Fai clic su di un'immagine per andare a Google Ricerca Libri.
Sto caricando le informazioni... Nina Simone's Gum (2021)di Warren Ellis
To borrow next (20) Sto caricando le informazioni...
Iscriviti per consentire a LibraryThing di scoprire se ti piacerà questo libro. Attualmente non vi sono conversazioni su questo libro. Inspiration can be highly particular. For Warren Ellis, the extraordinary musician in the band Dirty Three and long-time collaborator with Nick Cave, his personal musical journey may have begun on a night of clowns. He certainly followed a varied path from his Australian roots, across Europe, to eventually be in the audience when Dr Nina Simone performed her last concert in London. It’s not surprising that Dr Simone was one of Warren’s musical inspirations. But her gum? When he snagged it after the concert from where it had been stuck on the piano, he established a link with her that he would treasure for decades ahead. This says as much about Warren Ellis as it does about anything. But it also reveals a bit about how objects, even mundane objects, are transfigured by our associations. This is a lovely, gentle book. It is just how his many fans think of Warren Ellis — a lovely, gentle man. He seems to be someone who throughout his life, has been compelled to travel the long road of the true artist, not fully knowing his destination other than it being at least one more step down the road. And what we find is that this too can be a good life. It’s not for everyone, but then nothing is. We can just be grateful that people like Warren are on his path. Gently recommended to gentle souls everywhere. *3.5 This is a difficult book to review as I do not usually read music biographies (despite my love of music) as this is an ARC read. I liked the energy of Ellis—I’d love to sit and hang out with him, to hear more about his youth. I appreciate that he was able to write this as a artistic mark in his career, and I understand that insanity surrounding the musicians you love. He seems like a gentle soul. I also have a new love of listening to Arleta. My main issue was precisely the music elbow rubbing music autobiographies tend to be. It felt like it was written for a cohort of friends and acquaintances that I am not a part of. If I went and saw this exhibit I’d buy a copy and probably rate it higher. I also have a big discontent with spirituality, and I’d probably appreciate it more if I like, believed in God still. It’s not a bad book, or story—it can actually be quite beautiful—but it just wasn’t for me, a random 21-year old with no knowledge of the people in it beside Simone. Would pay $20 to see Nina Simone’s reaction to this though. I can’t believe she’d be the nicest about it. nessuna recensione | aggiungi una recensione
Premi e riconoscimenti
On Thursday 1 July, 1999, Nina Simone gave a rare performance as part of Nick Cave's Meltdown Festival. After the show, in a state of awe, Warren Ellis crept onto the stage, took Simone's piece of chewed gum from the piano, wrapped it in her stage towel and put it in a Tower Records bag. The gum remained with him for twenty years. This book is about how something so small can form beautiful connections between people. It is a story about the meaning we place on things, on experiences, and how they become imbued with spirituality. It is a celebration of artistic process, friendship, understanding and love. Non sono state trovate descrizioni di biblioteche |
Discussioni correntiNessunoCopertine popolari
Google Books — Sto caricando le informazioni... GeneriSistema Decimale Melvil (DDC)782.42164092The arts Music Vocal music Secular Forms of vocal music Secular songs General principles and musical forms Song genres Western popular songsClassificazione LCVotoMedia:
Sei tu?Diventa un autore di LibraryThing. |
One thing Ellis doesn’t try to do in this book is explain why a piece of chewed gum has such power, so much so that high art curators and the workers of precious jewels feel nervous to handle it. Perhaps that’s for the better - Ellis wants to tell the story of the Gum’s journey, not analyze its existence. But some niggling question remained in my head after finishing the book: why do we care about this? Is this book a record of the same ancient desire to embody the holy that made people carve innumerable Venus figurines 10,000 years ago, or drag the monoliths of Stonehenge across vast stretches of lands? How does this primordial instinct for artifact, to feel like we are in the presence of a fragment of god, how does it manifest in the 21st century, where holy artifacts can be cloned and copied ad infinitum? Ellis doesn’t venture into this territory, and neither will I. I do know, that for any smart person who does tackle this question, this book here is a essential document. ( )