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Novelist and critic Alexander Theroux analyzes the pop song. National Book Award nominee, critic and one of America’s least compromising satirists, Alexander Theroux takes a comprehensive look at the colorful language of pop lyrics and the realm of rock music in general in The Grammar of Rock: silly song titles; maddening instrumentals; shrieking divas; clunker lines; the worst (and best) songs ever written; geniuses of the art; movie stars who should never have raised their voice in song but who were too shameless to refuse a mic; and the excesses of awful Christmas recordings. Praising (and critiquing) the gems of lyricists both highbrow and low, Theroux does due reverence to classic word-masters like Ira Gershwin, Jimmy Van Heusen, Cole Porter, and Sammy Cahn, lyricists as diverse as Hank Williams, Buck Ram, the Moody Blues, and Randy Newman, Dylan and the Beatles, of course, and more outré ones like the Sex Pistols, the Clash, Patti Smith, the Fall (even Ghostface Killa), but he considers stupid rhymes, as well ― nonsense lyrics, chop logic, the uses and abuses of irony, country music macho, verbal howlers, how voices sound alike and why, and much more. In a way that no one else has ever done, with his usual encyclopedic insights into the state of the modern lyric, Theroux focuses on the state of language ― the power of words and the nature of syntax ― in The Grammar of Rock. He analyzes its assaults on listeners’ impulses by investigating singers’ styles, pondering illogical lunacies in lyrics, and deconstructing the nature of diction and presentation in the language. This is that rare book of discernment and probing wit (and not exclusively one that is a critical defense of quality) that positively evaluates the very nature of a pop song, and why one over another has an effect on the listener.
Drooling fanatic, n. 1. One who drools in the presence of beloved rock stars. 2. Any of a genus of rock-and-roll wannabes/geeks who walk around with songs constantly ringing in their ears, own more than 3,000 albums, and fall in love with at least one record per week. With a life that’s spanned the phonographic era and the digital age, Steve Almond lives to Rawk. Like you, he’s secretly longed to live the life of a rock star, complete with insane talent, famous friends, and hotel rooms to be trashed. Also like you, he’s content (sort of) to live the life of a rabid fan, one who has converted his unrequited desires into a (sort of) noble obsession. Rock and Roll Will Save Your Life traces Almond’s passion from his earliest (and most wretched) rock criticism to his eventual discovery of a music-crazed soul mate and their subsequent production of two little superfans. Along the way, Almond reflects on the delusional power of songs, the awkward mating habits of drooling fanatics, and why Depression Songs actually make us feel so much better. The book also includes: • sometimes drunken interviews with America’s finest songwriters • a recap of the author’s terrifying visit to Graceland while stoned • a vigorous and credibility-shattering endorsement of Styx’s Paradise Theater • recommendations you will often choose to ignore • a reluctant exegesis of the Toto song “Africa” • obnoxious lists sure to piss off rock critics But wait, there’s more. Readers will also be able to listen to a special free mix designed by the author, available online at www.stevenalmond.com, for the express purpose of eliciting your drool. For those about to rock—we salute you!
Secular Musicals - Classroom
The hilarious true story of the making of the cult classic hit show 30 Rock It’s hard to remember a time when Tina Fey wasn’t a star, but back in the early 2000s, she was an SNL writer who was far from a household name. It’s even harder to remember when Fey’s sitcom 30 Rock was tanking, but it was—it premiered in the fall of 2006, and by November, the New York Times wrote that 30 Rock was “perilously close to a flop.” But despite all expectations (including those of some of the cast and crew), Tina Fey’s eccentric buddy comedy lasted 138 episodes, spanning seven seasons. It resurrected the career of Alec Baldwin, survived an extended absence by Tracy Morgan, and permeated the culture— its breakneck pacing, oddball characters, and extremely rich joke writing are deeply beloved by millions of fans. Through more than fifty original interviews with cast, crew, critics, and more, culture writer Mike Roe brings to life the history of the gloriously goofy show that became an all-time classic. The 30 Rock Book has everything in it, from tales of the amazing music still stuck in our heads, to the iconic bit characters that make the show, to all the love and drama of the backstage crew . . . and the creative failures and successes along the way. So grab your night cheese and muffin tops, cuddle up with your slanket against your Japanese body pillow, and settle in for the story of one of the funniest shows in television history.
Believe it or not, you can use your favorite Rock-‘n’-Roll song titles to show you, clearly and concisely, how English grammar and style work—and it’s fun! Inspired by a lifelong love of music and language, this book captures the brilliant bond between music and language, using song titles as an innovative and memorable way to teach grammar and style. The book does not critique grammar and style use in Rock-‘n’-Roll song titles. Instead, it celebrates this use and demonstrates different kinds of sentences, parts of speech, verb tenses, stylistic figures of speech, and more. The book starts with short but complete sentences—song title subject/verb combinations of songs you know such as “Love hurts” and “Voices carry.” The patterns of English grammar and style then become strikingly visible when you see them in the titles of Rock-‘n’-Roll songs you love, all the way from the 1950s to today.
The year is 1983, and Chuck Klosterman just wants to rock. But he's got problems. For one, he's in the fifth grade. For another, he lives in rural North Dakota. Worst of all, his parents aren't exactly down with the long hairstyle which rocking requires. Luckily, his brother saves the day when he brings home a bit of manna from metal heaven, SHOUT AT THE DEVIL, Motley Crue's seminal paean to hair-band excess. And so Klosterman's twisted odyssey begins, a journey spent worshipping at the heavy metal altar of Poison, Lita Ford and Guns N' Roses. In the hilarious, young-man-growing-up-with-a-soundtrack-tradition, FARGO ROCK CITY chronicles Klosterman's formative years through the lens of heavy metal, the irony-deficient genre that, for better or worse, dominated the pop charts throughout the 1980s. For readers of Dave Eggers, Lester Bangs, and Nick Hornby, Klosterman delivers all the goods: from his first dance (with a girl) and his eye-opening trip to Mandan with the debate team; to his list of 'essential' albums; and his thoughtful analysis of the similarities between Guns 'n' Roses' 'Lies' and the gospels of the New Testament.
Explores the many ways glam rock paved the way for new explorations of identity in terms of gender, sexuality, and performance
The Grammar of Raising and Control surveys analyses across a range of theoretical frameworks from Rosenbaum's classic Standard Theory analysis (1967) to current proposals within the Minimalist Program, and provides readers with a critical understanding of these, helping them in the process to develop keen insights into the strengths and weaknesses of syntactic arguments in general. Distills a very successful graduate course in syntax from two prominent figures in the field, covering analyses from a range of theoretical frameworks. Provides readers with an understanding of the various perspectives represented in generative syntax, using a particular class of grammatical constructions as a means of examining the evolution of syntactic theory over the last thirty years. Helps students to develop keen insights into the strengths and weaknesses of syntactic arguments. Includes excerpts from six important works that allow students to familiarize themselves with the original literature while also providing discussion of the theoretical context in which they were written.
Molly Webster has always followed the rules. After an ugly scandal tore apart her childhood and made her the focus of the media's harsh spotlight, she vowed to live an ordinary life. No fame. No impropriety. No pain. Then she meets Zachary Fox, a tattooed bad boy rocker with a voice like whiskey and sin, and a touch that could become an addiction.