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 ratings 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 adolescents, Kent’s first 5 interviews have been with the MC5, Captain Beefheart, the thankful lifeless, 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 info for Apathy for the Devil: A 70s Memoir
It appears to have been about 35 cm long, and would have had a lowest note just below middle c (about 244 Hz). (4) teleios, or ‘complete’ aulos—either because it had the range of an adult male voice (teleios), or because it could play any selection of six consecutive notes from the ‘full’ system (systema teleion) of two octaves. ) for the reed, would have a lowest note around e flat below middle c (about 150 Hz) —roughly the lowest note of a modern B fiat clarinet. (5) hyperteleios, or ‘super-complete’.
These led to a different form of comedy, known as the ‘New Comedy’, in which the musical element was much less important. As it was the forerunner of early Roman comedy, it will be examined in detail in Chapter 8. Beside the tragedies and comedies, there was another type of play which was regularly performed at the Dionysia, the great drama festival. This was known as satyr-drama, and was a most peculiar art-form. First of all, it should be stressed that it had nothing whatsoever to do with satire, in the ancient or modern sense of that word.
It is much more likely that the end of a short section of cane was softened by some process (perhaps by steaming), and then flattened and scraped into the characteristic double-reed shape. A number of other terms which relate to the control of the reed and embouchure are used in the literary sources, and some are apparently illustrated in vase-paintings. 7). According to the literary sources,12 these movements were used for delicate adjustments of pitch, which was sharpened by separating the pipes, and flattened by bringing them together.