By David de Sola
Alice in Chains have been one of the loudest voices out of Seattle. They have been iconic pioneers who combined grunge and steel in ways in which proceed to steer today's artists, and theirs is a narrative of labor, self-destruction, emerging from the ashes, and wearing on an enduring legacy.
Four years after their first assembly at a warehouse less than Seattle's Ballard Bridge, Alice in Chains grew to become the 1st of grunge's huge 4 - sooner than Nirvana, Pearl Jam, and Soundgarden - to get a gold list and attain nationwide attractiveness. With the charismatic Layne Staley at the back of the microphone, they grew to become probably the most influential and winning bands to return out of the Seattle tune scene. yet because the band acquired higher, so did their problems.
Acclaimed journalist David de Sola delves underneath the secrecy, gossip, and rumor surrounding the band to inform their complete tale for the 1st time. in line with a wealth of interviews with those who have direct wisdom of the band, many talking at the list for the first actual time, de Sola explores how medications approximately destroyed them and claimed the lives of Staley and founding bassist Mike Starr, follows Jerry Cantrell's solo occupation and Mike Starr's existence after being fired from the band, and chronicles the band's resurrection with new lead singer William DuVall.
From their nameless struggles to topping the charts with hits like "Would?," "Man within the Box," and "Rooster," Alice in Chains unearths the individuals of the band no longer as caricatures of rock stars yet as awesome, nuanced, and improper people whose years of exertions resulted in the likely in a single day good fortune that modified the tune scene perpetually.
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Additional resources for Alice in Chains: The Untold Story
54 The same can be said of 11. -Leb. (cf. especially ta›! a m¤a §n polla›! bare¤ai! tin): Dionysius does not distinctly specify the diﬀerent tonal nuances existing §n polla›! , as we would expect if he were actually quoting from a score. For this passage cf. also Devine-Stephens 1991, 243–4. 55 What Dionysius is saying here rests indeed on a mental process of double abstraction. x∞ma eÎruymon of the single word as it should be prior to and apart from its phonetic contextual implementation (that is, at the level of the parole) and (2) its musical delivery, always conceived within such an atomized perspective, that is, decontextualized from its broader frame (the musical phrase as a whole).
For a broader contextualization of the present passage in the much-contended debate on tradition and innovation within the musical discourse at the end of the ﬁfth/beginning of the fourth century BC see the brilliant survey of Csapo 2004a. 73 74 28 chapter 1 whether aﬃrmative or negative, to this question to the solution of another vexed question, certainly akin to it but to be sharply distinguished from it, at least in terms of modes of transmission and reception. 79 These two elements need instead to be distinguished.
Med. 1251–92. a), without any further distinction between strophic or astrophic compositions, even supposing that at Dionysius’ time such a normative distinction still entailed a perceivable, standardized diﬀerence in terms of musical performance. alexandrian scholarship and texts 25 Turning back to the major question, we may consider another passage of Dionysius repeatedly quoted by scholars as a further piece of evidence supporting the lack of correspondence between linguistic pitch accent and musical setting: 19.
Alice in Chains: The Untold Story by David de Sola