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This is the long-awaited publication of a moving masterwork by one of the greatest photographers of our time. Conceived, designed, written and made by hand as a prototype by master photographer Roy DeCarava (b.1919) in the early 1960s, yet unpublished for nearly half a century, The Sound I Saw has largely existed as a legend among the cognoscenti of the photography world. Presented as a stream of 196 soulful images interspersed with DeCarava's own evocative poetry, the book is, in its form and effect, the printed equivalent of jazz. "This is a book about people, about jazz, and about things. The work between its covers tries to present images for the head and for the heart and, like its subject matter, is particular, subjective, and individual," writes the author. DeCarava is a life-long New Yorker who from his immediate world creates images that transcend the specific to depict universal themes of joy, anticipation, pain and survival. Largely unpublished, he was first recognized for his images of daily life in Harlem (the subject of The Sweet Flypaper of Life, his 1955 collaboration with Harlem Renaissance poet Langston Hughes) and portraits of musicians like Duke Ellington and Billie Holiday. It is these two themes, Harlem and jazz, interwoven and inseparable, that are the ostensible subject of the book. However, the seemingly casual yet deeply felt compositions and the deep, rich tones of DeCarava's photographs stir emotions that resonate far beyond one neighbourhood and one era.
Told through the eyes of the grandmotherly Sister Mary Bradley, this is a heartwarming description of life in Harlem.
Light Break presents the first survey since 1996 of photographer Roy DeCarava, an essential figure of American art and culture, whose “poetry of vision” re-forms urban life, labor, love, and jazz into the discovery of “an intimate, emotional arc of transformation.” Though DeCarava often refrained from public discussion of his work, this catalogue provides important background into determining factors of his aesthetic sensibility—his traditional training in painting and printmaking as well as his philosophical undertakings. It brings the viewer to a consideration of contradictory precepts in DeCarava’s work that seeks resolution through tonal and structural elements within the image. Light Break presents a wide-ranging selection of DeCarava’s photographs accompanied by a preface by Zoé Whitley, an American curator based in London, and features an introduction and essay by curator and art historian Sherry Turner DeCarava. Titled “Celebration,” Turner DeCarava’s essay considers the artist’s singular poetic vision, his timeless portrayals of individuals and places, and his mastery of composition and photographic printmaking. “In making photographs, as in life, DeCarava was patient. Possessing both a peerless self-awareness and acute observational skills, he knew intuitively when to wait and when to open the camera’s shutter. In the dark room, he availed himself of these same attributes, moving with steady assurance to develop his prints so as to allow the full range of what he called his “infinite scale of grey tones”—often realized at the deepest end of the spectrum—to emerge slowly and fully.” This exquisite volume showcases a dynamic range of images that underscore DeCarava’s subtle mastery of tonal and spatial elements across a wide, fascinating array of subject matter: from the figural implications of smoke and debris to the “shimmering mirror beneath a mother as she walks with her children in the morning light.” These photographs express a strength of imagery—an intent to synchronize and honor the pulse of art as an emergent signal for creative and revelatory freedom.
New York Times bestselling author Carolyn Hart presents the story of a woman with a curious ability that drops her headfirst into a world of intrigue and murder. Since her fiancé’s death, Nela Farley has been plagued by a sixth sense: She understands the thoughts of cats. In desperate need of a distraction, Nela agrees to substitute for her sister, Chloe, at her job for a charitable foundation. Chloe has even arranged a place for her sister to stay. But when Nela encounters the previous tenant’s cat, she gets a flash of thought: “...dead and gone...She loved me...skateboard on the step...” Nela wants to ignore what the cat saw, but the idea that the death of former tenant Marian Grant wasn’t an accident is something she can’t ignore. And when a detective becomes suspicious of Nela’s sister and a second murder occurs, Nela realizes she’ll have to make the most of her unwanted ability before she meets her own untimely end...
The sound of the choir of King's College, Cambridge - its voices perfectly blended, its emotions restrained, its impact sublime - has become famous all over the world, and for many, the distillation of a particular kind of Englishness. This is especially so at Christmas time, with the broadcast of the Festival of Nine Lessons and Carols, whose centenary is celebrated this year. How did this small band of men and boys in a famous fenland town in England come to sing in the extraordinary way they did in the twentieth and early twenty-first centuries? It has been widely assumed that the King's style essentially continues an English choral tradition inherited directly from the Middle Ages. In this original and illuminating book, Timothy Day shows that this could hardly be further from the truth. Until the 1930s, the singing at King's was full of high Victorian emotionalism, like that at many other English choral foundations well into the twentieth century. The choir's modern sound was brought about by two intertwined revolutions, one social and one musical. From 1928, singing with the trebles in place of the old lay clerks, the choir was fully made up of choral scholars - college men, reading for a degree. Under two exceptional directors of music - Boris Ord from 1929 and David Willcocks from 1958 - the style was transformed and the choir broadcast and recorded until it became the epitome of English choral singing, setting the benchmark for all other choral foundations either to imitate or to react against. Its style has now been taken over and adapted by classical performers who sing both sacred and secular music in secular settings all over the world with a precision inspired by the King's tradition. I Saw Eternity the Other Night investigates the timbres of voices, the enunciation of words, the use of vibrato. But the singing of all human beings, in whatever style, always reflects in profound and subtle ways their preoccupations and attitudes to life. These are the underlying themes explored by this book.
• A New York Times Summer Reading List selection • A Publishers Weekly Best Summer Book of 2015 • A Business Insider Best Summer Read • An Esquire Father’s Day Book selection • A New York Observer Best Music Book of 2015 • A memoir charting thirty years of the American independent rock underground by a musician who knows it intimately Jon Fine spent nearly thirty years performing and recording with bands that played various forms of aggressive and challenging underground rock music, and, as he writes in this memoir, at no point were any of those bands “ever threatened, even distantly, by actual fame.” Yet when members of his first band, Bitch Magnet, reunited after twenty-one years to tour Europe, Asia, and America, diehard longtime fans traveled from far and wide to attend those shows, despite creeping middle-age obligations of parenthood and 9-to-5 jobs, testament to the remarkable staying power of the indie culture that the bands predating the likes of Bitch Magnet--among them Black Flag, Mission of Burma, and Sonic Youth --willed into existence through sheer determination and a shared disdain for the mediocrity of contemporary popular music. In indie rock’s pre-Internet glory days of the 1980s, such defiant bands attracted fans only through samizdat networks that encompassed word of mouth, college radio, tiny record stores and ‘zines. Eschewing the superficiality of performers who gained fame through MTV, indie bands instead found glory in all-night recording sessions, shoestring van tours and endless appearances in grimy clubs. Some bands with a foot in this scene, like REM and Nirvana, eventually attained mainstream success. Many others, like Bitch Magnet, were beloved only by the most obsessed fans of this time. Like Anthony Bourdain’s Kitchen Confidential, Your Band Sucks is an insider’s look at a fascinating and ferociously loved subculture. In it, Fine tracks how the indie-rock underground emerged and evolved, how it grappled with the mainstream and vice versa, and how it led many bands to an odd rebirth in the 21 st Century in which they reunited, briefly and bittersweetly, after being broken up for decades. Like Patti Smith’s Just Kids, Your Band Sucks is a unique evocation of a particular aesthetic moment. With backstage access to many key characters in the scene—and plenty of wit and sharply-worded opinion—Fine delivers a memoir that affectionately yet critically portrays an important, heady moment in music history.
They All Saw A Cat — New York Times bestseller and 2017 Caldecott Medal and Honor Book The cat walked through the world, with its whiskers, ears, and paws . . . In this glorious celebration of observation, curiosity, and imagination, Brendan Wenzel shows us the many lives of one cat, and how perspective shapes what we see. When you see a cat, what do you see? If you and your child liked The Girl Who Drank the Moon, Finding Winnie, and Radiant Child — you'll love They All Saw A Cat "An ingenious idea, gorgeously realized." —Shelf Awareness, starred review "Both simple and ingenious in concept, Wenzel's book feels like a game changer." —The Huffington Post
An intimate, award winning story of immigrants and their families, the borders they cross, and the ties that bind us all together. Fourteen-year-old Clara Luna's name means "clear moon" in Spanish. But lately, her life has felt anything but clear. A letter has arrived from her grandparents in Mexico inviting her to stay with them for the summer. But Clara has never met her father's parents. All she knows is that he snuck over the border from Mexico as a teenager. When she arrives, she's stunned by how different her grandparents' life is from her own in the United States. They live in simple shacks in the mountains of southern Mexico, where most people speak not only Spanish, but an indigenous language, Mixteco. Their village of Yucuyoo holds other surprises, too—like the spirit waterfall, which is heard but never seen. And Pedro, a young goatherder who wants to help Clara find the waterfall. But as Clara discovers more about where she comes from, what will it mean for who she is now? What The Moon Saw is an enchanting story of family, home, and discovering your true self in the most unexpected place. "Filled with evocative language that is rich in imagery and nuance and speaks to the connections that bind us all. . . . a thrilling adventure . . ."—Kirkus Reviews, Starred "Readers . . . will find themselves swept up in this powerful, magical story, and they’ll feel, along with Clara, ‘the spiderweb’s threads, connecting me to people miles and years away’."—Booklist, Starred
The legendary bass player tells the full, true story of his years with Jerry Garcia and the Grateful Dead in this "insightful and entertaining" (Austin Chronicle) memoir of life in the greatest improvisational band in American history. In a book "as graceful and sublime as a box of rain" (New York Times Book Review), the beloved bassist tells the stories behind the songs, tours, and jams in the Grateful Dead's long, strange trip from the 1960s to the death of Jerry Garcia in 1995 and beyond. From Ken Kesey's "acid tests" to the Summer of Love to bestselling albums and worldwide tours, the Dead's story has never been told as honestly or as memorably as in this remarkable memoir. "A fun ride...Even for the most well-read Deadhead, there's enough between the covers to make Searching for the Sound worth a look." —Associated Press
A deep exploration of the intersection of faith, creativity, and justice from acclaimed hip-hop artist and creative polymath Sho Baraka “Sho has the courage to say what many are thinking and the candor to say what many are not. His words have positively influenced me for years—now this book gives the world that influence.”—Lecrae You were created to help bring truth and beauty into this broken world. God made you with an imagination and a yearning for justice. No matter your calling or vocation, you can help shape a better world around you through your creativity. But that doesn’t mean it will be easy. We are surrounded by toxic stories and bad cultural thinking. We’re held back by incomplete theology. But does it have to be like that? Is frustration the end of the story? In the face of confusion and injustice, we can lose sight of our true narrative—the one that started in a garden and wants to make our real lives better today. In He Saw That It Was Good, activist and recording artist Sho Baraka wrestles deeply and honestly with these questions, gives you permission to do the same, and shows a hard-earned path to creative change. With Sho, you’ll engage with art, justice, and history. Learn from the powerful principles of historic movements, explore why it’s important to cultivate your creative calling (no matter what you do!), and discover a fresh look at how the gospel can transform how you see God, your neighbor, your work, and your world. You’ll return to your biggest and truest story. Your life (and your world) need never be the same.