Books On Alcoholism in the News

Josh Brent had a prior DUI arrest in college
Filed under: books on alcoholism

If this was in California with the DUI laws that are on the books out here…that's dude would in serious serious….I mean …. It's hard to face that reality as you call it when the “disease” is the only one that is 100% preventable by never taking a …
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The 8 Ball 12.8.12: The Top 8 Singles of 2012
Filed under: books on alcoholism

… and it certainly doesn't hurt that it is unbelievably catchy. This song didn't quite hit the commercial heights that "We Are Young" did, but it found a much higher level of critical appreciation and it showed that the band was not content to go …
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Lorenz Hart Biography, by Gary Marmorstein
Filed under: books on alcoholism

We're inextricably caught up in the thick of things. I kept wishing Marmorstein, the author of books about Columbia Records and Hollywood movie music, would step back from his subject's over-full appointment book and ask, But who was Lorenz Hart?
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Tabiyat in dino begana-e-gham hoti jaati hai(Old classic)- begum Akhtar sings Jigar Muradabadi

Begum Akhtar or Akhtari Bai Faizabadi (October 7, 1914 1974) was an Indian vocalist of Ghazal, Dadra and Thumri. Her first public performance was at the age of fifteen. She also acted in several Bollywood films, including Mumtaz Beghum (1934), Jawaani Ka Nasha(1935), King for a Day (1933, director : Raaj Hans). She received the Sangeet Natak Akademi Award for vocal music, and was awarded Padma Shri and Padma Bhushan (posthumously) by Govt. of India Today her name is almost synonymous with the concept of ghazal gayaki, and her imitable style of singing which immortalized her, and gave her the title of Mallika-e-Ghazal (Queen of Ghazals) Begum Akhtar’s good looks and sensitive voice made her an ideal candidate for a film career in her early years. When she heard great musicians like Gauhar Jan and Malak Jan, however, she decided to forsake the glamour of the film world for a career in Indian classical music. Her supreme artistry in light classical music had its moorings in the tradition of pure classicism. She chose her repertoire in primarily classical modes: a variety of raags, ranging from simple to complex. After the advent of talkie era in India, Beghum Akhtar acted in a few Hindi movies in thirties. East India Film Company of Calcutta approached her to act in “King for a Day” (alias Ek Din Ka Badshah) and Nal Damayanti in 1933. Like others of that era, she sang her songs herself in all her films. She continued acting in the following years. Subsequently Beghum Akhtar …

 

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