By Larry Harris, Curt Gooch, Jeff Suhs
Now it may be advised! the genuine, behind-the-scenes tale of Casablanca files, from an eyewitness to the surplus and madness. Casablanca was once no longer a manufactured from the Seventies, it was once the Nineteen Seventies. From 1974 to 1980, the panorama of yank tradition was once a ceremonial dinner of hedonism and self-indulgence, and no one or corporation in that period used to be extra emblematic of the days than Casablanca documents and its magnetic founder, Neil Bogart. From his bold first signing of KISS, during the discovery and superstardom of Donna summer time, the Village humans, and funk grasp George Clinton and his circus of freaks, Parliament Funkadelic, to the descent into the manic global of disco, this e-book charts Bogart's meteoric good fortune and eventual cave in lower than the load of out of control ego and hype. it's a compelling story of ambition, greed, extra, and a few of the era's greatest tune acts.
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Additional resources for And Party Every Day: The Inside Story Of Casablanca Records
Valentine Hugo, “Trois Souvenirs sur Ravel,” in La Littérature française et la musique (1900 à nos jours), ed. Raymond Schwab (Paris: Richard-Masse, 1952), 141. 44. , 140. 45. , Ravel Remembered (New York: Norton, 1987), 150–56. For a fuller version, containing additional material on the composer, see André Beucler, Vingt ans avec Léon-Paul Fargue (Geneva: Éditions du milieu du monde, 1952), 44–63. 46. Beucler, Vingt ans avec Léon-Paul Fargue, 63. 47. Léon-Paul Fargue, Poèmes suivi de Pour la musique, rev.
David J. Niederauer and François Broche (Paris: Pygmalion, 2002), 682. 95. Cited by François Broche “Présentation de Henri de Régnier,” in Henri de Régnier, Les Cahiers inédits 1887–1936 (Paris: Pygmalion/Gérard Watelet, 2002), 26. 96. Mario Maurin, Henri de Régnier: Le labyrinthe et le double (Montréal: Les Presses de l’université de Montréal, 1972), 149. 97. Robert Jardillier, “L’Évocation du XVIIIe siècle dans la musique d’hier et d’aujourd’hui,” La Revue Musicale (July 1, 1923): 216. 98. Frédéric Martinez, “Une ‘Belle Époque’ en dentelles ou à quoi rêvent les académiciens: La perception du dix-huitième siècle en 1900 dans La leçon d’amour dans un parc de René Boylesve et La double maîtresse de Henri de Régnier,” Revue d’histoire littéraire de la France 106 (2006): 651.
Valéry also notes, however, that his typology is only a “vague” definition, and that “classique” is a notoriously fluid concept subject to slight redefinition every time it is used in serious criticism. For a discussion of this passage, mainly as it related to Valéry’s admiration of Racine, see Maarten van Buuren, “Paul Valéry et le classicisme,” in Histoire, Jeu, Science dans l’aire de la literature, ed. Sjef Houppermans, Paul J. Smith, and Madeleine van Strien-Chardonneau (Amsterdam-Atlanta: Rodopi, 2000), 25–36.