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We were leaving a concert and she wasn't pulling out of a parking space quickly enough for another driver. Her eyes welling with hateful tears, I could only breathe out a whisper of words, so hushed they were barely audible: 'It's OK, Mommy.' I was trying to temper the rage-filled air permeating our small silver Volvo.Los Angeles had been plagued with the racially charged Rodney King and Reginald Denny cases just years before, when riots had flooded our streets, filling the sky with ash that flaked down like apocalyptic snow; I shared my mom's heartache, but I wanted us to be safe.

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You could only choose one, but that would be to choose one parent over the other – and one half of myself over the other. When I went home that night, I told my dad what had happened.

He said the words that have always stayed with me: 'If that happens again, you draw your own box.'I never saw my father angry, but in that moment I could see the blotchiness of his skin crawling from pink to red.

Hanslick had few followers among musicians during his lifetime (1825–1904).

By 1920, however, absolute music was being endorsed by leading modernists, including both Schoenberg and Stravinsky.

It was the late Seventies when my parents met, my dad was a lighting director for a soap opera and my mom was a temp at the studio.

I like to think he was drawn to her sweet eyes and her Afro, plus their shared love of antiques. They moved into a house in The Valley in LA, to a neighbourhood that was leafy and affordable. And there was my mom, caramel in complexion with her light-skinned baby in tow, being asked where my mother was since they assumed she was the nanny. This book traces the history of the idea of pure—“absolute”—music from Pythagoras to the present, with special emphasis on efforts to reconcile the irreducible essence of the art with its profound effects on the human spirit.The core of this study focuses on the period 1850–1935, beginning with the collision between Richard Wagner and the Viennese critic Eduard Hanslick. This book traces the history of the idea of pure—“absolute”—music from Pythagoras to the present, with special emphasis on efforts to reconcile the irreducible essence of the art with its profound effects on the human spirit.'I'm an actress, a writer, the Editor-in-Chief of my lifestyle brand The Tig, a pretty good cook and a firm believer in handwritten notes.' A mouthful, yes, but one that I feel paints a pretty solid picture of who I am. While I could say Pennsylvania and Ohio, and continue this proverbial two-step, I instead give them what they're after: 'My dad is Caucasian and my mom is African American.But here's what happens: they smile and nod politely, maybe even chuckle, before getting to their point, 'Right, but what are you? I'm half black and half white.' To describe something as being black and white means it is clearly defined.Wagner, who coined the term “absolute music” in 1846, used it as a pejorative in his efforts to expose the limitations of purely instrumental music. The core of this study focuses on the period 1850–1935, beginning with the collision between Richard Wagner and the Viennese critic Eduard Hanslick.

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