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  The 'a perfect circle music' search query consists of 4 keywords: music, a, circle, perfect.

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  Madonna is one of the most remarkable women of our time. A pop-culture chameleon with an unerring ability to stay on the cutting edge, she is the undisputed queen of popular music and, to many, the most important female entertainer of the last two decades. There is no more informed chronicler of modern celebrity than Andrew Morton, author of worldwide bestsellers about Diana, Princess of Wales, Monica Lewinsky, and Victoria and David Beckham. His new biography is not only based on extensive research, enabling him to retrace Madonna's journey to stardom, but also on his interviews with those in Madonna's inner circle -- many of whom have never spoken out before -- allowing him to unravel truth from myth along the way. He has even uncovered the long-lost Madonna tapes, including her earliest recordings, which have not come to light for twenty years. Andrew Morton is able to make startling revelations, among them the real story of Madonna's family background; the events behind the violent attack that changed her views on sex and men; her relationships with Michael Jackson, Prince, John F. Kennedy Junior, Vanilla Ice and other rock and Hollywood stars; the mystery men she wanted to marry; and the darkest days of her career when she threatened to quit show business. Above all, he sheds new light on what powers the Madonna phenomenon, and examines whether the face she presents today is that of a woman who is fulfilled personally and professionally, or one who is still seeking a more perfect Madonna.

Living with Jazz

  Armstrong and EllingtonHe never was billed as the King of Jazz, but Louis Armstrong is the sole legitimate claimant to that musical throne. Without him, there would still be the music we call jazz, but how it might have developed is guesswork. He was the key creator of its mature vocabulary, and though nearly three-quarters of a century have passed since his influence first manifested itself, there is still not one musician partaking of the jazz tradition who does not, knowingly or unknowingly, make use of something created by Louis Armstrong.For those who basked in the living presence of Armstrong, it is sobering to contemplate that we are at a point in the history of jazz where many among us know him only in his posthumous audiovisual incarnation, and many, alas, not even that well--unable instantly to recognize that voice, that trumpet sound, that face, that smile. Our age consumes even the most consummate art at such a pace that Armstrong's universality is no longer a given. Yet the infinite reproducibility of his recorded works ensures his immortality, and future generations will surely come to know that jazz and Louis Armstrong are synonymous. The language he created is a marvelously flexible and expandable one that can be spoken in ever so many accents, and as long as it remains a living tongue, it will refer back to its creator.So if you are someone who is hearing the music in this collection for the first time--and that is an enviable way to discover what took some of us years of searching for rare old records, a few at a time--it will be most surprising if there are not familiar strains in it. Miles Davis knew what he was talking about.By all odds, Louis Armstrong, born out of wedlock on August 4, 1901, in New Orleans, raised in the city's poorest quarter, out of school and working for a living before he'd finished fifth grade, was not slated to become world-famous. Yet against all odds, he not only survived but thrived. Sent to reform school at age twelve, he learned the fundamentals of music there and by the time he was sixteen was able to supplement his income from work as a longshoreman or day laborer by playing his cornet on weekends in such rough joints as the Brick House, where, as he tells us in his autobiography, Satchmo: My Life in New Orleans, 'Levee workers would congregate every Saturday night and trade with the gals who'd stroll up and down the floor and into the bar. Those guys would drink and fight one another like circle saws. Bottles would come flying over the bandstand like crazy, and there was lots of just plain common shooting and cutting. But somehow all that jive didn't faze me at all, I was so happy to have some place to blow my horn.'Indeed there was not much that ever fazed Louis Armstrong. He was blessed with a perfect physique for blowing that most demanding of instruments, the trumpet (actually a cornet for the first decade or so, but as we shall see, the difference is slight), and with a perfect disposition for making his way in the toughest of environments. 'Little Louis,' the first nickname he was known by, could be tough when required but mostly made friends wherever he went. He credited his maternal grandmother--the one permanent adult presence in his early childhood years--with instilling in him the system of values that would carry him through his extraordinary life and enable him to confront with equanimity

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