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Song Played by the Beatles at the Cavern Club 1961-1963
PLAYLIST JUNE 10th 2012 This week’s show (and playlist) is a bit different. We will be spinning ONLY songs performed by The Beatles at The Cavern Club between the years 1961-1963. Hope ya dig it! Next Sunday (Fathers Day) Three hours of ALL McCartney music (with & without the Beatles) HOUR 1 SONG PLAYED BY THE BEATLES AT THE CAVERN CLUB 1961-1963 A Taste Of Honey (Paul) – PLEASE PLEASE ME 1963 Ain't She Sweet (John) – ANTHOLOGY 1 1994 Anna (John) – PLEASE PLEASE ME Baby It's You (John) – ANTHOLOGY 1 1994 Besame Mucho (Paul) – ANTHOLOGY 1Boys (Ringo) 2.14 Voice BREAK Chains (George) – PLEASE PLEASE ME Clarabella (Paul) – LIVE AT THE BBC 1995 Don't Ever Change (George/Paul) – LIVE AT THE BBC Glad All Over (George) – LIVE AT THE BBC Hello Little Girl (John) – ANTHOLOGY 1 RINGO - Hey Baby (Ringo) ROTOGRAVURE 1976 2.41 Voice BREAK Hippy Hippy Shake (Paul) – LIVE AT THE BBC Honeymoon Song (Paul) – LIVE AT THE BBC I Call Your Name (John) PAST MASTERS ----------------- I Forgot To Remember To Forget (George) – LIVE AT THE BBC I'm Gonna Sit Right Down And Cry (John)– LIVE AT THE BBC Johnny B.Goode (John) – LIVE AT THE BBC Kansas City (Paul) – LIVE AT THE BBC Keep Your Hands Off My Baby (John) – LIVE AT THE BBC Lend Me Your Comb (John) – ANTHOLOGY 1 Like Dreamers Do (Paul) – ANTHOLOGY 1 2.33 Voice BREAK Long Tall Sally (Paul) ) – ANTHOLOGY 1 Love Of The Loved (Paul) Decca TAPES 1962 Lucille (Paul) Wings Glasgow LIVE 1979 Matchbox (Paul `93) SOUNDCHECK Memphis (John) Decca TAPES Money (John) – Sweden RADIO 1 LIVE 1963 Mr. -
Nus » Indiqué Sur La Pochette, Sont Dis- En Résumé, Je Vous Recommande For- Ponibles En Cliquant Ou Sélectionnant Tement Ce DVD
BEATLES QUÉBEC MAGAZINE PAGE 9 nus » indiqué sur la pochette, sont dis- En résumé, je vous recommande for- ponibles en cliquant ou sélectionnant tement ce DVD. La qualité sonore et au menu, dans les « lobby cards » un visuelle de ce produit est sans égale, des personnages, soit sur John, Paul, compte tenue du produit qui date déjà George ou Ringo ou autre pour qu'ils de plus 42 ans. puissent virer au rouge. De là vous sélectionnez Play et le tour est joué: PROMOTION POUR vous avez les fameux spots de radio. Il LE FILM HELP! y en a 6 en tout répartis sur les 2 DVD. Ces hiddens in menus, appelés en Apple Records a conçu un mini site web pour le film. Vous retrouverez Page d’accueil du site Internet Scène coupée avec Wendy Richard language informatique « easter eggs », sont disponibles dans les deux formats DVD du film HELP!. toutes les informations pertinentes du film ainsi qu’une boutique de marchan- dises « Help! ». www.beatles.com/help UN DRAPEAU HELP! Avec la participation de Ringo Starr, eBay et Capitol Records (USA), un drapeau, mesurant 12 pieds par 18 pieds, à l’effigie du film HELP! , a été Scène coupée avec Wendy Richard offert en encan sur le site eBay. Les Beatles et Apple Records ne ces- Un ensemble d’items accompagnaient seront jamais de nous émerveiller. le fameux drapeau. Le gagnant de l’en- Même après toutes ces années, ils ont can s’est mérité un certificat d’authen- encore le don de nous fasciner. ticité signé par Ringo, un voyage de 5 jours/4 nuits à Londres, une visite au Studio Abbey Road, l’édition deluxe DVD du film Help! , un ensemble de 8 reproductions des « Lobby Cards » de 1965 du film Help! et un CD promo- tionnel (édition limitée). -
Book8-File10
PART THREE THE SHADOWS: SPANISH EPs 1960–1967 196 INTRODUCTION This is a review of the twenty-six Spanish EPs credited to The Shadows along with six further releases headlining Cliff Richard but containing Shadows (Drifters) material. All were released between 1960 and 1967 — 1962 and 1963 being the peak years — on the HMV label, in Spanish La voz de su amo (“The voice of his master”). In subsequent years EPs were supplanted by singles with picture sleeves. File 9 is this Introduction. Files 10/11 itemise and describe the EPs. There are three appendices (File 12) : the first provides scans together with track-listings of the 65 EPs credited to both Cliff Richard & The Shadows and to The Shadows in their own right over the years 1959–1967; the second contains a colour-coded pathfinder to Shadows recordings embraced by EPs over the years 1960–1967; the third is an A–Z of the all the Shadows titles examined in this feature. Comparative Material In the commentary comparisons have regularly been drawn with related product worldwide. Brief discographical details are appended to each item. It is to be assumed throughout that for any given EP it is the date of first release together with the catalogue number proper to that release that is specified, no account being taken of reissues. So for example (France) Columbia ESDF 1357 is listed, not reissue ESRF 1432. The point is especially relevant in the case of UK issues, where overseas markets very often made them their own and, while retaining the titles, naturally applied their own catalogue numbers and in many instances their own artwork as well. -
The Beatles on Film
Roland Reiter The Beatles on Film 2008-02-12 07-53-56 --- Projekt: transcript.titeleien / Dokument: FAX ID 02e7170758668448|(S. 1 ) T00_01 schmutztitel - 885.p 170758668456 Roland Reiter (Dr. phil.) works at the Center for the Study of the Americas at the University of Graz, Austria. His research interests include various social and aesthetic aspects of popular culture. 2008-02-12 07-53-56 --- Projekt: transcript.titeleien / Dokument: FAX ID 02e7170758668448|(S. 2 ) T00_02 seite 2 - 885.p 170758668496 Roland Reiter The Beatles on Film. Analysis of Movies, Documentaries, Spoofs and Cartoons 2008-02-12 07-53-56 --- Projekt: transcript.titeleien / Dokument: FAX ID 02e7170758668448|(S. 3 ) T00_03 titel - 885.p 170758668560 Gedruckt mit Unterstützung der Universität Graz, des Landes Steiermark und des Zentrums für Amerikastudien. Bibliographic information published by Die Deutsche Bibliothek Die Deutsche Bibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available on the Internet at http://dnb.ddb.de © 2008 transcript Verlag, Bielefeld This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 License. Layout by: Kordula Röckenhaus, Bielefeld Edited by: Roland Reiter Typeset by: Roland Reiter Printed by: Majuskel Medienproduktion GmbH, Wetzlar ISBN 978-3-89942-885-8 2008-12-11 13-18-49 --- Projekt: transcript.titeleien / Dokument: FAX ID 02a2196899938240|(S. 4 ) T00_04 impressum - 885.p 196899938248 CONTENTS Introduction 7 Beatles History – Part One: 1956-1964 -
Honors Thesis
I give permission for public access to my thesis and for any copying to be done at the discretion of the archives librarian and/or the College librarian. _________________________________________ MOUNT HOLYOKE COLLEGE HEALING THE WOUNDS OF FASCISM: THE AMERICAN MEDICAL BRIGADE AND THE SPANISH CIVIL WAR AN UNDERGRADUATE THESIS SUBMITTED IN PARTIAL FULFILLMENT FOR THE DEGREE OF BACHELOR OF ARTS WITH HONORS DEPARTMENT OF HISTORY BY ASHLEY JOHNSON MAY 1, 2007 SOUTH HADLEY, MASSACHUSSETTS TABLE OF CONTENTS INTRODUCTION…………………………………………………………1 CHAPTER ONE Why Spain?..............................................................................................11 CHAPTER TWO Hospital Life: Optimism, Trauma, and the Daily Grind……………..39 CHAPTER THREE The Journey Home………………………………………………………78 CONCLUSION……………………………………………………………107 APPENDIX Medical Brigade Photographs………………………………………...111 BIBLIOGRAPHY…………………………………………………………116 To my mother, Melanie Johnson, for instilling me with a love of history. ACKNOWLEDGEMENTS I would like to thank the following people, who helped make this project a reality: To the staff of the Tamiment Labor Archives at NYU, for organizing papers, finding audio guides, and suggesting new material. To the History Department of Mount Holyoke College for generously giving me two Almara grants to carry out my research in New York. To Fredericka Martin, for working on a history of the Medical Brigade until her dying day, and for generously leaving all the material to ALBA. To my grandmother, Nanette Campbell, for trekking off to the Palo Alto library to find me microfilmed back issues of the San Francisco Chronicle. To Joy, Jessie, and Leslie, for reading drafts, listening attentively, and at times, taking me out of the library by force. And of course to Professor Daniel Czitrom, an amazing advisor, for handing me my first book about the Abraham Lincoln Brigade my sophomore year, and seeing me through it to the end. -
CONGRESSIONAL RECORD— Extensions of Remarks E1204 HON
E1204 CONGRESSIONAL RECORD — Extensions of Remarks June 11, 2008 to bring about funding for the National Under- of this Administration in fact constitute grounds Diddley is the author of a body of songs— sea Research Program, the Integrated Ocean for impeachment—and I do not think that including ‘‘Who Do You Love?’’ ‘‘Road Run- Observing Program, and a range of fisheries Members of the House should be called upon ner,’’ ‘‘Mona,’’ ‘‘Before You Accuse Me’’ and research programs. to reach that conclusion today. ‘‘I’m a Man’’—that are among the earliest ex- No stranger to the community, Dr. Grassle Before the House is asked to reach such a amples of rock and roll rising out of rhythm is a member of numerous professional organi- draconian conclusion, the president should and blues. Diddley married into his music two zations, including the New Jersey Academy of have an opportunity to respond to the resolu- worlds he knew well—the Deep South and the Sciences, the American Society of Naturalists, tion’s charges and the statements and actions streets of Chicago. He formed a band called the Estuarine Research Federation, the Na- it cites in support of those charges. Before we the Hipsters while in high school and landed tional Association of Marine Laboratories and are asked to vote on the resolution, we should a regular spot at the 708 Club on Chicago’s the Oceanography Society, to name a few. He have the benefit of hearing from appropriate South Side in 1951. also served as Past President of the Inter- legal experts and other qualified witness and Diddley’s earliest records were contempora- national Association of Biological Oceanog- the Judiciary Committee should prepare a re- neous with those of label mate Chuck Berry. -
The Primary Singles
Ivo Koers Instrumentation On Hank Marvin, Bruce Welch and John Rostill Recordings II: The Primary Singles Hank Marvin March 1969 Single, Columbia DB 8552 Mono A: Goodnight Dick / B: Wahine First stereo issue of both sides: November 1987 LP, See For Miles SEE 210 Stereo Would You Believe It...Plus! Title: Goodnight Dick Duration: 2:47 Recording date: February 17th, 1969 Location: Abbey Road Studios, London, England Musician Instrument Position Far left Left of centre Centre Right of centre Far right in stereo image: Hank Marvin Electric lead X guitar Multi-tracked X electric lead guitar Vic Flick or Acoustic X Alan Parker rhythm guitar Herbie Electric bass X Flowers or guitar Dave Richmond Rex Bennett Drums X Norrie Orchestra X X Paramor Title: Wahine Duration: 2:27 Recording date: January 15th, 1969 Location: Abbey Road Studios, London, England Musician Instrument Position Far left Left of centre Centre Right of centre Far right in stereo image: Hank Marvin Electric lead X guitar Vic Flick or Electric X Alan Parker rhythm guitar Herbie Electric bass X Flowers or guitar Dave Richmond Rex Bennett Drums X Maracas X Pete Willsher Pedal-steel X or B. J. Cole guitar Norrie Orchestra X Paramor Hank Marvin June 1969 Single, Columbia DB 8601 Mono A: Sacha / B: Sunday For Seven Days Single remark: For “Sacha”, see under “I: The Primary Albums”, album “Hank Marvin”. Title: Sunday For Seven Days [VA] Duration: 2:29 Recording date: January 15th, 1969 Location: Abbey Road Studios, London, England Musician Instrument Position Far left Left of centre Centre Right of centre Far right in stereo image: Hank Marvin Electric lead X guitar Multi-tracked X electric lead guitar Vic Flick or Acoustic X Alan Parker rhythm guitar Herbie Electric bass X Flowers or guitar Dave Richmond Rex Bennett Drums X Tambourine X Norrie Orchestra X Paramor Remarks: This single version was released in mono only. -
Pontificia Universidad Católica De Chile Facultad De Artes Magíster En Artes Guitarristas Eléctricos En Chile
PONTIFICIA UNIVERSIDAD CATÓLICA DE CHILE FACULTAD DE ARTES MAGÍSTER EN ARTES GUITARRISTAS ELÉCTRICOS EN CHILE: LA EXPERIENCIA DE FRANCISCO CABRERA, ÓSCAR ARRIAGADA Y CARLOS CORALES EN LAS DÉCADAS DE 1950 A 1970 POR GABRIEL NICOLÁS RAMMSY SKOKNIC Tesis presentada a la Facultad de Artes de la Pontificia Universidad Católica de Chile, para optar al grado de Magíster en Artes (área de Música) Profesor guía: Rodrigo Torres Alvarado Diciembre, 2013 Santiago, Chile © 2013, Gabriel Nicolás Rammsy Skoknic Se autoriza la reproducción total o parcial, con fines académicos, por cualquier medio o procedimiento, incluyendo la cita bibliográfica que acredita al trabajo y a su autor. 1 Índice 2 Resumen 4 Introducción 5 Antecedentes 21 Origen de la guitarra eléctrica 21 Capítulo I: Francisco Panchito Cabrera. El Django Reinhardt chileno 25 Desde la academia del puerto de Antofagasta al jazz en Santiago 27 Django Reinhardt, el ícono 28 Panchito Cabrera 32 El rock and roll era un juego de niños 35 Jazz Manouche, Gypsy Jazz o Jazz Gitano 40 El Tarzán de la guitarra 42 Análisis de repertorio. Tres solos de guitarra eléctrica: “Marcianita”, “Te daré platita” y “Cumbia navideña” 44 Capítulo II: Óscar Arriagada. De Los Indios Tabajaras a Gerónimo 52 El sonido de Óscar Arriagada 55 Del requinto a la guitarra eléctrica 56 La era de oro del músico de sesión 58 Twist del esqueleto 60 Show 0007 y Los Dixon 62 Gerónimo 66 Apache 68 Análisis de “Apache” 72 Análisis del “Twist del esqueleto” 74 Capítulo III: Carlos Corales. “Por culpa del rock and roll” 81 El señor Corales 83 Irrupción y apropiación de un nuevo sonido: el rock and roll 84 Conjuntos instrumentales del barrio, guitarras y luthería amateur 85 2 Conjuntos musicales profesionales 91 De la guitarra cristalina al sonido distorsionado: Aguaturbia. -
Flirty Pretty Thing
PILOT LANDS AT POLO/2 AKRIS TAKES MADISON/11 WWDWomen’s Wear Daily • The Retailers’WEDNESDAY Daily Newspaper • September 3, 2003 Vol. 186, No. 47 $2.00 Sportswear Flirty Pretty Thing LAS VEGAS — The fun was back at this year’s WWDMAGIC convention, where bright colors, prints and feminine looks were just a few of the elements that livened things up. Here, Hot Kiss’ cotton dress with a tulle underskirt, photographed poolside at the Hard Rock Hotel & Casino. For more on Magic, see pages 6, 7, 14 and 15. Counting Down to 2005: China’s Strong Currency Heightens Trade Debate By Scott Malone DAY NE W YORK — As the end of quotas in 2005 looms closer, industry experts have two major questions on their mind regarding China, which has the potential to be the world’s dominant supplier of apparel. Looking toward Beijing, they wonder if the Chinese government will float its currency, which many economists contend is currently undervalued by about 40 percent, making Chinese exports even more competitive abroad than they would otherwise be. Looking at Washington, they wonder if the U.S. government will take advantage See China’s, Page12 PHOTO BY JEREMY GOLDBERG; MODEL: CHRISTINA MARIE/CHAMPAGNE TROTT; HAIR AND MAKEUP BY GERALDINE SHAKER-KEKATI; STYLED BY KIM FRI STYLED BY SHAKER-KEKATI; GERALDINE HAIR AND MAKEUP BY TROTT; JEREMY GOLDBERG; MODEL: CHRISTINA MARIE/CHAMPAGNE PHOTO BY 2 WWD, WEDNESDAY, SEPTEMBER 3, 2003 WWDWEDNESDAY Pilot Lands in Polo Retail Seat Sportswear GENERAL By Eric Wilson fessional with a strong back- within the domestic market over ground in merchandising, opera- the next five or six years. -
"A" - You're Adorable (The Alphabet Song) 1948 Buddy Kaye Fred Wise Sidney Lippman 1 Piano Solo | Twelfth 12Th Street Rag 1914 Euday L
Box Title Year Lyricist if known Composer if known Creator3 Notes # "A" - You're Adorable (The Alphabet Song) 1948 Buddy Kaye Fred Wise Sidney Lippman 1 piano solo | Twelfth 12th Street Rag 1914 Euday L. Bowman Street Rag 1 3rd Man Theme, The (The Harry Lime piano solo | The Theme) 1949 Anton Karas Third Man 1 A, E, I, O, U: The Dance Step Language Song 1937 Louis Vecchio 1 Aba Daba Honeymoon, The 1914 Arthur Fields Walter Donovan 1 Abide With Me 1901 John Wiegand 1 Abilene 1963 John D. Loudermilk Lester Brown 1 About a Quarter to Nine 1935 Al Dubin Harry Warren 1 About Face 1948 Sam Lerner Gerald Marks 1 Abraham 1931 Bob MacGimsey 1 Abraham 1942 Irving Berlin 1 Abraham, Martin and John 1968 Dick Holler 1 Absence Makes the Heart Grow Fonder (For Somebody Else) 1929 Lewis Harry Warren Young 1 Absent 1927 John W. Metcalf 1 Acabaste! (Bolero-Son) 1944 Al Stewart Anselmo Sacasas Castro Valencia Jose Pafumy 1 Ac-cent-tchu-ate the Positive 1944 Johnny Mercer Harold Arlen 1 Ac-cent-tchu-ate the Positive 1944 Johnny Mercer Harold Arlen 1 Accidents Will Happen 1950 Johnny Burke James Van Huesen 1 According to the Moonlight 1935 Jack Yellen Joseph Meyer Herb Magidson 1 Ace In the Hole, The 1909 James Dempsey George Mitchell 1 Acquaint Now Thyself With Him 1960 Michael Head 1 Acres of Diamonds 1959 Arthur Smith 1 Across the Alley From the Alamo 1947 Joe Greene 1 Across the Blue Aegean Sea 1935 Anna Moody Gena Branscombe 1 Across the Bridge of Dreams 1927 Gus Kahn Joe Burke 1 Across the Wide Missouri (A-Roll A-Roll A-Ree) 1951 Ervin Drake Jimmy Shirl 1 Adele 1913 Paul Herve Jean Briquet Edward Paulton Adolph Philipp 1 Adeste Fideles (Portuguese Hymn) 1901 Jas. -
Observation & Comprehension Quiz 1. What Is the Crowd Doing in the Opening Scene?
THE RUTLES in ALL YOU NEED IS CASH (Part 1: http://www.youtube.com/watch?v=Fu3T_2GzXSo) Observation & Comprehension Quiz 1. What is the crowd doing in the opening scene? Why? ……..……………………..……………… ……..……………………..……………………..……..……………………..……………………………. 2. What are the Rutles doing after their arrival at the airport? Why? ……………………………. ……..……………………..……………………..……..……………………..……………………………. 3. (1:11) What can you read on the back of the van? ………………..……………………………. 4. (1:26) What does the car registration number say? ………………..……………………………. 5. (1:35) Name the venue (=place) in Liverpool where the Rutles first played? …………….. 6. (1:39) What is the nickname of the Rutles? ………………..……………………….…………. 7. Complete the table with the full names of the Rutle members: Rutle member Styled after Beatle member Played by the actor John Lennon Neil Innes Paul McCartney Eric Idle George Harrison Ricky Fataar Richard Starkey John Halsey Nickname: Nickname: Ringo Starr th (=The 5 Rutle) Stuart Sutcliffe (=The 5th Beatle) Ollie Halsall 8. (1:50) What is the name of the Rutles’ manager? ………..……………………….…………. 9. Where did he discover them? ………………..………………………….………….…………. 10. How long did it take to record their 1st album? ………………………….………….…………. 11. (1:59) And their 2nd album? ………………………….………….……………………….………. 12. The reporter goes on to explain what his documentary (“mockumentary”) is about by saying : “Tonight we examine the ………… of the Rutles, we look at their …………, their …………, their ………… We ………… some of the ………… that ………… them what they are ………… And we shall also be ………… some of the people who …………with them whether they were really the ………… people they were made out to be. We shall be asking many people who ………… them what they ………… ………… …………(…)” 13. (2:20) Where are the Rutles probably playing? ….………….……………………….………. 14. -
'Talk of the Town', And, Later in the Year, in Cabaret Wi
1966 The group appeared with Cliff for a six-week spell at London’s ‘Talk Of The Town’, and, later in the year, in cabaret without Cliff at Bournemouth and South Shields. But they were with him for three further major projects, the films ‘Finders Keepers’ and (as puppets) ‘Thunderbirds Are Go’; and also (in the flesh) the pantomime ‘Cinderella’ which opened at the London Palladium on 10 December 1966. For all three, the first two especially, they penned a number of finely crafted vocal and instrumental pieces, which resulted in eponymous releases, an LP (which made No.6), an EP (No.6 again), and another LP put out in January 1967 (a mere No.30 for Cinderella , a very uneven set, the first Cliff Album not to make the Top 20). The high points for Cliff and The Shadows in the Singles department were the outstanding ‘Time Drags By’ (No.10) and ‘In The Country’ (yet another No.6), both group compositions. The Shadows fared less well with their own Singles, the first and third of which were vocals: [138] I MET A GIRL (No.22), [154] A PLACE IN THE SUN (No.24), [156] THE DREAMS I DREAM (No.42). [138] I MET A GIRL was eminently hummable, if not in the league of “a Rubber Soul outtake”, to which one reviewer likened it; nobody appears to have stopped to reflect that the elegant [154] A PLACE IN THE SUN, released in July, might have been wholly out of line with current market trends, as a glance at the Top 20 for the beginning of August, say, will reveal; as it happened though, Hank Marvin’s [156] THE DREAMS I DREAM, the most commercial-sounding by far and a composition that compares favourably with his later favourite [203] THE DAY I MET MARIE, was the one that gave them their lowest chart placing to date; it would be recorded by Cliff Richard without The Shadows on the 1968 Album Established 1958 .