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Coming of Age in the Milky Way Has Made Its Way on Sturdy Legs
COMING OF AGE IN THE MILKY WAY TIMOTHY FERRIS For Carolyn If I could write the beauty of your eyes And in fresh numbers number all your graces, The age to come would say, “This poet lies— Such heavenly touches ne’er touched earthly faces.” —SHAKESPEARE PREFACE TO THE PERENNIAL EDITION If, as is often suggested, writing a book is like giving birth, publishing a book is like watching one’s child graduate from college. The author hopes that the book will have a healthy life of its own, going off into the world and requiring little more in the way of parental help or guidance. The longer the book fares well, the less the author matters: Such is the apt, implicit bargain struck by parents with their children, and authors with their books. This author has had occasion to feel proud of this child. During the fifteen years since its publication, Coming of Age in the Milky Way has made its way on sturdy legs. Critics have been kind to it, professors have taught it, and readers around the world have proved gratifyingly loyal to it. So why, now, is the author injecting himself back into its affairs, like a father preposterously hogging the spotlight at his daughter’s wedding? Principally because fifteen years is a long time in astronomy and cosmology, during which new and exciting things have happened. Some readers—the professors especially—have asked if a new edition might not be prepared, to update the unfolding story of humanity’s investigations into the nature of space and time. -
A University Microfilms International
INFORMATION TO USERS This material was produced from a microfilm copy of the original document. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the original submitted. The following explanation of techniques is provided to help you understand markings or patterns which may appear on this reproduction. 1. The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and thus cause a blurred image. You will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., was part of the material being photographed the photographer followed a definite method in "sectioning" the material. It is customary to begin photoing at the upper left hand corner of a large sheet and to continue photoing from left to right in equal sections with a small overlap. If necessary, sectioning is continued again — beginning below the first row and continuing on until complete. 4. The majority of users indicate that the textual content is of greatest value, however, a somewhat higher quality reproduction could be made from "photographs" if essential to the understanding of the dissertation. -
Chadwick Papers Volume 25 (Pdf)
•J<etlon wlll '"'"' tho tiMitlOMI@ Sparkplug, repeating the story in 1 politics: 4 Letter To ! II "When the race:> ran tha~ day, ELECTING APRESIDEMT Sparkplug ran the other wa,y." : There is a growing sentiment. 18 The Editor against this lnadeqna.te, and weak representation ot the 33th Ward and I sincerely hoPe that you '\ill Dear Editor: lend the power or yow· qUill to the Allow me to tliank you for your rnd that we in the secL!on '\\ill se timely and trenchant editorial on cure what we so sorelv need. a Party one Clarence Blackl:iurn- tbe m:m representative in the Council of thP. who so prodigiously misrepresents City Fathers wllo will have a kindly the 38th Ward. and the Sixth Dls· heart. lor the children. and a sense Split trict, in Counc1l. ot responsibility toward the men I would ruith your kind oerrnfs and the women of the district he Helped sion) amend your timely word, bv represents. stating that any denial of remarks. H. J. W. Wilson used by Blackburn In Council. and reported by the newspapers, Is not ... taken seriously by t.11ooe who arc In familiar with its legislative •·ccord. For those of your readel's who are f\•Jt Ne-..~ ,/1•/•1.,7 not familiar with the Spartan prnc 1912. tice concerning children, let me state briefiy that t.he ideal o! that KENWORTHY AGAIN com1try was: the buildlnP: of a race !t'I.:.SON. of strong men and women-and In ON PARK COMMISSION th{l attainment of this aim, t.be liE Democrats with Wood· children who w·ere weak. -
Jovanotti È Un Personaggio Colorato, Vitale, Prezioso Di Spunti E Sollecitazioni Anche Per Chi Non Dovesse Immedesimarsi Del Tutto Nel Suo Linguaggio
5 Prefazione L’idea della Zanichelli di affidare un robusto Dizionario del Pop-Rock a due dei no- stri più appassionati e colti critici musicali, Enzo Gentile e Alberto Tonti, ripercor- rendo decenni e decenni di storia della musica leggera nelle sue varie forme ed evo- luzioni, è un segnale importante per diversi motivi. Primo fra tutti quello di ferma- re una memoria storica che ci aiuta a comprendere l’evoluzione della società dal do- poguerra ad oggi. Sì, perché la Musica è la colonna sonora del tempo, degli umori degli anni, degli ideali di un periodo, della malinconia, degli entusiasmi o della rab- bia della società nel suo procedere. Voglio dire che si può perfettamente compren- dere lo stato d’animo di un popolo attraverso la colonna sonora che lo sta accom- pagnando in quel preciso momento storico. La Musica, dalla metà degli anni ’50 in poi, attraverso straordinari artisti ha suggerito mode, ha capovolto comportamen- ti. È stata la bandiera, grazie a molti brani, di lotte politiche, di battaglie civili, di poesie di protesta, di confessioni dolenti ma anche di esaltazione collettiva. Blues, Soul, Pop, Rock, Techno e tanti altri stili, fino ad arrivare alle più interessanti ricer- che sonore che partono da Brian Eno fino a Sylvian, Fripp e Scott Walker, sono le spericolate mutazioni di un’arte in perenne trasformazione che ascolta le pulsazio- ni della vita che corre. Per questo credo che un dizionario serio del Pop-Rock sia stato non solo un atto culturale indispensabile, ma un risarcimento, grazie alla cul- tura dei due autori e dei loro sensibili collaboratori, per tanti artisti a torto consi- derati minori e qui finalmente rivalutati e segnalati per il loro talento non ricono- sciuto tempestivamente. -
Mcgill: Movement Was. 'Anti-Intellectual'
McGill: Movement Was. 'Anti-Intellectual' by John H. Taylor the oppressed and of trying to improve the condition of humanity " Edltor-In-chlef According to McGill, in the wake of the development of a counter Cu lture universities relaxed course requirements to accommodate the A former UC San Diego chancellor has labeled the "counter-culture" radicals, because "many faculty members were tremendously Im of the 1960s and early 1970s an "anti-intellectual" movement com pressed with the romanticism of the counter-culture kids They copied prising young people who "in the end .. .couldn't feed themselves." the style; they copied the speech, and they copied the clothing " In an interview published in the San Diego Union Sunday, Columbia This loosening of requirements, he said, brought on pass/ fail grading University President William McGill, chancellor here during the most and other " non-competitive" grading plans that were popular only violent period of student activism, said campus radicals have been until it was discovered that students who took advantage of these plans replaced by students whose protection against society is "some " could not b'e placed in professional or graduate schools " A a result. commitment to some special kind of professional work ." He said these he said, students have stopped attacking grading systems students of the 19705 "saw the dismal state of the counter-culture and McGill said that during the counter-culture period, radical t acher rejected it." who really " didn't want to teach " came onto the scene, but left schools In the same interview, McGill said he was strongly opposed to labor when the public attention was no longer focused on them. -
Steve Smith Biography 2020 Steve Smith's Drumming, While Always
Steve Smith Biography 2020 Steve Smith's drumming, while always decidedly modern, can best be described as a style that embodies the history of U.S. music. Originally drawn to the drums by hearing marching bands in parades as a child in his native Massachusetts, Smith began studying the drums at age nine, in 1963. After high school, Smith studied in Boston at the Berklee College of Music from 1972-76, where he had private lessons with both Gary Chaffee and Alan Dawson. His original love of rudimental parade band drumming is evident in his intricate solos. Likewise, his command of jazz, from New Orleans music, swing, big band, bebop, avant-garde to fusion, plus his rock drumming sensibilities and knowledge of rhythms from India allow him to push the boundaries of all styles to new heights. In 1976, Smith began his association with jazz-fusion by joining violinist Jean-Luc Ponty's group and recording the 1977 landmark fusion album Enigmatic Ocean. It was while touring with rocker Ronnie Montrose a year later that Smith was asked to join the popular rock band Journey which brought his playing to the attention of a rock audience. With Journey, Smith toured the world and recorded numerous successful albums including the immensely popular Escape (which includes the ubiquitous hit song “Don’t Stop Believin’”) and Frontiers, both of which garnered the band many Top 40 hits. Journey’s albums have sold in excess of 75 million copies worldwide to date. In 1985 Smith left Journey to pursue his original passion, jazz, and to continue his developing career as a session player, bandleader and educator. -
A “Journey” Through Band Agreements
Hastings Communications and Entertainment Law Journal Volume 43 Number 2 Summer 2021 Article 4 Summer 2021 A “Journey” Through Band Agreements Jordan M. Whitford Follow this and additional works at: https://repository.uchastings.edu/hastings_comm_ent_law_journal Part of the Communications Law Commons, Entertainment, Arts, and Sports Law Commons, and the Intellectual Property Law Commons Recommended Citation Jordan M. Whitford, A “Journey” Through Band Agreements, 43 HASTINGS COMM. & ENT. L.J. 189 (2021). Available at: https://repository.uchastings.edu/hastings_comm_ent_law_journal/vol43/iss2/4 This Article is brought to you for free and open access by the Law Journals at UC Hastings Scholarship Repository. It has been accepted for inclusion in Hastings Communications and Entertainment Law Journal by an authorized editor of UC Hastings Scholarship Repository. For more information, please contact [email protected]. A “Journey” Through Band Agreements By JORDAN WHITFORD* INTRODUCTION A “Journey” through band agreements reveals that it is not just about creating music. This paper will explain the ins and outs of band agreements, using the most recent lawsuit involving the band members of Journey along with other various disputes to demonstrate what issues can arise throughout a band’s lifespan. HISTORY OF JOURNEY JOURNEY ACCEPTED FAME, FORTUNE, AND BAND MEMBERS WITH “OPEN ARMS” The musical band Journey was formed in San Francisco, California in 1973 under the management of Herbie Herbert.1 Journey made their live debut at the Winterland -
Mick Taylor © Felix Aeppli 07-2020 / 08-2021
Blues Breaker Mick Taylor © Felix Aeppli 07-2020 / 08-2021 5001 January 17, 1949 (not 1948) Born in Welwyn Garden City, Hertfordshire: Michael Kevin (not James) Taylor. 5001A 1963 Hatfield, Hertfordshire, or London: THE STRANGERS, MEET THE STRANGERS (One-sided 10" acetate, 1963): 1. A Picture Of You (Beveridge, Oakman), 2. The Cruel Sea (Maxfield), 3. It’ll Be Me (Clement), 4. Saturday Night At The Duck Pond (Owen, based on a section from Tchaikovsky's Swan Lake) MT, Alan Shacklock: guitar; Malcolm Collins: vocals (1, 3); John Glass (later Glascock): bass; Brian Glass (later Glascock): drums. 5001B 1964 Hatfield, Hertfordshire, or London: THE JUNIORS, Single (Columbia DB 7339 [UK], Aug. 1964); MADE IN ENGLAND VOL. 2 – BRITISH BEAT SPECIAL 1964 - 69 (LCD 25-2, CD [France], Spring, 2000): 1. There’s A Pretty Girl (Webb), 2. Pocket Size (White) MT, Alan Shacklock: guitar; Malcolm Collins: vocals; John Glass (later Glascock): bass; Brian Glass (later Glascock): drums. 5002 May, 1967 Probably London THE GODS (THOR, HERMES, OLMPUS, MARS), Single (Polydor 56168 [UK], June, 1967): 1. Come On Down To My Boat Baby (Farrell, Goldstein), 2. Garage Man (Hensley) NOTES: Cuts 1, 2: MT’s participation in this session is very much open to speculation and his own interviews on the subject are full of contradictions; most likely MT had taken part in some live shows, but he never was in THE GODS’ actual line-up (Lee Kerslake: guitar; Ken Hensley: organ, vocals; John Glascock: bass, back-up vocals; Brian Glascock, perhaps alternating with Lee Kerslake: drums); – Nor is MT identical with MICK TAYLOR playing guitar and singing on a Single (CBS 201770 [UK], June, 1965), London Town, Hoboin’ (both Taylor - produced by Jimmy Duncan and Peter Eden); or involved in Cockleshells (Taylor), a track recorded by MARIANNE FAITHFULL (NORTH COUNTRY MAID, Decca LK 4778 [UK], Feb. -
Guitarone Magazine
THE DEAD SET OUT ON SUMMER GETAWAY TOUR The Dead are coming together for their first Summer tour since Jerry Garcia's passing and will be joined on various dates of the tour by legendary musicians Bob Dylan, Willie Nelson, Steve Winwood, and celebrated Grateful Dead songwriter Robert Hunter. The Dead are kicking off the first leg of their Summer Getaway Tour at the sold-out Bonnaroo Festival in Tennessee on June 15 and will continue touring through early July. Steve Winwood will join the band from June 17-25, and Willie Nelson & Family will join the tour from June 27 through July 4; Nelson's final performance with The Dead will take place at his spectacular 4th of July picnic in Austin, TX. Tickets are on sale at dead.net as well as at Ticketmaster . The second leg of the Summer Getaway Tour will be co-headlined by the incomparable Bob Dylan, who will play prior to and sit in with The Dead. This pairing has not taken place since The Dead and Bob Dylan, along with his band, collaborated on a sold-out stadium tour in 1987. The second leg of the Summer Getaway Tour will be from July 29 through August 10. (Complete tour schedules follow.) The Dead are made up of Grateful Dead members Mickey Hart (percussion, drums, vocals), Bill Kreutzmann (drums), Phil Lesh (bass, vocals) and Bob Weir (guitar, vocals), whom are joined by keyboardists Jeff Chimenti and Rob Barraco, and lead guitarist Jimmy Herring. Also joining The Dead for the first time, injecting a soulful female voice, is Grammy-nominated singer Joan Osborne. -
November 1990
FEATURES INSIDE COLLARLOCK In an almost silent way, Mark Gauthier of Collarlock has been BOBBY a major contributor to the recent drum rack revolution. In ELLIOTT this special industry profile, Gauthier explains the nuts and LA. STUDIO Not too many bands have bolts (and much more) of build- remained together—and suc- ing the unique ROUND TABLE cessful—as long as the Hollies. Collarlock system. Bobby Elliott's drumming has • by Rick Van Horn been an integral part of the 30 Colaiuta, Keltner, Porcaro, Mason, Baird, Fongheiser, and band's sound since they began Schaeffer—seven of the most recording. Find out why drum- respected and requested drum- mers like Phil Collins and Cozy mers recording today. Put 'em Powell understand the value of in a room together and press Elliott's contributions to the the record button, and what Hollies' timeless MD TRIVIA have you got? Read music. on...and LEARN. •by Simon Goodwin 26 CONTEST • by Robyn Flans 18 Win a set of Paiste Sound Formula Cymbals! 64 Cover Photo: Lissa Wales COLUMNS Education 56 ROCK PERSPECTIVES The Benefits Of A Four-Piece Kit Equipment BY ANDY NEWMARK 36 PRODUCT 66 ROCK 'N' CLOSE-UP Departments JAZZ CLINIC Corder Celebrity Applying Cross Drumkit News Rhythms To The 4 EDITOR'S Drumset Part 2 BY RICK VAN HORN OVERVIEW UPDATE BY ROD MORGENSTEIN 8 38 Remo Legacy Michael Hodges, Drumheads 6 READERS' Marillion's Ian Mosley, 68 THE MACHINE BY RICK MATTINGLY PLATFORM Jerry Fehily of SHOP Hothouse Flowers, Drum Machines 40 Vic Firth Signature Bobby Z, plus News A To Z Drumsticks 12 ASK A PRO BY RIC FURLEY BY RICK MATTINGLY 14 IT'S Profiles STRICTLY 42 Nady SongStarter QUESTIONABLE 74 BY ADAM BUDOFSKY PORTRAITS TECHNIQUE 58 Rhythmic Rudimental IMPAC Snare 124 DRUM MARKET Dom Um Romao Progressions: Part 6 Replacement BY FRANK COLON BY JOE MORELLO BY WILLIAM F. -
Cash Box NY Telex: 666123 Tists (Page 7)
UA-LA958-I Featuring ^ “Days Gone Down On United Artists Records in .C 1979 LIBERTY UNITED RECORDS. INC . LOS ANGELES CALIFORNIA 90028 UNITED ARTISTS RECORDS IS A TRADING NAM.F VOLUME XLI — NUMBER 3 — JUNE 2, 1979 FHE INTERNATIONAL MUSIC RECORD WEEKLY C4SH GEORGE ALBERT President and Publisher ? 5 MEL ALBERT “An Apple A Day Vice President and General Manager EDITORML CHUCK MEYER value. billboard. Director of Marketing Records are your best entertainment DAVE FULTON With near unanimous agreement that the Considering that consumers are looking for the In Chief Editor aforementioned maxim is true, it is time to let others most for their money, the time is right to let them J.B. CARMICLE realize this secret. know the investment value of music. With minimal General Manager. East Coast And the great hook to this is that it can be done care, a consumer can spend $4-6and haveawork of JIM SHARP Director, Nashville without a costly advertising campaign which also re- art for a lifetime. East Coast Editorial quires executives from various labels to agree to a This simple program needs to be coordinated KEN TERRY East Coast Editor CHARLES PAIKERT budget and a creative approach. Quite simply, a through the RIAA or another industry organization LEO SACKS AARON FUCHS series of phone calls and verbal agreements are all that will take the initiative to promote the concept to West Coast Editorial that is needed. the manufacturers. In a matter of days, the plan ALAN SUTTON. West Coast Editor JOEY BERLIN — RAY TERRACE Whenever a manufacturer advertises his albums, could be instituted. -
Volume Xl - Number 48 - April 14, 1979
www.americanradiohistory.com www.americanradiohistory.com VOLUME XL - NUMBER 48 - APRIL 14, 1979 THE INTERNATIONAL MUSIC RECORD WEEKLY COSH BOX GEORGE ALBERT President and Publisher If The Price Is Right MEL ALBERT EDITORIAL Vice President and General Manager of records by these un- In the wake of discussions on alternative pricing structures for is a way to increase exposure and sales CHUCK MEYER and similar com- known artists, while at the same time encouraging the consumer Director of Marketing new artists at the recent NARM convention, ments from rack jobbers in this week's survey article (page 8), we to be more willing to take a chance on lesser known acts. to DAVE FULTON believe that the following editorial from the Oct. 7, 1978 issue of We propose a sliding scale of suggested retail list prices Editor In Chief The Cash Box warrants reprinting. While a number of industry ex- cover the various career stages that artists pass through. the J.B. CARMICLE ecutives responded favorably to the concept presented therein, easiest way to establish such a scale would be to base it on Manager. East Coast General no concrete action has yet been taken on this or any other sales history of the respective act. might list for $6.98, a JIM SHARP variable pricing proposal for new acts. For example, a completely unknown artist Director, Nashville proven 250,000 unit seller would list for $7.98, a gold album for $9.98, and so on. The East Coast Editorial New artists are the lifeblood of the music business.