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Leroy Dearman is twelve, and he lives on a llama farm in Mississippi. Life is perfect. It's true that his grandfather just died in the attic and that wild dogs kill a baby llama now and then, and it's true that one little sister curses him and the other one wets her pants. But up to the day Uncle Harris moves in, life looks like it's right out of a Walt Disney movie. No wonder the llamas greet each morning with a song. Uncle Harris arrives in a sports car, full of funny stories and new ideas. He manages to persuade Leroy's straitlaced parents to join him for cocktails in the evening. He sets up a pretty grand bachelor pad in the Dearman attic, with a telephone, a TV set, and a stack of Playboy magazines. He is, you might say, Romance itself. Once Uncle Harris moves in, life on the llama farm takes on an entirely different flavor. Leroy discovers those magazines. Electricity fills the Dearman house. Equilibrium tilts, conversation trails off, the atmospheric pressure twists--and lightning strikes. Leroy starts seeing things he's never seen before, like the very gifted baton-twirling teacher, and his world changes forever. Not since PORTNOY'S COMPLAINT has a novel looked so directly, hilariously, and bittersweetly at the heartbreak of puberty.
Leroy Dearman is twelve, and he lives on a llama farm in Mississippi. Life is perfect. It's true that his grandfather just died in the attic and that wild dogs kill a baby llama now and then, and it's true that one little sister curses him and the other one wets her pants. But up to the day Uncle Harris moves in, life looks like it's right out of a Walt Disney movie. No wonder the llamas greet each morning with a song. Uncle Harris arrives in a sports car, full of funny stories and new ideas. He manages to persuade Leroy's straitlaced parents to join him for cocktails in the evening. He sets up a pretty grand bachelor pad in the Dearman attic, with a telephone, a TV set, and a stack of Playboy magazines. He is, you might say, Romance itself. Once Uncle Harris moves in, life on the llama farm takes on an entirely different flavor. Leroy discovers those magazines. Electricity fills the Dearman house. Equilibrium tilts, conversation trails off, the atmospheric pressure twists--and lightning strikes. Leroy starts seeing things he's never seen before, like the very gifted baton-twirling teacher, and his world changes forever. Not since PORTNOY'S COMPLAINT has a novel looked so directly, hilariously, and bittersweetly at the heartbreak of puberty.
NEW YORK TIMES BESTSELLER • From the genre-defying icon Ben Folds comes a memoir that is as nuanced, witty, and relatable as his cult-classic songs. “A Dream About Lightning Bugs reads like its author: intelligent, curious, unapologetically punk, and funny as hell.”—Sara Bareilles NAMED ONE OF THE BEST BOOKS OF THE YEAR BY NPR AND PASTE Ben Folds is a celebrated American singer-songwriter, beloved for songs such as “Brick,” “You Don’t Know Me,” “Rockin’ the Suburbs,” and “The Luckiest,” and is the former frontman of the alternative rock band Ben Folds Five. But Folds will be the first to tell you he’s an unconventional icon, more normcore than hardcore. Now, in his first book, Folds looks back at his life so far in a charming and wise chronicle of his artistic coming of age, infused with the wry observations of a natural storyteller. In the title chapter, “A Dream About Lightning Bugs,” Folds recalls his earliest childhood dream—and realizes how much it influenced his understanding of what it means to be an artist. In “Measure Twice, Cut Once” he learns to resist the urge to skip steps during the creative process. In “Hall Pass” he recounts his 1970s North Carolina working-class childhood, and in “Cheap Lessons” he returns to the painful life lessons he learned the hard way—but that luckily didn’t kill him. In his inimitable voice, both relatable and thought-provoking, Folds digs deep into the life experiences that shaped him, imparting hard-earned wisdom about both art and life. Collectively, these stories embody the message Folds has been singing about for years: Smile like you’ve got nothing to prove, because it hurts to grow up, and life flies by in seconds. Praise for A Dream About Lightning Bugs “Besides being super talented, and an incredibly poignant and multifaceted musician, Ben Folds is a fantastic author. I couldn’t put this book down—and not just because I taped it to my hand. Ben takes us into his mind and into his process from the very beginnings of his childhood to where he is today—one of the greatest musicians and writers that has ever graced the art.”—Bob Saget
“We have performed side-by-side on the global stage through half a century…. In Lightning Striking, Lenny Kaye has illuminated ten facets of the jewel called rock and roll from a uniquely personal and knowledgeable perspective.” –Patti Smith An insider’s take on the evolution and enduring legacy of the music that rocked the twentieth century Memphis 1954. New Orleans 1957. Philadelphia 1959. Liverpool 1962. San Francisco 1967. Detroit 1969. New York, 1975. London 1977. Los Angeles 1984 / Norway 1993. Seattle 1991. Rock and roll was birthed in basements and garages, radio stations and dance halls, in cities where unexpected gatherings of artists and audience changed and charged the way music is heard and celebrated, capturing lightning in a bottle. Musician and writer Lenny Kaye explores ten crossroads of time and place that define rock and roll, its unforgettable flashpoints, characters, and visionaries; how each generation came to be; how it was discovered by the world. Whether describing Elvis Presley’s Memphis, the Beatles’ Liverpool, Patti Smith’s New York, or Kurt Cobain’s Seattle, Lightning Striking reveals the communal energy that creates a scene, a guided tour inside style and performance, to see who’s on stage, along with the movers and shakers, the hustlers and hangers-on--and why everybody is listening. Grandly sweeping and minutely detailed, informed by Kaye’s acclaimed knowledge and experience as a working musician, Lightning Striking is an ear-opening insight into our shared musical and cultural history, a magic carpet ride of rock and roll’s most influential movements and moments.
Robert J. David's Spirit Fire and Lightning Songs makes a major contribution to the steadily growing body of research in the western United States that prioritizes indigenous voices, myth, and neuropsychological models to provide a fresh and innovative approach to decolonizing the past. As a Klamath Tribal member, David's scholarly and engaging writing style lends itself to the retelling of Klamath-Modoc myths and the interpretation of how these myths convincingly relate to rock art at 4-Mod-22, a complex Klamath Basin petroglyph site in Northern California near the former Tule Lake. David's work at 4-Mod-22 highlights three distinctive classes of rock art: iconic motifs, residual markings, and geometric figures. Information provided by a combination of Klamath-Modoc ethnography and myth suggests that these distinctive rock art categories denote two patterns of ritual use that include shamans' consultations with their spirit familiars, and shamanic power quests.
A loud clap of thunder booms, and rattles the windows of Grandma's old farmhouse. "This is Thunder Cake baking weather," calls Grandma, as she and her granddaughter hurry to gather the ingredients around the farm. A real Thunder Cake must reach the oven before the storm arrives. But the list of ingredients is long and not easy to find . . . and the storm is coming closer all the time! Reaching once again into her rich childhood experience, Patricia Polacco tells the memorable story of how her grandma--her Babushka--helped her overcome her fear of thunder when she was a little girl. Ms. Polacco's vivid memories of her grandmother's endearing answer to a child's fear, accompanied by her bright folk-art illustrations, turn a frightening thunderstorm into an adventure and ultimately . . . a celebration! Whether the first clap of thunder finds you buried under the bedcovers or happily anticipating the coming storm, Thunder Cake is a story that will bring new meaning and possibility to the excitement of a thunderstorm.
From the New York Times–bestselling author David Duchovny, an epic adventure that asks how we make sense of right and wrong in a world of extremes For the past twenty years, Bronson Powers, former Hollywood stuntman and converted Mormon, has been homesteading deep in the uninhabited desert outside Joshua Tree with his three wives and ten children. Bronson and his wives, Yalulah, Mary, and Jackie, have been raising their family away from the corruption and evil of the modern world. Their insular existence—controversial, difficult, but Edenic—is upended when the ambitious young developer Maya Abbadessa stumbles upon their land. Hoping to make a profit, she crafts a wager with the family that sets in motion a deadly chain of events. Maya, threatening to report the family to social services, convinces them to enter three of their children into a nearby public school. Bronson and his wives agree that if Maya can prove that the kids do better in town than in their desert oasis, they will sell her a chunk of their priceless plot of land. Suddenly confronted with all the complications of the twenty-first century that they tried to keep out of their lives, the Powerses must reckon with their lifestyle as they try to save it. Truly Like Lightning, David Duchovny’s fourth novel, is a heartbreaking meditation on family, religion, sex, greed, human nature, and the vanishing environment of an ancient desert.
Recent American Art Song: A Guide is a reference source devoted to songs with English texts by American composers, written for solo voice and piano. The book focuses exclusively on art song since 1980, a substantial period largely ignored by scholars. This is the first study to examine this repertory in detail, and many of the songs and composers are discussed in print for the first time. Keith E. Clifton has examined approximately 1000 songs by nearly 200 composers. Many songs employ musical idioms well beyond traditional classical styles, including references to jazz, musical theater, rap, and rock & roll, and several songs blur the boundaries between recital and stage works. Organized alphabetically by composer, entries contain complete biographical and bibliographical information, with major works and links to print resources and composer websites when available. In addition, Clifton provides detailed information on the vocal range, musical style, and appropriate voice type for individual songs. The book concludes with a full discography and bibliography, as well as indexes listing the works by poet, song cycle, title, voice type, and level of difficulty.
This anthology of treasures from the oral literature of Native California, assembled by an editor admirably sensitive to language, culture, and history, will delight scholars and general readers alike. Herbert Luthin's generous selection of stories, anecdotes, myths, reminiscences, and songs is drawn from a wide sampling of California's many Native cultures, and although a few pieces are familiar classics, most are published here for the first time, in fresh literary translations. The translators, whether professional linguists or Native scholars and storytellers, are all acknowledged experts in their respective languages, and their introductions to each selection provide welcome cultural and biographical context. Augmenting and enhancing the book are Luthin's engaging, informative essays on topics that range from California's Native languages and oral-literary traditions to critical issues in performance, translation, and the history of California literary ethnography.