By Nick Kent
Chronicling Nick Kent’s up-close , own, frequently harrowing adventures with the Rolling Stones, Lester Bangs, David Bowie, Led Zeppelin, the intercourse Pistols, and Chrissie Hynde, between rankings of others, Apathy for the satan is a picaresque memoir that bears witness to the attractive and the damned of this turbulent decade.
As a school dropout slightly out of his youngsters, Kent’s first 5 interviews have been with the MC5, Captain Beefheart, the thankful useless, the Stooges, and Lou Reed. yet after the thrill and freedom of these early years, his tale may come to reflect that of the last decade itself, as he slipped into extra and ever-worsening heroin use. Apathy for the satan is a compelling tale of idea, good fortune, burn out, and rebirth from a vintage wordsmith.
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Additional resources for Apathy for the Devil: A 70s Memoir
After all, too many references to the fact that I am explaining my understandings of coherence in these pieces rather than revealing “what’s simply there” would cause this book to grow even larger than its already unwieldy size. As I have been speaking of multiple, valid analytical perspectives, I would be remiss not to mention an approach to Schoenberg’s twelve-tone music that has become very popular in recent years, but which contrasts sharply with my usual modus operandi of illustrating conﬂict, elaboration, and resolution using mostly twelve-tone properties and elements.
It is interesting to note that Schopenhauer claims that every other art besides music has the sole function of presenting such Ideas. 44 42 43 44 The relation of Schopenhauer’s work to the Idealist tradition is clearly characterized by Robert Wicks’s article in the Stanford Encyclopedia of Philosophy. See Wicks, “Arthur Schopenhauer,” in Edward N. ), The Stanford Encyclopedia of Philosophy (Winter 2010 Edition), http://plato. edu/archives/win2010/entries/schopenhauer/ (accessed February 18, 2011).
In Bonds, Wordless Rhetoric, p. 100. See Bonds, Wordless Rhetoric, pp. 85–90, for a description of and quotations from Mattheson’s outline, and pp. 121–26 for Forkel’s. 14 Schoenberg’s Twelve-Tone Music Mark Evan Bonds describes how this trend went hand in hand with the early nineteenth century’s celebration of absolute, instrumental music as an autonomous entity which had no need to persuade a listener, and claims that it caused a split between inner, generative concepts of form (which ﬁt the organic metaphors quite well) and notions of form as general categories that contain large groups of pieces (which he calls “conformational” approaches).
Apathy for the Devil: A 70s Memoir by Nick Kent