• 

  His Name Is George Floyd (eBook, ePUB)

  'His Name Is George Floyd is essential for our times.' Ibram X. Kendi, author of How to Be an AntiracistYou know how he died. This is how he lived.Who was George Floyd? What did he hope for? What was life like for him? And why has his death been the catalyst for such a powerful global response?The murder of George Floyd sparked a summer of activism and unrest all over the world in 2020, from Shetland to São Paolo, as people marched under the Black Lives Matter banner, demanding an end to racial injustice. But behind a face that would be graffitied onto countless murals, and a name that has become synonymous with civil rights, there is the reality of one man's stolen life.In His Name is George Floyd we meet the kind young boy who talked his friends out of beating up a skinny kid from another neighbourhood and then befriended him on the walk home. Big Floyd the high school American football player who ignored his coach's pleas to be more aggressive and felt queasy at the sight of blood. The man who fell victim to an opioid epidemic we are only just beginning to understand. The sensitive son and loving father, constantly in search of a better life in a society determined to write him off based on things he had no control over: where he grew up, the size of his body and the colour of his skin. Drawing upon hundreds of interviews with friends and family members, His Name Is George Floyd reveals the myriad ways that structural racism shaped Floyd's life and death - from his forebears' roots in slavery to an underfunded education, the overpolicing of his community and the devastating snare of the prison system. By offering us an intimate portrait of this one, emblematic life, Robert Samuels and Toluse Olorunnipa deliver a powerful and moving exploration of how a man who simply wanted to breathe ended up touching the world.

  • Shop: buecher
  • Price: 14.99 EUR excl. shipping

• His Name Is George Floyd

  'His Name Is George Floyd is essential for our times.' Ibram X. Kendi, author of How to Be an Antiracist You know how he died. This is how he lived. Who was George Floyd? What did he hope for? What was life like for him? And why has his death been the catalyst for such a powerful global response? The murder of George Floyd sparked a summer of activism and unrest all over the world in 2020, from Shetland to São Paolo, as people marched under the Black Lives Matter banner, demanding an end to racial injustice. But behind a face that would be graffitied onto countless murals, and a name that has become synonymous with civil rights, there is the reality of one man's stolen life. In His Name is George Floyd we meet the kind young boy who talked his friends out of beating up a skinny kid from another neighbourhood and then befriended him on the walk home. Big Floyd the high school American football player who ignored his coach's pleas to be more aggressive and felt queasy at the sight of blood. The man who fell victim to an opioid epidemic we are only just beginning to understand. The sensitive son and loving father, constantly in search of a better life in a society determined to write him off based on things he had no control over: where he grew up, the size of his body and the colour of his skin. Drawing upon hundreds of interviews with friends and family members, His Name Is George Floyd reveals the myriad ways that structural racism shaped Floyd's life and death - from his forebears' roots in slavery to an underfunded education, the overpolicing of his community and the devastating snare of the prison system. By offering us an intimate portrait of this one, emblematic life, Robert Samuels and Toluse Olorunnipa deliver a powerful and moving exploration of how a man who simply wanted to breathe ended up touching the world.

  • Shop: buecher
  • Price: 15.99 EUR excl. shipping

• His Name Is George Floyd

  'His Name Is George Floyd is essential for our times.' Ibram X. Kendi, author of How to Be an Antiracist You know how he died. This is how he lived. Who was George Floyd? What did he hope for? What was life like for him? And why has his death been the catalyst for such a powerful global response? The murder of George Floyd sparked a summer of activism and unrest all over the world in 2020, from Shetland to São Paolo, as people marched under the Black Lives Matter banner, demanding an end to racial injustice. But behind a face that would be graffitied onto countless murals, and a name that has become synonymous with civil rights, there is the reality of one man's stolen life. In His Name is George Floyd we meet the kind young boy who talked his friends out of beating up a skinny kid from another neighbourhood and then befriended him on the walk home. Big Floyd the high school American football player who ignored his coach's pleas to be more aggressive and felt queasy at the sight of blood. The man who fell victim to an opioid epidemic we are only just beginning to understand. The sensitive son and loving father, constantly in search of a better life in a society determined to write him off based on things he had no control over: where he grew up, the size of his body and the colour of his skin. Drawing upon hundreds of interviews with friends and family members, His Name Is George Floyd reveals the myriad ways that structural racism shaped Floyd's life and death - from his forebears' roots in slavery to an underfunded education, the overpolicing of his community and the devastating snare of the prison system. By offering us an intimate portrait of this one, emblematic life, Robert Samuels and Toluse Olorunnipa deliver a powerful and moving exploration of how a man who simply wanted to breathe ended up touching the world.

  • Shop: buecher
  • Price: 22.99 EUR excl. shipping
• 

  We Don't Know Ourselves: A Personal History of Modern Ireland

  Fintan O'Toole was born in the year the revolution began. It was 1958, and the Irish government-in despair, because all the young people were leaving-opened the country to foreign investment and popular culture. So began a decades-long, ongoing experiment with Irish national identity. In We Don't Know Ourselves, O'Toole, one of the Anglophone world's most consummate stylists, weaves his own experiences into Irish social, cultural, and economic change, showing how Ireland, in just one lifetime, has gone from a reactionary "backwater" to an almost totally open society-perhaps the most astonishing national transformation in modern history. Born to a working-class family in the Dublin suburbs, O'Toole served as an altar boy and attended a Christian Brothers school, much as his forebears did. He was enthralled by American Westerns suddenly appearing on Irish television, which were not that far from his own experience, given that Ireland's main export was beef and it was still not unknown for herds of cattle to clatter down Dublin's streets. Yet the Westerns were a sign of what was to come. O'Toole narrates the once unthinkable collapse of the all-powerful Catholic Church, brought down by scandal and by the activism of ordinary Irish, women in particular. He relates the horrific violence of the Troubles in Northern Ireland, which led most Irish to reject violent nationalism. In O'Toole's telling, America became a lodestar, from John F. Kennedy's 1963 visit, when the soon-to-be martyred American president was welcomed as a native son, to the emergence of the Irish technology sector in the late 1990s, driven by American corporations, which set Ireland on the path toward particular disaster during the 2008 financial crisis. A remarkably compassionate yet exacting observer, O'Toole in coruscating prose captures the peculiar Irish habit of "deliberate unknowing," which allowed myths of national greatness to persist even as the foundations were crumbling. Forty years in the making, We Don't Know Ourselves is a landmark work, a memoir and a national history that ultimately reveals how the two modes are entwined for all of us.

  • Shop: buecher
  • Price: 28.99 EUR excl. shipping
• 

  Our Forebears In the American Story - And World History

  Our Forebears In the American Story - And World History: ab 10.49 €

  • Shop: ebook.de
  • Price: 10.49 EUR excl. shipping
• 

  Washing Our Hands in the Clouds

  Washing Our Hands in the Clouds - Joe Williams His Forebears and Black Farms in South Carolina: ab 19.99 €

  • Shop: ebook.de
  • Price: 19.99 EUR excl. shipping
• 

  The Last Presbyterian?

  The Last Presbyterian? - Remembering the Faith of My Forebears: ab 25.99 €

  • Shop: ebook.de
  • Price: 25.99 EUR excl. shipping
• 

  Virginia Woolf's Influential Forebears

  Virginia Woolf's Influential Forebears - Julia Margaret Cameron Anny Thackeray Ritchie and Julia Prinsep Stephen: ab 96.49 €

  • Shop: ebook.de
  • Price: 96.49 EUR excl. shipping
• 

  Il Trionfo Del Tempo E Del Disinganno

  Alessandro De Marchi (Dir) // Il trionfo del Tempo e del Disinganno is a landmark in baroque music. It is Handel's first oratorio, product of his astonishing flowering in Italy in his early twenties, suffused with the youthful vigour and virtuosity of his early works. The libretto, by the well-connected Benedetto Pamphili, is a highly crafted composition drawing on a rich mix of artistic forebears.

  • Shop: odax
  • Price: 29.89 EUR excl. shipping
• 

  Kosmogonia

  PIANO DIARIES OF A MUSICAL ALCHEMIST Every single composition on this CD represents a time capsule from my life. Each piece I played and recorded on a different piano, in a different city, and in a different period of my life. In all of the pieces I applied the method I call 'preparation in real time'-the personal performance practice I often use in my live performances. It implies using devices, easily movable objects, and different fingerings to temporarily shift the instrument's timbre from that of the piano to that of a harpsichord or clavichord. For instance, in Genesis (2009) and Kosmogonia (Cosmogony) (2005), following the proverb 'necessity is mother of invention,' I came up with a vibrating glove. When placed on the piano strings, the electromagnets stuffed into the glove's fingertips helped create the sostenuto-sounding strings, mockup flute sounds, and bass clarinet I needed. Mappa della Memoria, for acoustic baby grand piano, was recorded live during my recital at the Bogliasco Foundation in Genoa, Italy, where I held a composer's residency in 2004. Based on the eponymous work by the ingenious Italian visual artist Mario Fallini, the Memory Map is a fitting piece to start this album with. Like a traveler who retraces his own footsteps, Fallini draws his version of the iconic medieval allegory of memory, traditionally depicted as a portly matron in elaborate dress, by 'stitching' the titles of his own works in each fold of her sumptuous attire. Sonatina No.1 was composed in 1996 and recorded in 1997 on an upright piano after I rescued it from the local bar and somehow fit it into the kitchen of my studio apartment in Manhattan. I dedicated this piece to Morpho, a large, mysterious South American butterfly with iridescent wings who lives for only a day before being sealed for eternity into a pendant by a jewelry maker. Sonatina No.2 and Sonatina No.3 were composed in 2004 and recorded on an amplified Chinese-made baby grand piano I purchased at a liquidation sale at the San Francisco Opera. In the already-mentioned Genesis, I wondered what it sounded like when God went about making the world. During my college years, while sitting in the symphony orchestra and counting numerous empty bars in my harp parts, I entertained the idea of getting a job in a planetarium. I recalled that fantasy many years later in Kosmogonia, where I explore the ways to depict in sound the mindboggling theory of the ever-expanding universe. This album is dedicated to my dad, Dr. Vladimir Jordano MD. Victoria Jordanova Los Angeles, May 2012 Notes by Dean Suzuki Victoria Jordanova, an American composer born in Kragujevac, Serbia, is probably best known for her magnificent Requiem for Bosnia for broken piano, harp and child's voice. The current CD is her first for piano since the release of the Requiem in 1994. Unlike the Requiem, which exists only as a recording and cannot be performed live (the namesake broken piano no longer exists), Kosmogonia is comprised of works that can be performed in concert. Born in Serbia, a longtime San Francisco resident, and now living in Los Angeles, Jordanova's aesthetic forebears include West Coast American experimentalists and mavericks, Henry Cowell and John Cage. She is inspired by their innovative piano compositions, and especially by Cowell's 'string piano' (when performers bypass the piano's keyboard and play directly on the strings, variously plucking, strumming, rubbing and otherwise manipulating them), as well as his generous use of tone clusters, and Cage's 'prepared piano,' inspired by and extrapolated from Cowell's string piano, in which items such as screws, bolts, bits of rubber and other materials are inserted and wedged between the strings, thus dramatically transforming the instrument's timbre. It should be no surprise that other important influences on Jodanova include Krzysztof Penderecki and György Ligeti, both composers who experimented with and explored sound masses, unorthodox timbres, and unconventional musical textures and techniques. In an undergraduate class taught by composition professor Dr. Jere Hutcheson, Jodanova encountered Penderecki's Kosmogonia (1970) (a work that inspired her own work of the same title found on this CD), Threnody for the Victims of Hiroshima (1960) and Ligeti's Atmospheres (1961). The music left her awestruck. Such inspiration is borne out when Jordanova states that she uses a computer and MIDI-instruments to compose, 'But whenever I really want to test an idea, only the piano will do. I open it, knock on it, touch every part of it, play it inside and out, amplify it to hear it's softest whispers, and present it with all kinds of toys and devices to coax every possible sound out of it. And it always gives back more than I expect, surprising me with new sounds and possibilities.' Jordanova's wide-open ears are on a never-ending quest for new sounds, timbres and sonorities. She says, 'Some of the best times of my life were spent with pianos. I have played many pianos in my life and I've never found one I didn't like. From the old upright, which never could be tuned properly, that I rescued from a local bar and worked on in my Manhattan apartment, to the one that fell down two flights of stairs in the French-American International School in San Francisco, which I used to record my Requiem-all gave me something unique. Sometimes I feel that there is more at play than a mere material object, as in the medieval concept of Anima mundi--a pure, ethereal spirit diffused throughout all nature that animates all matter in the same sense in which the soul was thought to animate the human.' She concludes with a rather cunning and insightful proposal: 'Maybe the piano participates in my compositions as much as I do.' In her Sonatina no. 1 for upright antique piano, Jordanova coaxes beautiful sounds from an instrument that would have horrified Chopin and would be considered beneath contempt by contemporary concert pianists (can one imagine Lang Lang performing on an upright piano, much less an antique one?). Instead of regarding the faults of the antique piano as shortcomings, she views them as opportunities for sonic exploration. Indeed, the Sonatina would be a completely different and much less successful work were it played on a pristine concert grand. Those familiar with the string piano and prepared piano, and with works by composers such as Stephen Scott who also use extended techniques on the instrument, including 'bowing' the strings (for example, strands of rosined nylon fishing line are threaded under the strings then drawn back and forth to excite the strings), will recognized the instrument as a piano, but may be bewildered by the manner of sound generation in Genesis and Kosmogonia. These compositions require a vibrating glove, in which small electromagnets are placed in the fingertips. Jordanova does not insert her hand in the glove to stroke or massage the strings. Rather, she uses the glove as a holder for the electromagnets, which are placed directly on the strings. Further manipulation, including use of the keyboard, sustain pedal and touching the string with the fingers, changes the overtone structure for the purpose of discovering new timbres and advancing the music. The amplification employed in several works on this CD is used only to precisely reveal the subtleties and nuances of the piano, rather than to increase power and volume. By running the sound from the microphone directly into the computer input, the normal recording studio problems of trying to accurately capture acoustic sound are circumvented. The amplification and recording techniques allow the listener to hear everything--harmonics, partials and other acoustic phenomena--in a way that would not be possible using traditional recording methods. As a result, one hears the music differently and in a way that enhances Jordanova's compositions and reveals her special gifts. Dean Suzuki Associate Professor of music

  • Shop: odax
  • Price: 24.88 EUR excl. shipping

---

---