STAAR GRADE 7 Reading May 2017
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TEXAS MUSIC SUPERSTORE Buy 5 Cds for $10 Each!
THOMAS FRASER I #79/168 AUGUST 2003 REVIEWS rQr> rÿ p rQ n œ œ œ œ (or not) Nancy Apple Big AI Downing Wayne Hancock Howard Kalish The 100 Greatest Songs Of REAL Country Music JOHN THE REVEALATOR FREEFORM AMERICAN ROOTS #48 ROOTS BIRTHS & DEATHS s_________________________________________________________ / TMRU BESTSELLER!!! SCRAPPY JUD NEWCOMB'S "TURBINADO ri TEXAS ROUND-UP YOUR INDEPENDENT TEXAS MUSIC SUPERSTORE Buy 5 CDs for $10 each! #1 TMRU BESTSELLERS!!! ■ 1 hr F .ilia C s TUP81NA0Q First solo release by the acclaimed Austin guitarist and member of ’90s. roots favorites Loose Diamonds. Scrappy Jud has performed and/or recorded with artists like the ' Resentments [w/Stephen Bruton and Jon Dee Graham), Ian McLagah, Dan Stuart, Toni Price, Bob • Schneider and Beaver Nelson. • "Wall delivers one of the best start-to-finish collections of outlaw country since Wayton Jennings' H o n k y T o n k H e r o e s " -Texas Music Magazine ■‘Super Heroes m akes Nelson's" d e b u t, T h e Last Hurrah’àhd .foltowr-up, üflfe'8ra!ftèr>'critieat "Chris Wall is Dyian in a cowboy hat and muddy successes both - tookjike.^ O boots, except that he sings better." -Twangzirtc ;w o tk s o f a m e re m o rta l.’ ^ - -Austin Chronlch : LEGENDS o»tw SUPER HEROES wvyw.chriswatlmusic.com THE NEW ALBUM FROM AUSTIN'S PREMIER COUNTRY BAND an neu mu - w™.mm GARY CLAXTON • acoustic fhytftm , »orals KEVIN SMITH - acoustic bass, vocals TON LEWIS - drums and cymbals sud Spedai td truth of Oerrifi Stout s debut CD is ContinentaUVE i! so much. -
The Sixties Counterculture and Public Space, 1964--1967
University of New Hampshire University of New Hampshire Scholars' Repository Doctoral Dissertations Student Scholarship Spring 2003 "Everybody get together": The sixties counterculture and public space, 1964--1967 Jill Katherine Silos University of New Hampshire, Durham Follow this and additional works at: https://scholars.unh.edu/dissertation Recommended Citation Silos, Jill Katherine, ""Everybody get together": The sixties counterculture and public space, 1964--1967" (2003). Doctoral Dissertations. 170. https://scholars.unh.edu/dissertation/170 This Dissertation is brought to you for free and open access by the Student Scholarship at University of New Hampshire Scholars' Repository. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of University of New Hampshire Scholars' Repository. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. -
Staie El J Ettn&Ssee
Staie el J ettn&Ssee SENATE JOINT RESOLUTION NO.1350 By Crowe A RESOLUTION to honor and congratulate Tanya Tucker upon her receipt of the 2020 Grammy Award for Best Country Album. WHEREAS, it is fitting that the members of the General Assembly should honor those exemplary individuals who have contributed significantly to Tennessee's diverse and dynamic culture, winning national and international acclaim for their endeavors in the field of music; and WHEREAS, the legendary Tanya Tucker is one such estimable individual who was recently most appropriately honored by winning the award for Best Country Album for her album, While I'm Livin', at the 62nd Grammy Awards; and WHEREAS, born on October 10, 1958, in Seminole, Texas, Ms. Tucker made her professional debut with country great Mel Tillis, who was quite impressed with the aspiring artist's talent; thereafter, she and her family moved to Las Vegas, where the young Tanya regularly performed; and WHEREAS, a precocious girl whose confident, full-bodied vocals belied her youth, Tanya Tucker signed with Columbia Records and landed her first country hit, "Delta Dawn," when she was only thirteen years old, signaling an auspicious start to a musical career that continues today; and WHEREAS, the following year, Ms. Tucker scored her first No. 1 on the country charts with "What's Your Mama's Name"; then, at fifteen, Tanya Tucker had a Grammy Award-nominated song to her credit and was one of the first country artists to appear on the cover of Rolling Stone magazine; and WHEREAS, Ms. Tucker's talent and hard work have garnered her countless accolades over the years, among them the Top New Female Vocalist award from the Academy of Country Music (ACM) in 1972, the Female Vocalist of the Year award from the Country Music Association in 1991, and the Cliffie Stone Pioneer Award from the ACM in 2016; and WHEREAS, Tanya Tucker's body of work is replete with poignant and inspirational songs of love and triumph, as well as some songs that are flat-out entertaining as her discography boasts over thirty albums, ten No. -
The Complete Poetry of James Hearst
The Complete Poetry of James Hearst THE COMPLETE POETRY OF JAMES HEARST Edited by Scott Cawelti Foreword by Nancy Price university of iowa press iowa city University of Iowa Press, Iowa City 52242 Copyright ᭧ 2001 by the University of Iowa Press All rights reserved Printed in the United States of America Design by Sara T. Sauers http://www.uiowa.edu/ϳuipress No part of this book may be reproduced or used in any form or by any means without permission in writing from the publisher. All reasonable steps have been taken to contact copyright holders of material used in this book. The publisher would be pleased to make suitable arrangements with any whom it has not been possible to reach. The publication of this book was generously supported by the University of Iowa Foundation, the College of Humanities and Fine Arts at the University of Northern Iowa, Dr. and Mrs. James McCutcheon, Norman Swanson, and the family of Dr. Robert J. Ward. Permission to print James Hearst’s poetry has been granted by the University of Northern Iowa Foundation, which owns the copyrights to Hearst’s work. Art on page iii by Gary Kelley Printed on acid-free paper Library of Congress Cataloging-in-Publication Data Hearst, James, 1900–1983. [Poems] The complete poetry of James Hearst / edited by Scott Cawelti; foreword by Nancy Price. p. cm. Includes index. isbn 0-87745-756-5 (cloth), isbn 0-87745-757-3 (pbk.) I. Cawelti, G. Scott. II. Title. ps3515.e146 a17 2001 811Ј.52—dc21 00-066997 01 02 03 04 05 c 54321 01 02 03 04 05 p 54321 CONTENTS An Introduction to James Hearst by Nancy Price xxix Editor’s Preface xxxiii A journeyman takes what the journey will bring. -
Psychedelia, the Summer of Love, & Monterey-The Rock Culture of 1967
Trinity College Trinity College Digital Repository Senior Theses and Projects Student Scholarship Spring 2012 Psychedelia, the Summer of Love, & Monterey-The Rock Culture of 1967 James M. Maynard Trinity College, [email protected] Follow this and additional works at: https://digitalrepository.trincoll.edu/theses Part of the American Film Studies Commons, American Literature Commons, and the American Popular Culture Commons Recommended Citation Maynard, James M., "Psychedelia, the Summer of Love, & Monterey-The Rock Culture of 1967". Senior Theses, Trinity College, Hartford, CT 2012. Trinity College Digital Repository, https://digitalrepository.trincoll.edu/theses/170 Psychedelia, the Summer of Love, & Monterey-The Rock Culture of 1967 Jamie Maynard American Studies Program Senior Thesis Advisor: Louis P. Masur Spring 2012 1 Table of Contents Introduction..…………………………………………………………………………………4 Chapter One: Developing the niche for rock culture & Monterey as a “savior” of Avant- Garde ideals…………………………………………………………………………………...7 Chapter Two: Building the rock “umbrella” & the “Hippie Aesthetic”……………………24 Chapter Three: The Yin & Yang of early hippie rock & culture—developing the San Francisco rock scene…………………………………………………………………………53 Chapter Four: The British sound, acid rock “unpacked” & the countercultural Mecca of Haight-Ashbury………………………………………………………………………………71 Chapter Five: From whisperings of a revolution to a revolution of 100,000 strong— Monterey Pop………………………………………………………………………………...97 Conclusion: The legacy of rock-culture in 1967 and onward……………………………...123 Bibliography……………………………………………………………………………….128 Acknowledgements………………………………………………………………………..131 2 For Louis P. Masur and Scott Gac- The best music is essentially there to provide you something to face the world with -The Boss 3 Introduction: “Music is prophetic. It has always been in its essence a herald of times to come. Music is more than an object of study: it is a way of perceiving the world. -
In Which Yet Another Pompous Blowhard Purports to Possess the True Meaning of Punk Rock
11 In Which Yet Another Pompous Blowhard Purports to Possess the True Meaning of Punk Rock Lester Bangs All the shit they play on the radio today-it lacks the true meaning of rock, which is sex, subversion, and style. Rock 'n' roll is pagan and primitive and very jungle, and that's how it should be. The moment it stops being those things, it's dead. -Sex Pistols manager Malcolm McClaren (Kohut and Kohut 1994, 18) The kids want misery and death. They want threatening noises because that shakes you out of your apathy. -John Lydon of the Sex Pistols (Kohut and Kohut 1994, 101) Lester Bangs is the most celebrated critic in the history of rock. A wild man and visionary armed with a pugnacious attitude and original writing style, which he claimed was based on the sound and language of rock and roll itself (Bangs 1987, ix), he was an early champion of punk rock. According to Bangs, punk means rock "in its most basic, primitive form," and it has thus been around from the beginnings of rock 'n' roll. Here he expounds upon what he sees as the true meaning of not only punk, but of rock itself, delivering a manifesto for both: the essence is passion. Rock must be first and foremost "a raw wail from the bottom of the guts." Punk rock was hardly invented by the Ramones in Qyeens, NY, in 1974-5, any more than it was by the Sex Pistols in London a year or so later. You have to go back to the New York Dolls. -
THE BIRTH of HARD ROCK 1964-9 Charles Shaar Murray Hard Rock
THE BIRTH OF HARD ROCK 1964-9 Charles Shaar Murray Hard rock was born in spaces too small to contain it, birthed and midwifed by youths simultaneously exhilarated by the prospect of emergent new freedoms and frustrated by the slow pace of their development, and delivered with equipment which had never been designed for the tasks to which it was now applied. Hard rock was the sound of systems under stress, of energies raging against confnement and constriction, of forces which could not be contained, merely harnessed. It was defned only in retrospect, because at the time of its inception it did not even recognise itself. The musicians who played the frst ‘hard rock’ and the audiences who crowded into the small clubs and ballrooms of early 1960s Britain to hear them, thought they were playing something else entirely. In other words, hard rock was – like rock and roll itself – a historical accident. It began as an earnest attempt by British kids in the 1960s, most of whom were born in the 1940s and raised and acculturated in the 1950s, to play American music, drawing on blues, soul, R&B, jazz and frst-generation rock, but forced to reinvent both the music, and its world, in their own image, resulting in something entirely new. However, hard rock was neither an only child, nor born fully formed. It shared its playpen, and many of its toys, with siblings (some named at the time and others only in retrospect) like R&B, psychedelia, progressive rock, art-rock and folk-rock, and it emerged only gradually from the intoxicating stew of myriad infuences that formed the musical equivalent of primordial soup in the uniquely turbulent years of the second (technicolour!) half of the 1960s. -
Record Dreams Catalog
RECORD DREAMS 50 Hallucinations and Visions of Rare and Strange Vinyl Vinyl, to: vb. A neologism that describes the process of immersing yourself in an antique playback format, often to the point of obsession - i.e. I’m going to vinyl at Utrecht, I may be gone a long time. Or: I vinyled so hard that my bank balance has gone up the wazoo. The end result of vinyling is a record collection, which is defned as a bad idea (hoarding, duplicating, upgrading) often turned into a good idea (a saleable archive). If you’re reading this, you’ve gone down the rabbit hole like the rest of us. What is record collecting? Is it a doomed yet psychologically powerful wish to recapture that frst thrill of adolescent recognition or is it a quite understandable impulse to preserve and enjoy totemic artefacts from the frst - perhaps the only - great age of a truly mass art form, a mass youth culture? Fingering a particularly juicy 45 by the Stooges, Sweet or Sylvester, you could be forgiven for answering: fuck it, let’s boogie! But, you know, you’re here and so are we so, to quote Double Dee and Steinski, what does it all mean? Are you looking for - to take a few possibles - Kate Bush picture discs, early 80s Japanese synth on the Vanity label, European Led Zeppelin 45’s (because of course they did not deign to release singles in the UK), or vastly overpriced and not so good druggy LPs from the psychedelic fatso’s stall (Rainbow Ffolly, we salute you)? Or are you just drifting, browsing, going where the mood and the vinyl takes you? That’s where Utrecht scores. -
Tanya Tucker
Tanya Tucker │Biography │ One of country music’s greatest legends, Tanya Tucker, has just released her much anticipated new CD, My Turn, on Saguaro Road Records. On this new album Tucker takes classic country songs originally recorded by the all time great male legends of the time and turns the tables, giving classics such as “You Don’t Know Me” and “Oh, Lonesome Me” a powerful reconstruction from a woman’s point of view. Only 13 when her provocative “Delta Dawn” caused a nationwide stir and became a Top 10 country hit, Tucker has built one of the most successful and compelling careers in music. Considered one of the very few females of the “outlaw” country movement, she holds a Grammy award, two Country Music Association awards, Two Academy of Country Music awards, and three CMT Awards. 23 of her albums have landed in the country Top 40 chart since her 1972 debut, and she has amassed 10 #1 country singles, 33 that have reached the Top 5, and 41 in the Top 10. Always reinventing herself, Tanya again became a media darling in 2005 as the star of her own television reality series, Tuckerville. The primetime series was a huge hit for TLC, generating the cable network’s highest Neilsen ratings ever, and guaranteed the show’s return in 2006. Having sold over 50 million records over the last three decades, country music icon Tanya Tucker is among the all-time best selling female vocalists in country music. “Surprisingly mature at a very young age, Tanya Tucker continues to grow today, taming and conquering tunes long assumed to be a man’s territory. -
Music 262: Rock Music, History and Social Analysis, San Francisco Scene
Music 262: Rock Music, History and Social Analysis, San Francisco Scene [Music Playing on Piano] [Brian Ward]: So there’s another movement in rock n’ roll that happens that’s really related to folk rock and psychedelic rock and it happens in a specific region. This is in San Francisco in the early to later 1960s. This is around a neighborhood built at an intersection in San Francisco, the intersection of Haight and Ashbury. This is a growing sub-culture of young people in the United States commonly known today as hippies. They lived in these communes and a lot of them were starving artists or drop-outs, anti-establishment people. They all congregated in this one city at this one particular time. Along with this we have a large community of folk musicians. We have writers like Ken Kesey that are there. He’s leading these experiments with LSD known as the Acid Tests, also known as Happenings that were happening in San Francisco and all along the west coast. It’s estimated that there were 500 to 1500 bands in San Francisco alone during this period. A big thing about this hippie movement is the philosophy of existentialism. Existentialism is a philosophy that states if a person is totally responsible for their own life and through their experience and their own decision making process are able to come up with their own moral code and way of living. So what this creates is a lot of freedom and a way for them to speak to the older generation in a semi-intelligent way and say, “Look. -
Sixties' Garage-Psych Legends Return with "This Is My Voice"
The Chocolate Watchband Photo: Greg Gutbezahl Feb 17, 2019 19:33 GMT THE CHOCOLATE WATCHBAND: Sixties’ Garage-Psych Legends Return With "This Is My Voice" Breaking out of the West Coast counter culture scene of the 1960s, The Chocolate Watchband, influenced by the British Invasion sounds, shook with an intensity and drive that saw them drench themselves in psychedelia while at the same time foraging an early proto-punk trough. Their influence has proved more potent than their sales were at the time, overshadowed by other groups and ripped off by music fat cats, theirs is a tale of returning to the stage to find that their fanbase has grown in the intervening half a century. So, sit back and take a ride with one of the original voices of the psych garage-rock scene. View embedded content here Sometimes it’s pretty cool to see the old timers getting their due. Over the years, a lot of the legends of ’60s garage rock who didn’t quite get the same level of recognition back in the day as some of their more famous peers have made a comeback after a lengthy hiatus. Bands like The Sonics and The Sloths come to mind as just a couple of the acts who’ve shown in recent years just how good a bunch of old guys playing garage rock can be. And now California garage/psych/proto-punk legends The Chocolate Watchband are back again with a new album, This Is My Voice. View embedded content here While the Chocolate Watchband reunited in 1999 after a 29-year hiatus, they've not released much new material since then. -
The Sound of the Suburbs: a Case Study of Three Garage Bands in San Jose, California During the 1960S
San Jose State University SJSU ScholarWorks Faculty and Staff ubP lications Library October 2006 The oundS of the Suburbs: A Case Study of Three Garage Bands in San Jose, California during the 1960s Paul Kauppila San Jose State University, [email protected] Follow this and additional works at: https://scholarworks.sjsu.edu/lib_pub Part of the Music Commons, and the Social and Behavioral Sciences Commons Recommended Citation Paul Kauppila. "The oundS of the Suburbs: A Case Study of Three Garage Bands in San Jose, California during the 1960s" Popular Music and Society (2006): 391-405. This Article is brought to you for free and open access by the Library at SJSU ScholarWorks. It has been accepted for inclusion in Faculty and Staff Publications by an authorized administrator of SJSU ScholarWorks. For more information, please contact [email protected]. The Sound of the Suburbs: A Case Study of Three Garage Bands in San Jose, California During the 1960s by Paul Kauppila INTRODUCTION/THE BEATLES The recent spate of articles, television specials, radio shows, and other observations of the fortieth anniversary of the Beatles' appearance on the Ed Sullivan show attest to that moment's lasting significance in the history of popular music and popular culture. In an increasingly fragmented era of media consumption through multiple technological avenues, most prominently cable and pay television and the Internet, it is sometimes difficult to imagine the profound effect that a single television program could have in the year 1964. The tremendous popularity of the Beatles, coupled with an expanding and increasingly affluent middle class, led to an explosion of bands playing music in a style that eventually came to be known as "garage rock", although that term did not come into common usage until several years later.