By Corey Taylor
During this booklet, Corey Taylor undertakes whatever by no means prior to tried within the historical past of rock superstardom: he is taking you with him as he trips undercover via quite a few ghostbusting teams who do their top to assemble details and facts in regards to the life of spirits. a few are extra credible than others, and, frankly, a few are thoroughly insane, yet all are saw with applicable seriousness as Taylor makes an attempt to raised comprehend a number of the spooky issues that experience occurred to him in his existence, particularly that evening on the chilly House.
But that’s now not all, fogeys. Taylor once more delivers a behind-the-scenes travel of his loopy lifestyles and the numerous beyond-the-grave occasions he’s encountered. (You’ll be stunned how usually Slipknot has been invaded by way of the supernatural.) Taylor additionally touches on his spiritual historical past and the way it led him to think in even more than the guy within the Sky.
Read Online or Download A Funny Thing Happened on the Way to Heaven: (Or, How I Made Peace with the Paranormal and Stigmatized Zealots and Cynics in the Process) PDF
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Additional info for A Funny Thing Happened on the Way to Heaven: (Or, How I Made Peace with the Paranormal and Stigmatized Zealots and Cynics in the Process)
145 Hepokoski’s definition suggests numerous Russian precursors, beginning with Glinka’s double variations in Kamarinskaya, to the variations, sequences, and repetitions that were so central to the symphonic practice of the nationalists and Tchaikovsky. Indeed, Hepokoski draws attention to the Russian roots of Sibelius’s technique: It was doubtless also from Russian symphonic composition, which at least from Glinka’s Kamarinskaya onward had also explored circular stasis, that Sibelius learned of some of the most common generic slots within a “nationalistic” symphony or concerto for such repetitive “peasant” themes.
169 This process is further played out at the level of the symphony as a whole, with the four movements unfolding in the order: A minor– F major–C-sharp minor–A major. 171 Yet the notion that Sibelius’s explorations in non-diatonic forms of harmonic procedure might have explicitly Russian roots seems barely to have been considered. g. ” It is, he conjectures, “as if some distant musical memory from Sibelius’s exposure to the St. ”173 But Sibelius was alert to far more than the formal potential of Russian-inspired harmonic procedures, having also discerned what one might term the “semiotic” potential of octatonicism and whole-tone scales.
Yet there is evidence that the work was not conceived as the ultimate expression of absolute symphonic form.