and secondary texts; a complete index; and contemporary images of the actors, theatres, stage sets, playbills, costumes, and locales have been compiled to aid study further.
A superb collection of short stories that celebrate the power of the written word. Giving an innovative take on the many forms of reading that bombard us in our everyday lives - from e- to junk-mail, gardening to cookbooks, tourist guides to romance novels - these stories play with them all. They illuminate the gap between living and reading, that moment when words become light. These stories are funny, wise, moving and compulsive. They are examples of 'light reading' in their accessibility, but there is also depth and a beautiful style, offering the very best in literary reading.
Amy a seize ans, l'âge de tous les désirs et de l'éveil à la sensualité. Isabelle l'a élevée seule dans une petite ville de la Nouvelle-Angleterre. Lorsque Isabelle apprend que sa fille est tombée amoureuse de son professeur de mathématiques, elle craint pour l'équilibre fragile de leurs relations. Amy et Isabelle s'affrontent. Blessées par l'amour douloureux qu'elles éprouvent l'une pour d'autre, elles se réfugient dans le silence et savent qu'entre elles les choses ne seront plus comme avant. Mais quelle faute Isabelle veut-elle expier en s'interdisant ainsi les plaisirs de la vie ? Comment expliquer ce chagrin qui la suit comme une ombre et resurgit au moment où sa fille Amy découvre l'amour ?
