‘My favourite moment is when I finish a song, that is the moment I cherish.’ – Rod Temperton The Invisible Man tells the remarkable story of how Rod Temperton worked his way up from a Grimsby fish factory to become one of the most successful songwriters of all time. Born in Cleethorpes in 1949, Temperton embarked on a career in music with the funk band Heatwave, for whom he wrote the international hits ‘Boogie Nights’ and ‘Always and Forever’, before his songwriting talent caught the attention of Michael Jackson’s legendary producer, Quincy Jones. For Jackson’s Off the Wall album, Temperton penned both the hit ‘Rock with You’ and the album’s title track. Three years later, he started work on what would become the best-selling album of all time – Michael Jackson’s Thriller – writing three songs, including the now legendary title track. And yet despite collaborating with some of music’s biggest stars, including Donna Summer and Michael McDonald, Temperton was famously reclusive and seldom gave interviews. Having enjoyed unprecedented access to the great man for his Sony Award-winning radio documentary on Temperton, Jed Pitman presents the fully updated, definitive story of one of music’s most talented individuals.
‘My favourite moment is when I finish a song, that is the moment I cherish.’ – Rod Temperton The Invisible Man tells the remarkable story of how Rod Temperton worked his way up from a Grimsby fish factory to become one of the most successful songwriters of all time. Born in Cleethorpes in 1949, Temperton embarked on a career in music with the funk band Heatwave, for whom he wrote the international hits ‘Boogie Nights’ and ‘Always and Forever’, before his songwriting talent caught the attention of Michael Jackson’s legendary producer, Quincy Jones. For Jackson’s Off the Wall album, Temperton penned both the hit ‘Rock with You’ and the album’s title track. Three years later, he started work on what would become the best-selling album of all time – Michael Jackson’s Thriller – writing three songs, including the now legendary title track. And yet despite collaborating with some of music’s biggest stars, including Donna Summer and Michael McDonald, Temperton was famously reclusive and seldom gave interviews. Having enjoyed unprecedented access to the great man for his Sony Award-winning radio documentary on Temperton, Jed Pitman presents the fully updated, definitive story of one of music’s most talented individuals.
An analysis of the sustaining vitality behind contemporary American poetry from 1975 to the 2003, these 12 essays examine both exemplary innovators and the social context in which innovation is resisted, acclaimed, or taken for granted.
People with mental health conditions are among the most socially excluded groups in society. Mental health conditions are influenced by the social environment, which in turn shapes our social and cultural responses to the people who experience them. Much of what mental health practitioners do is 'essentially social' and the effects of their interventions are hampered by the marginalised status of many of the people that they see. This book documents the ways in which people with mental health conditions are excluded from participating in society and offers some pointers as to how this may be reversed. It highlights the need to reduce mental health inequalities and to consider the importance of material inequalities and social injustices faced by people experiencing mental ill-health. Whilst the challenges are considerable and the solutions wide-ranging, mental health practitioners can play a significant role in facilitating the social inclusion of those with mental health conditions.
Jed Rasula is a preeminent scholar of avant-garde poetics, noted for his erudition, intellectual range, and critical independence. He's also a gifted writer-his recent books have won praise for their entertaining, clear prose in addition to their scholarship. He is also an alumnus of UAP's distinguished Modern and Contemporary Poetics series, which published his Syncopations fifteen years ago. Rasula returns to the MCP series with Wreading, A collection of essays, interviews and occasional writings that reflects the breadth and diversity of his curiosity. One of the referees likened Wreading to a "victory lap, but one that sets its own further record in the taking." This is a collection of highlights from Rasula's shorter critical pieces, but also a carefully assembled and revised intellectual autobiography. Wreading consists of two parts: an assortment of Rasula's solo criticism, and selected interviews and conversations with other critics and scholars (Evelyn Reilly, Leonard Schwartz, Tony Tost, Mike Chasar, Joel Bettridge, and Ming-Qian Ma). The collection opens with a trio of essays that complicate the idea of a "poet." By interrogating the selection of poets for anthologies in the 20th century, Rasula identifies a host of "forgotten" poets, once prominent but now forgotten. Another essay on the state of the poetry anthology reveals how much influence literary gatekeepers have, and what a reimagination of the anthology form could make possible. In subsequent chapters, Rasula finds surprising overlap between Dada and Ralph Waldo Emerson, charts the deep links between image and poetic inspiration, and reckons with Ron Silliman's The Alphabet, a UAP classic. In the book's second half, Rasula engages in detailed conversations with a roster of fellow critics. Their exchanges confront ecopoetics, the corporate university, the sheer volume of contemporary poetry, and more. This substantial set of dialogues gives readers a glimpse inside a master critic's deeply informed critical practice, and lists his intellectual touchstones. The balance between essay and interview achieves a distillation of Rasula's long-established idea of "wreading." In his original use, the term denotes how any act of criticism inherently adds to the body of writing that it purports to read- how Rasula "couldn't help but participate" in his favorite poems. In this latest form, Wreading captures a critical perception that sparks insight and imagination, no matter what it sees"--
This is a book about artistic modernism contending with the historical transfigurations of modernity. As a conscientious engagement with modernity's restructuring of the lifeworld, the modernist avant-garde raised the stakes of this engagement to programmatic explicitness. But even beyond the vanguard, the global phenomenon of jazz combined somatic assault with sensory tutelage. Jazz, like the new technologies of modernity, re-calibrated sensory ratios. The criterion of the new as self-making also extended to names: pseudonyms and heteronyms. The protocols of modernism solicited a pragmatic arousal of bodily sensation as artistic resource, validating an acrobatic sensibility ranging from slapstick and laughter to the pathos of bereavement. Expressivity trumped representation. The artwork was a diagram of perception, not a mimetic rendering. For artists, the historical pressures of altered perception provoked new models, and Ezra Pound's slogan 'Make It New' became the generic rallying cry of renovation. The paradigmatic stance of the avant-garde was established by Futurism, but the discovery of prehistoric art added another provocation to artists. Paleolithic caves validated the spirit of all-over composition, unframed and dynamic. Geometric abstraction, Constructivism and Purism, and Surrealism were all in quest of a new mythology. Making it new yielded a new pathos in the sensation of radical discrepancy between futurist striving and remotest antiquity. The Paleolithic cave and the USSR emitted comparable siren calls on behalf of the remote past and the desired future. As such, the present was suffused with the pathos of being neither, but subject to both.
Thank you for visiting our website. Would you like to provide feedback on how we could improve your experience?
This site does not use any third party cookies with one exception — it uses cookies from Google to deliver its services and to analyze traffic.Learn More.