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Efter 33 år som scenartist debuterar nu Magnus Uggla i bokform. Här exponerar han alla sina nojor, rädslor och irritationsobjekt för allmän beskådan. Uggla skriver initierat om helgalkoholism, offentliga toaletter, försvunna formgivare, intimkirurgi, Carina Bergs dåliga hy och det dagliga livet i villaförorten. Han berättar ömsint men förskräckt om frun Lolos motionsryck och sonen Rubens buktalarkarriär och vi får lära känna alla de andra speciella personerna i hans liv som Pirken, Skalle-Per, Skitbolags-Leffe och Moment 23-Sofia. Resultatet är 440 sidor offentlig självanalys. Och den roligaste bok det här landet skådat sedan En dramatikers dagbok.MAGNUS UGGLA, född på Östermalm i Stockholm, är en av Sveriges största artister genom tiderna. Hans genombrott kom 1977 med skivan Va ska man ta livet av sig för när man ändå inte får höra snacket efteråt, som Uggla skrev efter att ha sett en konsert med The Clash. Magnus Uggla har släppt 15 studioalbum och gjorde 2008 succé med TV-serien Var fan är mitt band? I dag är Magnus en stadgad familjefar som bor bland de andra vackra människorna i Danderyd.Pressröster»Med jämna mellanrum skrattar man högt och tvingas beundra Ugglas förmåga att balansera mellan ironiserande självinsikt och total brist på självdistans.«Frida Johansson, Östersunds-Posten»Ingen eller inget undgår Ugglas vassa penna. Särskilt inte vedertagna sanningar.«Andreas Westergren, Smålandsposten

Following hard on the explosion of British punk, in 1979 Gang of Four produced post-punk’s smartest record, Entertainment! For the first time, a band wedded punk’s angry energy to funk’s propulsive beats—and used that music to put across lyrics that brought a heady mixture of Marxist theory and situationism to exposing the cultural politics of everyday life.But for an American college student from the suburbs—and, one expects, for many, many others, including British youth—Jon King’s and Andy Gill’s mumbled lyrics were often all but unintelligible. Political rock ‘n’ roll is always something of an oxymoron: rock audiences by and large don’t tune in to be lectured to. But what can it mean that a band that made pop songs as political theory actively resisted making that theory legible?Coming to terms with the impact of Entertainment! requires us to take the mondegreen—the misunderstood lyric—seriously. The old joke has it that the title of R.E.M.’s debut album should have been not Murmur, but Mumble: true, so far as it goes. But that’s the title, too, of rock ‘n’ roll’s Greatest Hits compilation—and that strategic inarticulateness itself, which creates such an important role for the listener, has an important politics.

I Det var en gång en ... kompositör presenteras på lättfattligt och annorlunda sätt ett antal kompositörer, av vilka många är mycket betydelsefulla för Suzuki-metoden. Kompositörsporträtten är inga ”torra” biografier utan medryckande berättelser ur kompositörernas liv. Böckerna är skrivna på ett enkelt språk och satta med stor stil, vilket gör dem användbara och lättlästa även för unga läsare. I del 1 presenteras 30 kompositörer ur Suzukilitteraturen för violin: Bach, Baily, Becker, Beethoven, Boccherini, Brahms, Corelli, von Dittersdorf, Dvorak, Eccles, Fiocco, Gossec, Grétry, Händel, Lully, Martini, Mozart, Paganini, Pergolesi, Pugnani, Rameau, Schubert, Schumann, Seitz, Suzuki, Telemann, Thomas, Veracini, Vivaldi och von Weber. Innehåller också en förteckning över verk av de olika kompositörerna.

Få konstnärer är lika mytomspunna som Wolfgang Amadeus Mozart. Redan som tre-åring skrev han sitt första verk och vid sju-års ålder kunde han utan några problem spela vilket stycke som helst direkt från notbladet. Det är den bild som för det mesta förmedlas av det musikaliska geniet. Men en annan värld öppnas upp i hans brev. En vanligare, mer jordnära person får här träda fram. En själ fylld av tvivel, sorg, glädje och kärlek. -

As a member of Big in Japan, The Slits and, most famously, Siouxsie and the Banshees and The Creatures, 'Budgie' was an era-defining drummer in the much-mythologised post punk scene of the late 1970s and early 1980s. But before he was Budgie, Peter Clarke was a boy growing up in working class St Helens in the 1960s. The loss of his mum at a young age created the absence that haunts the pages of this book. As a teenager disenchanted with art school in Liverpool, Peter became Budgie and befriended the likes of Jayne Casey, Pete Burns and other luminaries of the legendary Eric's Club before taking off for London and the big city heat of punk. Budgie's unique technique and musical sensitivity endeared him to the all-female group The Slits, who asked him to play on their debut album Cut. Subsequent touring with former members of the Sex Pistols and others from the post punk aristocracy firmly established Budgie's reputation for innovation. But the beating heart of this at times painfully honest account of a life often sabotaged is, of course, his long-term position as Siouxsie and the Banshees' drummer and co-writer alongside his ex-wife Siouxsie Sioux. Their creative partnership produced some of the most seductive and celebrated pop music of the decade. Eventually, their personal relationship started to fall apart, with inevitable consequences for both bands. The Absence is bravely unflinching in its dissection of how and why this happened, and powerfully moving in its account of the angels that emerged to heal both these wounds and those of a mother's lost love. A man and musician whose creativity and singular style came to define the goth-pop 1980s, Budgie's life is both fabulously glamorous and a cautionary tale. For the first time the story of the era's most exalted and mysterious bands has been told by one who survived inside the belly of the beast.

'Intimate. Wounded. Sensational. I didn't just read The Absence. I devoured it' - RUPERT THOMSONAs a member of Big in Japan, The Slits and, most famously, Siouxsie and The Banshees and The Creatures, 'Budgie' was an era-defining drummer in the much-mythologised post punk scene of the late 1970s and early 1980s. But before he was Budgie, Peter Clarke was a boy growing up in working class St Helens in the 1960s. The loss of his mum at a young age created the absence that haunts the pages of this book. As a teenager disenchanted with art school in Liverpool, Peter became Budgie and befriended the likes of Jayne Casey, Pete Burns and other luminaries of the legendary Eric's Club before taking off for London and the big city heat of punk. Budgie's unique technique and musical sensitivity endeared him to the all-female group The Slits, who asked him to play on their debut album Cut. Subsequent touring with former members of the Sex Pistols and others from the post punk aristocracy firmly established Budgie's reputation for innovation. But the beating heart of this at times painfully honest account of a life often sabotaged is, of course, his long-term position as Siouxsie and The Banshees' drummer and co-writer alongside his ex-wife Siouxsie Sioux. Their creative partnership produced some of the most seductive and celebrated pop music of the decade. Eventually, their personal relationship started to fall apart, with inevitable consequences for both bands. The Absence is bravely unflinching in its dissection of how and why this happened, and powerfully moving in its account of the angels that emerged to heal both these wounds and those of a mother's lost love. A man and musician whose creativity and singular style came to define the goth-pop 1980s, Budgie's life is both fabulously glamorous and a cautionary tale. For the first time the story of the era's most exalted and mysterious bands has been told by one who survived inside the belly of the beast.

This volume is a collection based on the Royal Musical Association's Mozart Conference of 1991, the principal scholarly event in the English-speaking world in commemoration of the bicentenary. It includes essays placing Mozart in the context, in Salzburg and Vienna, in which he worked, explaining aspects of his life and work hitherto obscure; essays interpreting his instrumental music; and a substantial series of studies on different aspects of his operas, from Lucio Silla to La clemenza di Tito, with particular stress on the creative processes in the Da Ponte operas.

Music examples and charts illustrate the analyses, and each essay is fully annotated by the editor. in some cases, the results of the original research by the editor or by others working in the field are published here for the first time. Much of the material has never before appeared in English.A score embodying the best available musical text.Historical background—what is known of the circumstances surrounding the origin of the work, including (where relevant) original source material.A detailed analysis of the music, by the editor of the volume or another well-known scholar.Other significant analytic essays and critical comments, exposing the student to a variety of opinions about the music.