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Selected Observations from the Harlem Jazz Scene By
SELECTED OBSERVATIONS FROM THE HARLEM JAZZ SCENE BY JONAH JONATHAN A dissertation submitted to the Graduate School-Newark Rutgers, the State University of New Jersey in partial fulfillment of the requirements for the degree of Master of Arts Graduate Program in Jazz History and Research Written under the direction of Dr. Lewis Porter and approved by ______________________ ______________________ Newark, NJ May 2015 2 Table of Contents Acknowledgements Page 3 Abstract Page 4 Preface Page 5 Chapter 1. A Brief History and Overview of Jazz in Harlem Page 6 Chapter 2. The Harlem Race Riots of 1935 and 1943 and their relationship to Jazz Page 11 Chapter 3. The Harlem Scene with Radam Schwartz Page 30 Chapter 4. Alex Layne's Life as a Harlem Jazz Musician Page 34 Chapter 5. Some Music from Harlem, 1941 Page 50 Chapter 6. The Decline of Jazz in Harlem Page 54 Appendix A historic list of Harlem night clubs Page 56 Works Cited Page 89 Bibliography Page 91 Discography Page 98 3 Acknowledgements This thesis is dedicated to all of my teachers and mentors throughout my life who helped me learn and grow in the world of jazz and jazz history. I'd like to thank these special people from before my enrollment at Rutgers: Andy Jaffe, Dave Demsey, Mulgrew Miller, Ron Carter, and Phil Schaap. I am grateful to Alex Layne and Radam Schwartz for their friendship and their willingness to share their interviews in this thesis. I would like to thank my family and loved ones including Victoria Holmberg, my son Lucas Jonathan, my parents Darius Jonathan and Carrie Bail, and my sisters Geneva Jonathan and Orelia Jonathan. -
Rolling Stone Magazine's Top 500 Songs
Rolling Stone Magazine's Top 500 Songs No. Interpret Title Year of release 1. Bob Dylan Like a Rolling Stone 1961 2. The Rolling Stones Satisfaction 1965 3. John Lennon Imagine 1971 4. Marvin Gaye What’s Going on 1971 5. Aretha Franklin Respect 1967 6. The Beach Boys Good Vibrations 1966 7. Chuck Berry Johnny B. Goode 1958 8. The Beatles Hey Jude 1968 9. Nirvana Smells Like Teen Spirit 1991 10. Ray Charles What'd I Say (part 1&2) 1959 11. The Who My Generation 1965 12. Sam Cooke A Change is Gonna Come 1964 13. The Beatles Yesterday 1965 14. Bob Dylan Blowin' in the Wind 1963 15. The Clash London Calling 1980 16. The Beatles I Want zo Hold Your Hand 1963 17. Jimmy Hendrix Purple Haze 1967 18. Chuck Berry Maybellene 1955 19. Elvis Presley Hound Dog 1956 20. The Beatles Let It Be 1970 21. Bruce Springsteen Born to Run 1975 22. The Ronettes Be My Baby 1963 23. The Beatles In my Life 1965 24. The Impressions People Get Ready 1965 25. The Beach Boys God Only Knows 1966 26. The Beatles A day in a life 1967 27. Derek and the Dominos Layla 1970 28. Otis Redding Sitting on the Dock of the Bay 1968 29. The Beatles Help 1965 30. Johnny Cash I Walk the Line 1956 31. Led Zeppelin Stairway to Heaven 1971 32. The Rolling Stones Sympathy for the Devil 1968 33. Tina Turner River Deep - Mountain High 1966 34. The Righteous Brothers You've Lost that Lovin' Feelin' 1964 35. -
The Allman Betts Band
May 2020 May WashingtonBluesletter Blues Society www.wablues.org Remembering Wade Hickam COVID-19 Resources for Musicians Special Feature: Th e Allman Betts Band LETTER FROM THE PRESIDENT WASHINGTON BLUES SOCIETY Hi Blues Fans, Proud Recipient of a 2009 You will find lots ofKeeping the Blues Alive Award information in this Bluesletter if you are a musician. Our 2020 OFFICERS editor, Eric Steiner, has kept President, Tony Frederickson [email protected] his eyes open and his ears Vice President, Rick Bowen [email protected] tuned for opportunities that Secretary, Marisue Thomas [email protected] musicians can explore to Treasurer, Ray Kurth [email protected] help them in this challenging Editor, Eric Steiner [email protected] time. He has a real knack for this as he’s worked in public and private sector grant programs. We will continue to print these 2020 DIRECTORS opportunities in both the Bluesletter and post them on our website Music Director, Amy Sassenberg [email protected] (www.wablues.org), and our Facebook page. Please explore these Membership, Chad Creamer [email protected] opportunities and share with your bandmates. Education, Open [email protected] For our members, please continue to practice social distancing, Volunteers, Rhea Rolfe [email protected] wear face masks and stay safe. As we overcome this first wave of Merchandise, Tony Frederickson [email protected] infections and our state reopens, be patient and stay informed as I Advertising, Open [email protected] hope to see all of you out and about once we can go see live music. We will overcome this and be back enjoying all of our favorite THANKS TO THE WASHINGTON BLUES SOCIETY 2020 STREET TEAM playing live music. -
Ramones 2002.Pdf
PERFORMERS THE RAMONES B y DR. DONNA GAINES IN THE DARK AGES THAT PRECEDED THE RAMONES, black leather motorcycle jackets and Keds (Ameri fans were shut out, reduced to the role of passive can-made sneakers only), the Ramones incited a spectator. In the early 1970s, boredom inherited the sneering cultural insurrection. In 1976 they re earth: The airwaves were ruled by crotchety old di corded their eponymous first album in seventeen nosaurs; rock & roll had become an alienated labor - days for 16,400. At a time when superstars were rock, detached from its roots. Gone were the sounds demanding upwards of half a million, the Ramones of youthful angst, exuberance, sexuality and misrule. democratized rock & ro|ft|you didn’t need a fat con The spirit of rock & roll was beaten back, the glorious tract, great looks, expensive clothes or the skills of legacy handed down to us in doo-wop, Chuck Berry, Clapton. You just had to follow Joey’s credo: “Do it the British Invasion and surf music lost. If you were from the heart and follow your instincts.” More than an average American kid hanging out in your room twenty-five years later - after the band officially playing guitar, hoping to start a band, how could you broke up - from Old Hanoi to East Berlin, kids in full possibly compete with elaborate guitar solos, expen Ramones regalia incorporate the commando spirit sive equipment and million-dollar stage shows? It all of DIY, do it yourself. seemed out of reach. And then, in 1974, a uniformed According to Joey, the chorus in “Blitzkrieg Bop” - militia burst forth from Forest Hills, Queens, firing a “Hey ho, let’s go” - was “the battle cry that sounded shot heard round the world. -
Asbestos Removed from Alumnae Hall
CTHE TUFTS DAILY] Medford, MA 02155 Tuesday, March 13,1990 Vol XX, Number 35 Students attend forum on date Asbestos removed rape - and sexual harassment from Alumnae Hall by ALISSA KRINSKY by EMANUEL BARDANIS background air sampling test, a Contributing Writer Daily Editorial Board pump is used to pull air across a Several Tufts organizations and Asbestos removal from Class- filter which is then examined under the Somerville Police Department room 15 in Alumnae Hall that a microscope in order to deter- gave a presentation last Wednes- began on Feb. 27 was completed mine the amount of asbestos in day night on preventing and deal- Friday, according to Lenane But- the atmosphere. ing with date rape and sexual ler, environmental health techni- “We have thoroughly inspected harassment. cian for the Tufts Environmental the campus,” Pitoniak said of an Organizers for the discussion Health and Safety Office. inspection conducted by her of- included the Tufts Police Depart- Construction Project Manager fice a few years ago. She said that ment, the Counseling Center, the John Crow said that the asbestos as a result of that inspection, the Somerville Police Department. removal work on Alumnae Hall Environmental Health and Safety Actively Working for Acquain- is part of current renovation on Office targeted several buildings tance RapeEducation(AWARE), Jackson Gym and Cohen Audito- on campus for asbestos removal. THINK and the Inter-Greek rium, necessitated by the con- “Our long-term goal is to Council Committee on Sexual struction of the Aidekman Arts remove all asbestos from the Harassment and Date RaDe Aware- -1 Center in the lot adjacent to these campus,” Pitoniak said. -
Annual Report 2010 / 2011
Annual Report 2010 / 2011 Table of Contents Grants for the Arts Progress Report . 4 Grants for the Arts FY 2010/2011 Budget . 5 Proposed 2010-11 Hotel Tax Revenue Allocation (in millions) . 6 Grants for the Arts Programs . 7 Annual Grants to San Francisco Arts Organizations . 8 Arts and Tourism—A Partnership with the San Francisco Convention and Visitors Bureau . 30 San Francisco Arts Monthly . 30 SFArts .org . 30 Nonrecurring Events Fund . 31 Handbook for Arts Organizations . 31 Special Initiatives . 31 Nonprofit Performing Arts Loan Program . 32 Cultural Data Project Statistics . 33 Grants for the Arts 2010/11 Annual Report 3 Grants for the Arts Progress Report BY Kary SCHULMAN, DIRECTOR n times of plenty, plan for scarcity; in times $250,000 grant, received by the Arts Commission of scarcity, plan for plenty . That old adage with matching funds from Grants for the Arts and The I has never been more apropos as now, when Mayor’s Office of Economic Development, will catalyze the arts continue to struggle through the current an artistic revitalization of the Mid-Market/Tenderloin period of scarcity which, unfortunately, few neighborhood . foresaw . However, we are encouraged by the undiminished creative energy of many groups And in terms of service to the field: actively engaged in artistic renewal to coincide with the time when plenty will return . • The Dynamic Adaptability Conference was held on January 28, 2010 . This conference brought Although the City of San Francisco’s finances showed a together over 700 arts workers and supporters deficit of over $400M, the Mayor’s budget kept funding in the Herbst Theatre for a free all-day event to all of the arts agencies at the previous year’s level in featuring a keynote speech by Jonah Lehrer recognition that we had already pared to the bone and (Proust was a Neuroscientist), and panels and that further decreases would threaten the integrity of presentations by a number of local and regional our programs . -
Mahogany Rush, Seattle Center Coliseum
CONCERTS 1) KISS w/ Cheap Trick, Seattle Center Coliseum, 8/12/77, $8.00 2) Aerosmith w/ Mahogany Rush, Seattle Center Coliseum,, 4/19/78, $8.50 3) Angel w/ The Godz, Paramount NW, 5/14/78, $5.00 4) Blue Oyster Cult w/ UFO & British Lions, Hec Edmondson Pavilion, 8/22/78, $8.00 5) Black Sabbath w/ Van Halen, Seattle Center Arena, 9/23/78, $7.50 6) 10CC w/ Reggie Knighton, Paramount NW, 10/22/78, $3.50 7) Rush w/ Pat Travers, Seattle Center Coliseum, 11/7/78, $8.00 8) Queen, Seattle Center Coliseum, 12/12/78, $8.00 9) Heart w/ Head East & Rail, Seattle Center Coliseum, 12/31/78, $10.50 10) Alice Cooper w/ The Babys, Seattle Center Coliseum, 4/3/79, $9.00 11) Jethro Tull w/ UK, Seattle Center Coliseum, 4/10/79, $9.50 12) Supertramp, Seattle Center Coliseum, 4/18/79, $9.00 13) Yes, Seattle Center Coliseum, 5/8/79, $10.50 14) Bad Company w/ Carillo, Seattle Center Coliseum, 5/30/79, $9.00 15) Triumph w/ Ronnie Lee Band (local), Paramount NW, 6/2/79, $6.50 16) New England w/ Bighorn (local), Paramount NW, 6/9/79, $3.00 17) Kansas w/ La Roux, Seattle Center Coliseum, 6/12/79, $9.00 18) Cheap Trick w/ Prism, Hec Edmondson Pavilion, 8/2/79, $8.50 19) The Kinks w/ The Heaters (local), Paramount NW, 8/29/79, $8.50 20) The Cars w/ Nick Gilder, Hec Edmondson Pavilion, 9/21/79, $9.00 21) Judas Priest w/ Point Blank, Seattle Center Coliseum, 10/17/79, Free – KZOK giveaway 22) The Dishrags w/ The Look & The Macs Band (local), Masonic Temple, 11/15/79, $4.00 23) KISS w/ The Rockets, Seattle Center Coliseum, 11/21/79, $10.25 24) Styx w/ The Babys, Seattle -
Omega Auctions Ltd Catalogue 28 Apr 2020
Omega Auctions Ltd Catalogue 28 Apr 2020 1 REGA PLANAR 3 TURNTABLE. A Rega Planar 3 8 ASSORTED INDIE/PUNK MEMORABILIA. turntable with Pro-Ject Phono box. £200.00 - Approximately 140 items to include: a Morrissey £300.00 Suedehead cassette tape (TCPOP 1618), a ticket 2 TECHNICS. Five items to include a Technics for Joe Strummer & Mescaleros at M.E.N. in Graphic Equalizer SH-8038, a Technics Stereo 2000, The Beta Band The Three E.P.'s set of 3 Cassette Deck RS-BX707, a Technics CD Player symbol window stickers, Lou Reed Fan Club SL-PG500A CD Player, a Columbia phonograph promotional sticker, Rock 'N' Roll Comics: R.E.M., player and a Sharp CP-304 speaker. £50.00 - Freak Brothers comic, a Mercenary Skank 1982 £80.00 A4 poster, a set of Kevin Cummins Archive 1: Liverpool postcards, some promo photographs to 3 ROKSAN XERXES TURNTABLE. A Roksan include: The Wedding Present, Teenage Fanclub, Xerxes turntable with Artemis tonearm. Includes The Grids, Flaming Lips, Lemonheads, all composite parts as issued, in original Therapy?The Wildhearts, The Playn Jayn, Ween, packaging and box. £500.00 - £800.00 72 repro Stone Roses/Inspiral Carpets 4 TECHNICS SU-8099K. A Technics Stereo photographs, a Global Underground promo pack Integrated Amplifier with cables. From the (luggage tag, sweets, soap, keyring bottle opener collection of former 10CC manager and music etc.), a Michael Jackson standee, a Universal industry veteran Ric Dixon - this is possibly a Studios Bates Motel promo shower cap, a prototype or one off model, with no information on Radiohead 'Meeting People Is Easy 10 Min Clip this specific serial number available. -
Lobotomy: Surviving the Ramones Free Download
LOBOTOMY: SURVIVING THE RAMONES FREE DOWNLOAD Dee Dee Ramone,Veronica Kofman,Legs McNeil | 256 pages | 28 Sep 2000 | Thunder's Mouth Press | 9781560252528 | English | New York, United States Lobotomy: Surviving the Ramones Also, he's a very good writer. Need to dig this out and read it again, if I've still got it. Dee Dee IS punk rock. I have to qualify that five star. I think I use it to yell at everybody. Apr 03, Ed Wagemann added it. But, I suppose there are other books dedicated to that. More Details I do wish the Lobotomy: Surviving the Ramones had more specific details about albums, tours etc. Just listen to the songs and music and it will tell you everything you need Lobotomy: Surviving the Ramones know. I found it to be interesting and well-written, as well as descriptive and smart. I have lived with a close family member's decades-long addictions, so I Lobotomy: Surviving the Ramones very surprised to find myself feeling sympathy and compassion for Dee Dee Ramone. Dee Dee was the son of a US soldier stationed in Germany and married to a local lady whose name Dee Dee cannot even be bothered to divulge. I read this book back in high school because I needed a non-fiction contribution to my culminating English project and this was the only one within arms reach three days before the due date. I recently revisited this old favorite. And he'd started making music, having left the Ramones behind for good. The story in Lobotomy: Surviving the Ramones about him uncovering a ring behind a brick in a wall is disturbingly fascinating. -
Celebrating Gregg Allman: Storytelling and Special Performances, Featuring Eric Church
FOR IMMEDIATE RELEASE: July 27, 2015 Media Contacts: Laura B. Cohen, LC Media PR for Skirball Cultural Center, (310) 867-3897, [email protected] Hannah Berryman, GRAMMY Foundation, (310) 392-3777, [email protected] Christina Cassidy, GRAMMY Foundation, (310) 392-3777, [email protected] Christian T. Potts, Iron Mountain Incorporated, (617) 535-8721, [email protected] Skirball Cultural Center and GRAMMY Foundation® announce CELEBRATING GREGG ALLMAN: STORYTELLING AND SPECIAL PERFORMANCES, FEATURING ERIC CHURCH Two musical superstars take the stage at the Skirball in celebration of the popular exhibition Bill Graham and the Rock & Roll Revolution Presented as part of the GRAMMY Foundation’s Living Histories program Thursday, September 24, 2015, 8:00 p.m. $35 General | $30 Skirball Members Dress code: business casual This program will take place at the Skirball Cultural Center 2701 N. Sepulveda Blvd., Los Angeles, CA 90049 FREE parking Tickets available on site, online at skirball.org/allman-church, or by phone at (877) SCC-4TIX LOS ANGELES, CA—The Skirball Cultural Center and the GRAMMY Foundation® announce GRAMMY®-winning legend Gregg Allman, renowned founding member of the Allman Brothers Band, in conversation with GRAMMY-nominated country star Eric Church on Thursday, September 24, 2015, at 8:00 p.m. The program will take place at the Skirball Cultural Center. Moderated by Scott Goldman, Vice President of the GRAMMY Foundation and MusiCares®, the evening will conclude with live acoustic performances by both Allman and Church, which will be recorded and archived as part of the GRAMMY Foundation Living Histories program. The Living Histories program preserves on visual media the life stories of key recording industry professionals and visionaries who helped create the history of recorded sound. -
American Foreign Policy, the Recording Industry, and Punk Rock in the Cold War
Georgia State University ScholarWorks @ Georgia State University History Dissertations Department of History Spring 5-10-2017 Music for the International Masses: American Foreign Policy, The Recording Industry, and Punk Rock in the Cold War Mindy Clegg Georgia State University Follow this and additional works at: https://scholarworks.gsu.edu/history_diss Recommended Citation Clegg, Mindy, "Music for the International Masses: American Foreign Policy, The Recording Industry, and Punk Rock in the Cold War." Dissertation, Georgia State University, 2017. https://scholarworks.gsu.edu/history_diss/58 This Dissertation is brought to you for free and open access by the Department of History at ScholarWorks @ Georgia State University. It has been accepted for inclusion in History Dissertations by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. MUSIC FOR THE INTERNATIONAL MASSES: AMERICAN FOREIGN POLICY, THE RECORDING INDUSTRY, AND PUNK ROCK IN THE COLD WAR by MINDY CLEGG Under the Direction of ALEX SAYF CUMMINGS, PhD ABSTRACT This dissertation explores the connections between US foreign policy initiatives, the global expansion of the American recording industry, and the rise of punk in the 1970s and 1980s. The material support of the US government contributed to the globalization of the recording industry and functioned as a facet American-style consumerism. As American culture spread, so did questions about the Cold War and consumerism. As young people began to question the Cold War order they still consumed American mass culture as a way of rebelling against the establishment. But corporations complicit in the Cold War produced this mass culture. Punks embraced cultural rebellion like hippies. -
The Dictators Reviews
The Great Dictators | Arts | The Harvard Crimson 5/11/12 8:40 PM NEWS OPINION MAGAZINE SPORTS ARTS MEDIA FLYBY ABOUT US ADVERTISING TWITTER FACEBOOK RSS MOBILE SUBSCRIBE CLASSIFIEDS CAMBRIDGE, MA WEATHER: 44F The Great Dictators MOST READ By PETEY E. MENZ, CRIMSON STAFF WRITER 1. The Fallacy of Tuna Fish Economics Published: Thursday, April 05, 2012 2. The Delphic Renamed "The Dolphin" 3. Letter: What PBK Really Means 2 retweet 2 retweet 1 COMMENT EMAIL PRINT 4. Shielding the Vomlet 2 retweet 5. Alexander J. P. Kunkel '12 Finding High Fidelity My punk-rock years were unexpected. I grew up an hour away from Manhattan and decades away from the mid-seventies, and there was a time when these circumstances seemed the greatest tragedy of my life. That was when I spent all of my money on records and CDs, when I spent days listening to Patti Smith and Richard Hell, when there was a thrilling sense of danger in the band names “Dead Boys” and “Sex Pistols.” Punk was about disaffection, but I loved it with unfettered and unironic enthusiasm. Every band had something distinctive to listen to, and every band was amazing for it. It was during this manic stage of exploration that I discovered the Dictators, a short-lived group of Noo Yawk punks who cheerfully endorsed hamburgers, cheesy pop hits, and the suburban lifestyle. Fourteen years after they broke up, I was born, and fourteen years after that I discovered and soon fell in love with their debut album, “Go Girl Crazy.” I had purchased the record on vinyl during my freshman year, which meant I could only listen to it in my family’s living room, where my mother’s record player was permanently installed.