Read e-book online Ali in Wonderland: And Other Tall Tales PDF

By Ali Wentworth

ISBN-10: 0061998575

ISBN-13: 9780061998577

Transforming into up in a relations of political journalists—and daughter of President Reagan’s White residence social secretary—Ali Wentworth rebelled opposed to her blue-blood upbringing, embracing Hollywood, bikes, even a couple of wildly irrelevant marriage proposals. at the present time she is an acclaimed comedic actress and author, former Oprah general, spouse of political and media big name George Stephanopoulos, and a mom who shall we her women devour cotton sweet ahead of mattress. notwithstanding she’s settled down, her rebellious nature flourishes in her comedy and her view of her loopy international.

In this addictively humorous and hot memoir, she takes us in the course of the having a look glass and into the wonderland of her lifestyles, from a early life between Washington’s elite to a stint within the psych ward they referred to as a brand new England prep institution; days doing L.A. cartoon comedy (with then-aspiring artists Will Ferrell and Lisa Kudrow) to a sequence of spectacularly failed loves (that ultimately led her to Mr. Right). consistent all through is her mom, Muffie—a perfectly dependent but enterprise, no-nonsense strength of nature and natural WASP convictions.

As fascinating and off-the-wall as Ali herself, Ali in Wonderland is an pleasing examine lifestyles that's either intimate and hilarious.

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Extra resources for Ali in Wonderland: And Other Tall Tales

Example text

The absence of live performances and anything approximating today’s means of reproduction placed a premium on powers of recollection and rehearing, as well as rereading musical texts in which imaginary sounds were present. This was true as well for the use of the piano for hearing orchestral works. Apart from the silence and the aura of musical sound derived from its comparative rarity, the Brahmsian use of form and time, the micro-unit of change, and the larger coherences of which Schenker was fond of stressing, one must consider the reception of Brahms’s music in terms of the clocks of everyday life.

First, the evolution of music, by analogy with evolutionary theory, rendered instrumental music and the modern system of harmony the highest forms of development within a historical logic that was progressive and selective. The independence from the voice and speech was historical and reflected the increasing complexity of self-sufficiency of modes of sound production and modes of perception. In this sense, Wagner could be justified, if at all, only in so-called purely musical terms. Second, the specific character of tones and their logic, as well as the receptivity of the human ear, as a triumph of evolution led to the judgment that music was the purest art form since it was the most abstract, the most spiritual in the sense that it was the most rational—divorced from raw daily experience.

Brahms’s much discussed concern with historical models was driven by an absolutist instinct: that music as an independent mode of human experience was at once tied to human experience per se—the emotions and thoughts that humans display and have expressed in all of history. That independent element of expression and perception experienced a gradual historical clarification. In this sense, progress in science was regarded on a par with progress in musical technique and aesthetics. The conceit of certainty was such, however, that the forms of musical art seemed clearly understood.

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