THE CIRCLE K Volume 29, Number 2 Marist College, Poughkeepsie, N.Y
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BRUCE THOMAS PUMPS IT up with ELVIS COSTELLO by Dan Forte Guitar Player March 1987
BRUCE THOMAS PUMPS IT UP WITH ELVIS COSTELLO by Dan Forte Guitar Player March 1987 EVERYTHING ABOUT ELVIS Costello -his intelligent and prolific songwriting, impassioned singing, horn-rimmed visual image, ever-changing stylistic jaunts,even his anti-hero guitar playing -is so all-pervasive that his trio of sidemen, the Attractions, seems all but anonymous. (A magazine that just named Costello artist.of the year for 1986 only three years earlier misidentified the members of the Attractions in a photo caption.) But if Elvis is to be commended for his stylistic daring, the Attractions deserve equal praise for their ability to follow him down every idiomatic path, with their original fire and indelible individualism intact. Of all of Costello's talents, perhaps his strongest suit is as bandleader - not only for keeping a group together for a decade, but for choosing the musicians he did to make up his backing band. The Attractions have been together since 1977, in which time they've recorded 11 albums (plus a Best Of collection) since Elvis' debut, My Aim Is True. And night after night they have proved that at least one band (coincidentally virtually the only surviving band) from England’s punk era can play and always could. After recording his auspicious debut with uncredited backing from the American band Clover (including guitarist John McFee, currently with Southern Pacific), Declan "Elvis Costello" MacManus settled on piamst Steve Nieve, drummer Pete Thomas, and (no relation) bassist Bruce Thomas, after aluditioning, in the bassist's, words "hundreds of guys who couldn't tune up or put the guitar on right." The group's first effort, This Year's Model, not only squelched any fears of a,sophomore jinx; it kicked in with more muscle than Aim and signaled the arrival of a distinct new collective musical personality. -
Terpsichorean Architecture: Editor's Introduction
Terpsichorean Architecture: Editor’s Introduction Tony Mitchell, University of Technology Sydney In Peter Hoeg’s celebrated novel Miss Smilla’s Feeling for Snow (1992), Greenland- born Smilla says of her extraordinary ability to decipher patterns and read tracks in snow: ‘Reading snow is like listening to music. To describe what you’ve read is to try and describe music in writing’ (2005:37). Later in the book, Andreas Fine Licht, a blind Professsor of Eskimo Languages and Cultures at the Danish Institute of Eskimology, deciphers a tape recording of a native Greenlander speaking in dialect about hunting. He is also able to hear and identify in the background on the tape the jazz music of trumpeter Roy Louber, formerly of the John Coltrane quartet, in a rare live concert performance in Thule in the late 1960s (2005:134). The experience of listening to, or hearing and identifying music may, in both cases, be a complex one, but writing about it comprehensively and memorably can be even more complex and fraught with difficulties. This selection of papers comes from a Symposium held at the University of Technology Sydeny (UTS) in September 2009. The title derives from a notorious quote—now a cliché—from Elvis Costello in an interview in the British Musician magazine in 1983: ‘Writing about music is like dancing about architecture—it’s a really stupid thing to want to do’ (White 1983). It has been attributed by various people at various times to Frank Zappa, Thelonious Monk, Laurie Anderson, David Byrne and numerous others, PORTAL Journal of Multidisciplinary International Studies, vol. -
The Uses and Misuses of Popular Music Lyrics in Legal Writing, 64 Wash
Washington and Lee Law Review Volume 64 | Issue 2 Article 4 Spring 3-1-2007 [Insert Song Lyrics Here]: The sesU and Misuses of Popular Music Lyrics in Legal Writing Alex B. Long Follow this and additional works at: https://scholarlycommons.law.wlu.edu/wlulr Part of the Legal Writing and Research Commons Recommended Citation Alex B. Long, [Insert Song Lyrics Here]: The Uses and Misuses of Popular Music Lyrics in Legal Writing, 64 Wash. & Lee L. Rev. 531 (2007), https://scholarlycommons.law.wlu.edu/wlulr/vol64/iss2/4 This Article is brought to you for free and open access by the Washington and Lee Law Review at Washington & Lee University School of Law Scholarly Commons. It has been accepted for inclusion in Washington and Lee Law Review by an authorized editor of Washington & Lee University School of Law Scholarly Commons. For more information, please contact [email protected]. [Insert Song Lyrics Here]: The Uses and Misuses of Popular Music Lyrics in Legal Writing Alex B. Long* Table of Contents I. For Those About To Rock (I Salute You) .................................... 532 II. I'm Looking Through You ........................................................... 537 A. I Count the Songs That Make the Legal Profession Sing, I Count the Songs in Most Everything, I Count the Songs That Make the Young Lawyers Cry, I Count the Songs, I Count the Songs ................................................. 537 B . A dd It U p ............................................................................... 539 C. I'm Looking Through You .................................................... 541 1. It Takes a Profession of Thousands To Hold Us Back .... 541 2. Baby Boomers Selling You Rumors of Their History ..... 544 3. -
Elvis Costello and the Attractions by As F Fey Kahn I
PERFORMERS Elvis Costello and the Attractions By Asf fey Kahn I— £ i£ — I 1 And it came to pass that many tribes were spread across the land, divided bp the music they made and the clothes they wore. One danced in tight skins of many colors, one sang of peace and allowed no razor to touch their heads, and one sang o f wrath and shaved their heads and rent their garments. 2 From the East a singer came, whose words were plenty and whose songsfoundfavor from all tribes. But the singer was strange, for his hair was neither long nor shaved and he called himself with a kingly name and he sang of wrath and yet said he was not wrathful N SOME WAYS, 1977 IS ALM OST ANCIENT HISTORY and lush Hollywood soundtracks. His songwriting now, back when a skinny-tied, gap-toothed, revealed a depth and wit and prolificacy unmatched Fender-banging Buddy Holly look-alike from by most popular tunesmiths, let alone his punk- England formed a band, called it the Attrac driven peers; Dylan comparisons were inevitable and tionsI and dared to name himself after the King of earned. Each album defied expectation and defined an Rock & Roll. At first, Elvis Costello ever-widening musical embrace. seemed a part of punk’s spit and Costello was less a product of his audacity, his music spinning time, it turned out, than of his par aggression into slashing riffs with ents’ expansive record collection. lyrics that became slogans of the “My mother says I could work the season. -
Artist 5Th Dimension, the 5Th Dimension, the a Flock of Seagulls
Artist 5th Dimension, The 5th Dimension, The A Flock of Seagulls AC/DC Ackerman, William Adam and the Ants Adam Ant Adam Ant Adam Ant Adams, Bryan Adams, Bryan Adams, Ryan & the Cardinals Aerosmith Aerosmith Alice in Chains Allman, Duane Amazing Rhythm Aces America America April Wine Arcadia Archies, The Asia Asleep at the Wheel Association, The Association, The Atlanta Rhythm Section Atlanta Rhythm Section Atlanta Rhythm Section Atlanta Rhythm Section Atlanta Rhythm Section Atlanta Rhythm Section Atlanta Rhythm Section Autry, Gene Axe Axton, Hoyt Axton, Hoyt !1 Bachman Turner Overdrive Bad Company Bad Company Bad Company Bad English Badlands Badlands Band, The Bare, Bobby Bay City Rollers Beach Boys, The Beach Boys, The Beach Boys, The Beach Boys, The Beach Boys, The Beach Boys, The Beatles, The Beatles, The Beatles, The Beatles, The Beaverteeth Bennett, Tony Benson, George Bent Left Big Audio Dynamite II Billy Squier Bishop, Elvin Bishop, Elvin Bishop, Stephen Black N Blue Black Sabbath Blind Faith Bloodrock Bloodrock Bloodrock Bloodstone Blue Nile, The Blue Oyster Cult !2 Blue Ridge Rangers Blues Brothers Blues Brothers Blues Brothers Blues Pills Blues Pills Bob Marley and the Wailers Bob Wills and His Texas Playboys BoDeans Bonham Bonoff, Karla Boston Boston Boston Boston Symphony Orchestra Bowie, David Braddock, Bobby Brickell, Edie & New Bohemians Briley, Martin Britny Fox Brown, Clarence Gatemouth Brown, Toni & Garthwaite, Terry Browne, Jackson Browne, Jackson Browne, Jackson Browne, Jackson Browne, Jackson Browne, Jackson Bruce -
Sfreeweekl Ysince | De Cember
CHICAGO’SFREEWEEKLYSINCE | DECEMBER | DECEMBER CHICAGO’SFREEWEEKLYSINCE Year in review THIS WEEK CHICAGOREADER | DECEMBER | VOLUME NUMBER IN THIS ISSUE T R - CITYLIFE 16 FeatureTheworsteverday 27 Galil|ListenTheshrinking 03 TransportationLightfoot’s inChicagotheaterprovides ofmusicmediarequiresanew @ doneagoodjobofkeepingher theimpetusforabeloved defi nitionof“overlooked” promisetopromotemobility quirkyholidayshow buteventhestrictestcriteria PTB ADVERTISING EC -- - @ STAFFING CHANGES justicewithoneglaring 17 Review TheLightinthe admitavastunexploredtrove S K KH AT THE READER exception PiazzashinesatLyric ofriches CL C @ 18 ShowsThebestofChicago 28 ShowsofnoteAvreeaylRa S K MEP M KEEN EYED READERS of NEWS& theaterinputthe andTimeMachineAntiFlag TD SDP F spotlightonreshapingold TamaSumo&Lakutiandmore KR VPS our masthead will notice POLITICS narrativesandfalsehistory thisweek CEBW A M several changes we’d like AEJL CR M 04 Joravsky|PoliticsAsthe 19 DanceThebestmomentsin 31 TheSecretHistoryof SWDI T P to acknowledge this week. teensturntothetwentiesit’s dancethisyearfocusedonthe ChicagoMusicHard BJMS SAR After 20 years with the astruggletofi ndcheerinthe powerofcommunity workingcountryrockersthe SWM L M-H DLG L S Reader, Kate Schmidt is gloom 20 PlaysofNote America’s Moondogsneverreleasedtheir EA CSM stepping away from her role 07 Dukmasova|NewsAnight BestOutcastToyisheartfelt onlyalbum S N L W R as deputy editor to pursue spentrevelingintheabsurdity andfunnyTheMysteryof 32 EarlyWarningsSteveAoki -
Administration Concerned Life
The College of Wooster Open Works The oV ice: 1981-1990 "The oV ice" Student Newspaper Collection 9-30-1983 The oW oster Voice (Wooster, OH), 1983-09-30 Wooster Voice Editors Follow this and additional works at: https://openworks.wooster.edu/voice1981-1990 Recommended Citation Editors, Wooster Voice, "The oosW ter Voice (Wooster, OH), 1983-09-30" (1983). The Voice: 1981-1990. 317. https://openworks.wooster.edu/voice1981-1990/317 This Book is brought to you for free and open access by the "The oV ice" Student Newspaper Collection at Open Works, a service of The oC llege of Wooster Libraries. It has been accepted for inclusion in The oV ice: 1981-1990 by an authorized administrator of Open Works. For more information, please contact [email protected]. mm v mm aw m m am m mv m mm. m - m .aw, -- mm m t xm ' " ! -- NUUBEIlT S9, 1SSS .. T WOOSTEIL OHIO. SEPTElfBEB " - FRIDAY. VOLUMES - - - Administration Concerned Life and to focus on improving the With the hiring of Celestine Wilson, BY EMILY DRAGS social and cultural environments action has been taken including the . to In November of 1882. the Presi- for them." revision of literature mailed dent of The College of Wooster Ken Goings offers some analysis prospective black students. Both formed The Committee on the as to why blacks leave the campus. Schilling and Goings agree Wilson Quality of Life for Black Students First, the work situation is undesir- has done an "excellent job" and on campus. The Committee was able to many black students. "Ac- "has made such a difference" in assembled to assess the atmos- cess to all jobs on campus are the recruitment process for minor- phere for blacks at the College and supposedly covered by affirmative ities. -
Mo Renews from Eric Norberg Huber Goes International
- - '1- MORENEWS FROM ERIC NORBERG HUBER GOES INTERNATIONAL "in its fiRst FOUR songs, GRaffiti BRidge covens moine musical wateRfRont than some bands do in an entiRe caReeR...a touR de foRce that Reclaims PRince's RORe statuRe as a pop Picasso .. Rolihg &tott Rttfltl BRidge i fúñked oui _; sennsucl and spizltuai. Bette, Tln"e PRÍncepFefe' comrr-ett_r . The NeW YORk rimes LOS Angelles Times PRoduced ARRohg oír posed Rfemed PRI FROM the album GRatfitl BRidge PRInce s a Re91SIêRed tRadefllaRk Gd PRM MUSIC coRpoRatlor iwo Nopn.a Baos rtecortds inc. ièIEI PIIUaIPS the GAVIN REPORT T\!ff GAY!ì] A GLANCE d.,.,,. MOST ADDED MOST ADDED MOST ADDED L.L. COOL J WILSON PHILLIPS TEVIN CAMPBELL "Illegal, Around" (Def Jam/Columbia) Round And Round (Paisley Park/Warner Bros.) Impulsive (SBK) POOR RIGHTEOUS TEACHERS TONY! TONI! TONE! JON BON JOVI "Holy Intellect" (Profile) It Never Rains (In Southern California) (Wing/PolyGram) Miracle (Mercury) ISIS "Rebel Soul, Face" DONNY OSMOND *AFTER 7 (4th & Broadway/Island) My Love Is A Fire (Capitol) My Only Woman (Virgin) *LEVERT Rope A Dope Style (Atlantic) RECORD TO WATCH RECORD TO WATCH NWA RETAIL Running" (Priority) BILLY JOEL TERRY STEELE "100 Miles And And So It Goes (Columbia) Prisoner Of Love (SBK) RADIO BLACK FLAMES CONCRETE BLONDE Dance With Me T00 SHORT Joey (IRS) (OBR/Columbia) "The Ghetto" (Jive/RCA) ®,r a . a- 'OUNTRY MOST ADDED MOST ADDED MOST ADDED BETTE MIDLER ALAN JACKSON LEO GANDELMAN From A Distance (Atlantic) Chasin' That Neon Rainbow (Arista) Solar (Verve Forecast/PolyGram) WILSON PHILLIPS -
Chet Baker's Role in the "Piano-Less Quartet" of Gerry Mulligan. Charles Lester Quinn Jr Louisiana State University and Agricultural & Mechanical College
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1996 Chet Baker's Role in the "Piano-Less Quartet" of Gerry Mulligan. Charles Lester Quinn Jr Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Quinn, Charles Lester Jr, "Chet Baker's Role in the "Piano-Less Quartet" of Gerry Mulligan." (1996). LSU Historical Dissertations and Theses. 6276. https://digitalcommons.lsu.edu/gradschool_disstheses/6276 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. 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. -
Rock Album Discography Last Up-Date: September 27Th, 2021
Rock Album Discography Last up-date: September 27th, 2021 Rock Album Discography “Music was my first love, and it will be my last” was the first line of the virteous song “Music” on the album “Rebel”, which was produced by Alan Parson, sung by John Miles, and released I n 1976. From my point of view, there is no other citation, which more properly expresses the emotional impact of music to human beings. People come and go, but music remains forever, since acoustic waves are not bound to matter like monuments, paintings, or sculptures. In contrast, music as sound in general is transmitted by matter vibrations and can be reproduced independent of space and time. In this way, music is able to connect humans from the earliest high cultures to people of our present societies all over the world. Music is indeed a universal language and likely not restricted to our planetary society. The importance of music to the human society is also underlined by the Voyager mission: Both Voyager spacecrafts, which were launched at August 20th and September 05th, 1977, are bound for the stars, now, after their visits to the outer planets of our solar system (mission status: https://voyager.jpl.nasa.gov/mission/status/). They carry a gold- plated copper phonograph record, which comprises 90 minutes of music selected from all cultures next to sounds, spoken messages, and images from our planet Earth. There is rather little hope that any extraterrestrial form of life will ever come along the Voyager spacecrafts. But if this is yet going to happen they are likely able to understand the sound of music from these records at least. -
The Manhattan Transfer Meets Take 6 in the Summit Concert Coming to the Marcus Center on Wednesday, October 26
FOR IMMEDIATE RELEASE CONTACT: MOLLY SOMMERHALDER TEL / E-MAIL: 414-273-7121 X399 [email protected] The Manhattan Transfer meets Take 6 in The Summit Concert Coming to the Marcus Center on Wednesday, October 26 Tickets On Sale Friday, May 20! MILWAUKEE, WI (Wednesday, May 11, 2016) – The Marcus Center Presents series, sponsored by Envoy Restaurant and Lounge, is excited to bring the two- mega groups, The Manhattan Transfer and Take 6, to the intimate Wilson Theater at Vogel Hall for The Summit Concert. This one night only performance is on Wednesday, October 26 at 7:30 pm. Tickets are $75 and go on sale on Friday, May 20 at 12:00 pm. Tickets can be purchased at the Marcus Center Box Office at 929 North Water Street, online at Ticketmaster.com or MarcusCenter.org or by phone at 414-273-7206. Group are available for 10 or more by calling Group Sales at 414- 273-7121 x210. Combining forces for the first time, The Manhattan Transfer and Take 6, two of the most acclaimed, award-winning vocal groups in pop music, create an unforgettable concert event that will thrill audiences of all ages. Between them, the two groups boast a remarkable 20 Grammy Awards, and a range of styles that covers nearly every genre of popular music; from jazz to swing, from gospel to R&B. As The Manhattan Transfer mark the 40th Anniversary of their debut, while Take 6 shares their crystal clear harmony, demonstrating why this sextet is recognized as the pre-eminent A cappella group in the world. -
THE MANHATTAN TRANSFER It's Been More Than Thirty Years Since
THE MANHATTAN TRANSFER It’s been more than thirty years since Tim Hauser worked as a marketing executive and New York cabby with dreams of creating a vocal group. One night in 1972, Hauser’s taxi fare was an aspiring singer named Laurel Massé, who was familiar with Jukin’, an album Hauser had made with an earlier Manhattan Transfer combo. A few weeks later Hauser met Janis Siegel at a party. Although Siegel was then performing with a folk group called Laurel Canyon, Hauser convinced her and Massé to be part of his nascent group. At the same time, Alan Paul was stirring hearts on Broadway, appearing in the original production of Grease. When he met with Hauser, Siegel, and Massé, the groundwork was laid for The Manhattan Transfer, which was officially “born” on October 1, 1972. Early on, the group developed a strong cult following, while playing such New York clubs as Trude Heller’s, Reno Sweeny, and Max’s Kansas City. In 1975 they released their self-titled album, and enjoyed early success in Europe. Their next two albums, Coming Out and Pastiche, brought them a string of top ten hits in Europe, and their overseas popularity was cemented with the release of The Manhattan Transfer Live. Massé then left the group in 1978 to pursue a solo career, and was replaced by Cheryl Bentyne, a young singer/actress from Mt. Vernon, Washington. Their next album, Extensions, earned them their first domestic pop hit, “Twilight Zone/Twilight Tone,” penned by Alan Paul and Jay Graydon. The album featured “Birdland,” the piece that has since become The Manhattan Transfer signature tune.