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“An excellent look at how the Police accomplished success . . . West is especially good at examining how the band used the nascent MTV to define themselves.” ―Publishers Weekly During the 1980s, The Police were one of the biggest bands in the world. Yet after only five albums—and at the peak of their popularity—they disbanded, and Sting began a solo career that made him a global pop star. Today, artists from Puff Daddy to Gwen Stefani credit The Police and Sting as major influences on their own work. In this book, Aaron J. West explores the cultural and musical impact of Stewart Copeland, Andy Summers, and Sting. West details the distinctive hybrid character of The Police’s musical output, which would also characterize Sting’s post-Police career. Sting’s long-lived solo career embodies the power of the artful appropriation of musical styles, while capitalizing on the modern realities of pop music consumption. The Police—and Sting in particular—were pioneers in music video, modern label marketing, global activism, and the internationalization of pop music. Sting and The Police: Walking in Their Footsteps is a feast for fans—and by placing the band within its various musical, cultural, commercial, and historic contexts, it’s also fascinating reading for anyone interested in global popular music culture.
Miscellaneous Percussion Music - Mixed Levels
A remarkable memoir from the legendary drummer with The Police.
From the first Police album, Outlandos D'Amour, through Sacred Love, here are the collected lyrics written by Sting, along with his commentary. “Publishing my lyrics separately from their musical accompaniment is something that I’ve studiously avoided until now. The two, lyrics and music, have always been mutually dependent, in much the same way as a mannequin and a set of clothes are dependent on each other; separate them, and what remains is a naked dummy and a pile of cloth. Nevertheless, the exercise has been an interesting one, seeing perhaps for the first time how successfully the lyrics survive on their own, and inviting the question as to whether song lyrics are in fact poetry or something else entirely. And while I’ve never seriously described myself as a poet, the book in your hands, devoid as it is of any musical notation, looks suspiciously like a book of poems. So it seems I am entering, with some trepidation, the unadorned realm of the poet. I have set out my compositions in the sequence they were written and provided a little background when I thought it might be illuminating. My wares have neither been sorted nor dressed in clothes that do not belong to them; indeed, they have been shorn of the very garments that gave them their shape in the first place. No doubt some of them will perish in the cold cruelty of this new environment, and yet others may prove more resilient and become perhaps more beautiful in their naked state. I can’t predict the outcome, but I have taken this risk knowingly and, while no one in their right mind should ever attempt to set “The Waste Land” to music, in the hopeful words of T. S. Eliot, These fragments I have shored against my ruins.” —Sting, from the Introduction
Gordon Sumner was born in a mainly working-class area of North Tyneside, England, in 1951. Decades later, we would come to know him as Sting, one of the world’s best-selling music artists. Sting was the lead singer of the Police from 1977 to 1984 before launching a hugely successful solo career. In Sting:From Northern Skies to Fields of Gold, popular music scholar Paul Carr argues that the foundations of Sting’s creativity and drive for success were established by his birthplace, with vestiges of his “Northern Englishness” continuing to emerge in his music long after he left his hometown. Carr frames Sting’s creative impetus and output against the real, imagined, and idealized places he has occupied. Focusing on the sometimes-blurry borderlines between nostalgia, facts, imagination, and memories—as told by Sting, the people who knew (and know) him, and those who have written about him—Carr investigates the often complex resonance between local boy Gordon Sumner and the star the world knows as Sting. Published to coincide with the fortieth anniversary of the formation of the definitive line-up of the Police, this is the first book to examine the relationship between Sting’s working class background in Newcastle, the life he has consequently lived, and the creativity and inspiration behind his music.
"The train jerks to a halt, and as I get out at Oxford Circus, Stewart gets out with me. We look at each other, laugh, and make the standard remark about it being a small world. But this is the brilliant collision, one train later and it might all have turned out differently." In this extraordinary memoir, world-renowned guitarist Andy Summers provides a revealing and passionate account of a life dedicated to music. From his first guitar at age thirteen and his early days on the English music scene to the ascendancy of his band, the Police, Summers recounts his relationships and encounters with the Big Roll Band, Jimi Hendrix, Eric Clapton, the Animals, John Belushi, and others, all the while proving himself a master of telling detail and dramatic anecdote. But, of course, the early work is only part of the story, and Andy's account of his role as guitarist for the Police---a gig that was only confirmed by a chance encounter with drummer Stewart Copeland on a London train---has been long-awaited by music fans worldwide. The heights of fame that the Police achieved have rarely been duplicated, and the band's triumphs were rivaled only by the personal chaos that such success brought about, an insight never lost on Summers in the telling. Complete with never-before-published photos from Summers's personal collection, One Train Later is a constantly surprising and poignant memoir, and the work of a world-class musician and a first-class writer.
“Sting’s gift for prose and reverence for language, nearly the equal of his musical gifts, shine on every page. Even when Broken Music addresses the quixotic life of an aspiring rock & roller, it reads like literature from a more rarified time when adults didn’t condescend to the vulgarities of pop culture.” —Rolling Stone Having been a songwriter most of my life, condensing my ideas and emotions into short rhyming couplets and setting them to music, I had never really considered writing a book. But upon arriving at the reflective age of fifty, I found myself drawn, for the first time, to write long passages that were as stimulating and intriguing to me as any songwriting I had ever done. And so Broken Music began to take shape. It is a book about the early part of my life, from childhood through adolescence, right up to the eve of my success with the Police. It is a story very few people know. I had no interest in writing a traditional autobiographical recitation of everything that’s ever happened to me. Instead I found myself drawn to exploring specific moments, certain people and relationships, and particular events which still resonate powerfully for me as I try to understand the child I was, and the man I became.
Most of these tales are drawn from real life or are things I have heard about in the dark corners of various backstage dressing rooms. It's hard to be a musician, but for some of us there is simply no choice. Meanwhile, there's writing about it.
Ambition brought the Police together. It also tore them apart – but not before they became the biggest band in the world and the first supergroup of the Eighties. In Walking on the Moon Chris Campion tells the full, uncensored story of their spectacular rise. Written with a fan’s eye for detail this no-holds-barred account follows the band from their early struggle to make a mark in the volatile late 70’s punk scene, through their emergence – masterminded with the help of legendary manager Miles Copeland III – as an international rock phenomenon. Walking on the Moon features for the first time the arduous touring and recording schedule that saw the band crack America, the unorthodox business strategies that catapulted them to the top, and the bouts of infighting that caused their early demise. Campion details the shock 2007 reunion that saw them re-emerge as a global touring spectacle after a 20-year hiatus from the music industry and explores how the band members’ conflicting personalities and the chaotic personal life of frontman Sting informed some of their biggest hits. Much more than simply an entertaining romp, the book offers insightful critical analysis of the broader factors that enabled the Police’s success, and reveals a band struggling to balance commercial ambition with a desire for artistic credibility. Walking on the Moon is an epic tale of Eighties rock and the role played within it by one of the biggest names in music: The Police.A former contributing editor to Dazed & Confused and Vice magazines, and a writer for the Observer, the Daily Telegraph and Bizarre, Chris Campion has reported on the world of popular culture for almost two decades.
On the night of June 23, 1990, teenage friends Kyle Unger and John Beckett made a last-minute decision to attend a music festival near Roseisle, Manitoba. They were loners, not the popular kids at school. But on this night they seemed to finally fit in. They had fun, played games, drank, and hung around bonfires with other people. The next morning, a sixteen-year-old girl was dead. By the next week, Kyle was charged with her murder. Due to insufficient evidence he was let go, but the Mounties were convinced he was the killer. They laid a trap, called the Mr. Big operation, for Kyle. With offers of money, friends, and a new criminal lifestyle, the RCMP got Kyle to confess to the murder. But the confession was false -- he had not been the killer. He was convicted and sent to prison. For the next twenty years Kyle fought for his freedom. He was finally acquitted in 2009. This book tells the story of an impressionable but innocent teenager who was wrongfully convicted based on the controversial Mr. Big police tactic. [Fry reading level - 4.9