Download A Devil on One Shoulder and an Angel on the Other: The Story by Greg Prato PDF

By Greg Prato

Essentially the most tragic tales of the 1990’s rock global used to be that of singer Shannon Hoon, and his band, Blind Melon. regardless of scoring one of many decade’s so much enduring singles and video clips, “No Rain,”and a quadruple platinum hit with their 1992 self-titled debut album (in addition to traveling along rock’s largest names), Hoon couldn't conquer a deadly drug dependancy. in simple terms files right into a promising profession, Hoon was once lifeless from an overdose on the age of 28. ‘A satan on One Shoulder and an Angel at the Other’ is the 1st booklet to inform the group’s story—culled from over 50 unique interviews (including the surviving band contributors and people closest to the band) and that includes many never-before-seen images. “I am venerated that Greg has painstakingly accounted for what the hell occurred in the course of these loopy occasions. He has summed up the entire chaos, jubilation, and paranoia that's Blind Melon.” -Brad Smith, Blind Melon bassist

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Extra info for A Devil on One Shoulder and an Angel on the Other: The Story of Shannon Hoon and Blind Melon

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B. Baker, an Ojibwa drum maker and singer, collaborated with Vennum in providing authentic explanations of Ojibwa traditions. Vennum remarked that Because song and dance are traditionally considered to be sacred in origin, they are for Native Americans a form of prayer .... And because most song is accompanied by percussion of some sort-drums more often than not-the instruments themselves become sacred through their association. (p. 31-32) Vennum included legends regarding the origin and early history of the dance drum.

V). Review of Related Literature 27 ANALYSES OF GENERAL MUSIC TEXTBOOKS Various studies have been made of general music textbooks. One recent study, which encompassed a broad spectrum of analysis, contained an examination of song origin, including those of the American Indian (Diaz, 1980); a second discussed characteristic elements and authenticity of American Indian, as well as AfroAmerican [sic] songs (M. Moore, 1977). In An analysis of the Elementary School Music Series Published in the United States from 1926 to 1976 (1980), Diaz' purpose included an investigation of the extent to which each series included songs from a variety of origins (p.

A drum pattern suggested for an introduction and accompaniment to the song consisted of one accented quarter note followed by three unaccented quarters in common time. Stutzman (1985) warned that "this [particular] beat isn't an Indian rhythm at all but rather a Hollywood stereotype" (p. 14). It was disappointing to find such a lack of authenticity in the American Indian music transcriptions of this series. 36 Repertoire, Authenticity, and Instruction TMC series was divided into three sections: musical concepts/ elements, common themes, and reading materials.

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