By Nick Kent
Chronicling Nick Kent’s up-close , own, usually harrowing adventures with the Rolling Stones, Lester Bangs, David Bowie, Led Zeppelin, the intercourse Pistols, and Chrissie Hynde, between rankings of others, Apathy for the satan is a picaresque memoir that bears witness to the gorgeous and the damned of this turbulent decade.
As a school dropout slightly out of his kids, Kent’s first 5 interviews have been with the MC5, Captain Beefheart, the thankful lifeless, the Stooges, and Lou Reed. yet after the thrill and freedom of these early years, his tale could come to reflect that of the last decade itself, as he slipped into extra and ever-worsening heroin use. Apathy for the satan is a compelling tale of suggestion, good fortune, burn out, and rebirth from a vintage wordsmith.
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Additional resources for Apathy for the Devil: A 70s Memoir
In just this manner, the language of notes must also have 1) an abundance of combinations among notes; 2) correctness and order in the concatenation of the same; and 3) a speciﬁc goal. 19 But many treatises of the same time carry the terms Gedanke and Idee over to music. Generally, these terms signify a portion of a piece, most often a theme but sometimes a shorter segment. ), The Cambridge History of Western Music Theory (Cambridge University Press, 2002), p. 873). Mark Evan Bonds, Wordless Rhetoric: Musical Form and the Metaphor of the Oration (Cambridge, MA: Harvard University Press, 1991), p.
15. Musical idea and symmetrical ideal 9 manuscript (November 12, 1925) on the subject of “representing a musical idea” tonally and as a twelve-tone piece: Compositions executed tonally in every sense proceed so as to bring every occurring tone into a direct or indirect relationship to the fundamental tone, and their technique tries to express this relationship so that doubt about what the tone relates to can never last for an extended period. This is not only the case for the individual tone, but also all tone-progressions are designed in this way, as well as all chords and chord-progressions.
I, p. 181. Pamela C. White asserts that Schopenhauer’s conception of Will, Platonic Ideas, and representations of the Ideas in the real world was the main inspiration for Schoenberg’s notion of Idea and representation. But she never answers the question of how Schoenberg could get his concept of musical Idea from Schopenhauer, when Schopenhauer claimed that music does not have anything to do with Ideas, but rather bypasses them. This would be a signiﬁcant misreading of the philosophical source.
Apathy for the Devil: A 70s Memoir by Nick Kent