Almost Heaven the Rev
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
INFORMATION to USERS This Manuscript Has Been Reproduced
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. •>- I 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 bleedthrougb, 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. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI University Microfilms International A Bell & Howell Information Company 300 North Zeeb Road. Ann Arbor, Ml 48106-1346 USA 313/761-4700 800/521-0600 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. -
Apartheid Revolutionary Poem-Songs. the Cases of Roger Lucey and Mzwakhe Mbuli
Corso di Laurea magistrale (ordinamento ex D.M. 270/2004) in Lingue e Letterature Europee, Americane e Postcoloniali Apartheid Revolutionary Poem-Songs. The Cases of Roger Lucey and Mzwakhe Mbuli Relatore Ch. Prof. Marco Fazzini Correlatore Ch. Prof. Alessandro Scarsella Laureanda Irene Pozzobon Matricola 828267 Anno Accademico 2013 / 2014 ABSTRACT When a system of segregation tries to oppress individuals and peoples, struggle becomes an important part in order to have social and civil rights back. Revolutionary poem-songs are to be considered as part of that struggle. This dissertation aims at offering an overview on how South African poet-songwriters, in particular the white Roger Lucey and the black Mzwakhe Mbuli, composed poem-songs to fight against apartheid. A secondary purpose of this study is to show how, despite the different ethnicities of these poet-songwriters, similar themes are to be found in their literary works. In order to investigate this topic deeply, an interview with Roger Lucey was recorded and transcribed in September 2014. This work will first take into consideration poem-songs as part of a broader topic called ‘oral literature’. Secondly, it will focus on what revolutionary poem-songs are and it will report examples of poem-songs from the South African apartheid regime (1950s to 1990s). Its third part will explore both the personal and musical background of the two songwriters. Part four, then, will thematically analyse Roger Lucey and Mzwakhe Mbuli’s lyrics composed in that particular moment of history. Finally, an epilogue will show how the two songwriters’ perspectives have evolved in the post-apartheid era. -
UWS Academic Portal the Rock Band KISS and American Dream
UWS Academic Portal The Rock Band KISS and American Dream Ideology James, Kieran; Briggs, Susan P.; Grant, Bligh Published in: European Journal of American Culture DOI: 10.1386/ejac.37.1.19_1 Published: 01/03/2018 Document Version Peer reviewed version Link to publication on the UWS Academic Portal Citation for published version (APA): James, K., Briggs, S. P., & Grant, B. (2018). The Rock Band KISS and American Dream Ideology. European Journal of American Culture, 37(1), 19-37. https://doi.org/10.1386/ejac.37.1.19_1 General rights Copyright and moral rights for the publications made accessible in the UWS Academic Portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. Take down policy If you believe that this document breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 17 Sep 2019 “The Rock Band KISS and American Dream Ideology” by Kieran James* University of the West of Scotland [email protected] Susan P. Briggs University of South Australia [email protected] and Bligh Grant University Technology Sydney [email protected] *Address for Correspondence: Dr Kieran James, School of Business and Enterprise, University of the West of Scotland, Paisley campus, Paisley, Renfrewshire, PA12BE, Scotland, tel: +44 (0)141 848 3350, e-mail: [email protected] and [email protected] Acknowledgements We thank Frances Miley, Andrew Read, conference participants at the International Conference for Critical Accounting (ICCA), Baruch College, New York City, 28 April 2011, this journal’s two anonymous reviewers, and this journal’s Editor for helpful comments. -
Washington Journal of Modern China
Washington Journal of Modern China Fall 2012, Vol. 10, No. 2 20th Anniversary Issue (1992-2012) ISSN 1064-3028 Copyright, Academic Press of America, Inc. i Washington Journal of Modern China Fall 2012, Vol. 10, No. 2 20th Anniversary Issue (1992-2012) Published by the United States-China Policy Foundation Co-Editors Katie Xiao and Shannon Tiezzi Assistant Editor Amanda Watson Publisher/Founder Chi Wang, Ph.D. The Washington Journal of Modern China is a policy- oriented publication on modern Chinese culture, economics, history, politics, and United States-China relations. The views and opinions expressed in the journal are those of the authors and do not necessarily reflect the position of the Foundation. The publishers, editors, and committee assume no responsibility for the statements of fact or opinion expressed by the contributors. The journal welcomes the submission of manuscripts and book reviews from scholars, policymakers, government officials, and other professionals on all aspects of modern China, including those that deal with Taiwan and Hong Kong, and from all points of view. We regret we are unable to return any materials that are submitted. Manuscript queries should be sent to the Editor, the Washington Journal of Modern China , The United States-China Policy Foundation, 316 Pennsylvania Avenue SE, Suites 201-202, Washington, DC 20003. Telephone: 202-547-8615. Fax: 202-547- 8853. The annual subscription rate for institutions is $40.00; for individuals, $30.00. Shipping and Handling is $5.00 per year. Back/sample issues are available for $14.00/issue. Subscription requests can be made online, at www.uscpf.org or sent to the address above. -
Worship, Music & Ministry
Worship, Music & Ministry A Journal of the United Church of Christ Musicians Association Summer 2020 United Church of Christ Musicians Association, Inc. P.O. Box 370361, West Hartford, CT 06137 VOL. XVII, NO. 3 WWW.UCCMA.ORG Social Justice Springing From Worship, How the arts can energize congregations to action 2 Editor’s Note 3 Greetings Rev. Traci D. Blackmon 4 Social Justice Springing from Worship Robin Joyce Miller 8 Sacred Dance Impels Social Justice and Action John West 12 Voices of Our City Choir: Music as Social Justice Andy Mathews 13 Hymn Text: O God, You Call for Justice Carolyn Winfrey Gillette 14 Sharing Sacred Space: Transgender Day of Remembrance Shirley Keith Knox 16 Imaginings at the Crossroads of Worship, Social Justice and the Arts Ray Landis 19 Loving Our Neighbors: How my church uses music to care for our community Abby Martinage 20 God is Still Speaking: A Reflection on Worship, Art and Justice Tom Emanuel 22 Creating Vital and Faithful Worship for the Intergenerational Church by Jeffrey Clouser 25 Creative Vespers: Part 3 – Jazz Michele Hecht 27 These are a Few of Our Favorite . Testimonials for Being in Choir Compiled by Eric Dundore 1 Editor’s Note Dear Stationary Sojourners, In our current situation (I write this in mid-April) we are all in a quandary about how our life works during a pandemic and when we will get back to the normal worshipful arts – making that is our passion. Doing our jobs without the collaboration of other human beings around us is so stifling and frustrating, but reaching out to our colleagues, friends and family keeps our connections strong and saves our souls. -
Meet the Tempe Playlist Musicians
MEET THE TEMPE PLAYLIST MUSICIANS Adele Etheridge Woodson Song: Morena (Morena feat. Rosita) Visit Website Morena was part of my EP, Sunday in the Park, that was commissioned by the city of Tempe! I wanted to create a fun, catchy track with Portuguese elements to bring fresh variety to the EP! I am a freelance composer and violinist born and raised in Tempe. I feel all of my artistic success is because of the local community and artists I am surrounded by. I currently compose music for film, arrange strings for other bands, and produce. Alex King Song: Dialogue (Inner) Visit Spotify After a spiraling last year and a half I was just trying to be honest with myself about what happened and where I was going. The results were less clear than where they started. Maybe? Not sure… I grew up here. I love this city. Although all the other places I've traveled too and have lived hold dear places in my heart, Tempe will always be my true love! I play drums in a loud band around Tempe infrequently. Alyssa G Song: Let Go Visit Instagram I was in a long and draining relationship for years and when I decided to move on and break it off, I found myself in tears in my friend’s dorm, guitar in hand, and humming to a few chords. I decided to write, record, and complete the song to share with others, in hope that they could see the light at the end of the tunnel when it comes to hard breakups. -
[B]Original Studio Albums[/B] 1981 - Face Value (Atlantic, 299 143) 01
[b]Original Studio Albums[/b] 1981 - Face Value (Atlantic, 299 143) 01. In The Air Tonight 02. This Must Be Love 03. Behind The Lines 04. The Roof Is Leaking 05. Droned 06. Hand In Hand 07. I Missed Again 08. You Know What I Mean 09. Thunder And Lightning 10. I'm Not Moving 11. If Leaving Me Is Easy 12. Tomorrow Never Knows 1982 - Hello, I Must Be Going! (WEA, 299 263) 01. I Don't Care Anymore 02. I Cannot Believe It's True 03. Like China 04. Do You Know, Do You Care 05. You Can't Hurry Love 06. It Don't Matter To Me 07. Thru These Walls 08. Don't Let Him Steal Your Heart Away 09. The West Side 10. Why Can't It Wait 'til Morning 1985 - No Jacket Required (WEA, 251 699-2) 01. Sussudio 02. Only You Know & I Know 03. Long Long Way To Go 04. I Don't Wanna Know 05. One More Night 06. Don't Lose My Number 07. Who Said I Would 08. Doesn't Anybody Stay Together Anymore 09. Inside Out 10. Take Me Home 11. We Said Hello Goodbye 1989 - But Seriously (WEA, 2292-56984-2) 01. Hang In Long Enough 02. That's Just The Way It Is 03. Do You Remember 04. Something Happened On The Way To Heaven 05. Colours 06. I Wish It Would Rain Down 07. Another Day In Paradise 08. Heat On The Street 09. All Of My Life 10. Saturday Night And Sunday Morning 11. -
Copy of Smoke on the Mountain Playbill
INTERMISSION Sept. 18-27, 2020 Starring CHASE PEACOCK Directed by MARK SMITH Production Manager ROBBIE KIRKLAND Box Office Manager MELANIE FRAZIER INTERMISSION SONG LIST Time In A Bottle Jim Croce Sunshine on My Shoulders John Denver, Dick Kniss, Mike Taylor Grandma’s Feather Bed John Denver, Jim Connor If You Could Read My Mind Gordon Lightfoot I Guess He’d Rather Be in Colorado John Denver, Bill Danoff, Taffy Nivert Rocky Mountain High John Denver, Mike Taylor Take Me Home, Country Roads John Denver, Bill Danoff, Taffy Nivert Calypso John Denver Cat’s in the Cradle Harry Chapin, Sandra Chapin Mother and Child Reunion Paul Simon For You John Denver Fly Away John Denver Annie’s Song John Denver Late Have I Loved You Gungor (from the new musical, Pelagius) You Gungor (from the new musical, Pelagius) Thank God I’m A Country Boy John Denver, John Martin Sommers Rhymes and Reasons John Denver THANK YOU Patrick & Jody Gannon Vern & Samantha Kiernan Coming Next! A L E G A C Y HHoolliiddaayy SSppeecciiaall!! An evening of Holiday Favorites with Bethany Hayes Smith & Legacy Friends! Nov. 27th-Dec. 6th A L E G A C Y HHoolliiddaayy SSppeecciiaall!! An evening of Holiday Favorites with Bethany Hayes Smith & Legacy Friends! Feb. 12th-21st Enroll Today! Legacy's Performing Arts Conservatory, is producing Disney's Descendants this year with its students! Enroll today to be a part of the fun. Classes for students ages 2-18. www.thelegacytheatre.org Meet Chase Peacock Chase Peacock is THRILLED to be back at The Legacy Theatre, where he started his professional career many years ago in High School Musical and more recently in Daddy Long Legs. -
Alex Mitchell Professors Corrigan and Feinman-Todd Washington Confidential 10.18.16
Alex Mitchell Professors Corrigan and Feinman-Todd Washington Confidential 10.18.16 Beyond the Country Roads On a frigid January morning, I stood inside the lackluster interior of a Capriotti’s sandwich shop that had recently opened at 1201 34th Street. The storefront was primarily comprised of faux-steel finishes and glaring television screens. The Hoya had sent me to this decidedly bland chain restaurant to write a review for its “Guide” section. I found the restaurant, along with its artery-clogging fare, largely forgettable. However, what I didn’t know at the time was that the building I was standing in was actually steeped in American cultural history. The structure’s significance would not be revealed to me until a walking tour almost two years later. This compact building at 1201 34th Street had once been “considered one of the top… clubs in the country” (Harrington). It had housed two famous performance venues during the mid-twentieth century. First as “The Shadows” in the early sixties, the venue had seen the early stand-up acts of comedians like Woody Allen and Bill Cosby (“Clinking Glasses and Swinging…”). Later, in 1963, when this “undistinguished gray building” transformed into “The Cellar Door,” it cemented its place in American music history (Harrington). It was at this club in December 1970 that the American Folk hit, “Take Me Home, Country Roads” was performed for the very first time. What’s more, the song was written by a Georgetown graduate only a few blocks away from the storied nightclub. In this essay I plan to explore the unlikely story of a young Georgetown student who found himself written into the annals of American music history and the long-forgotten musical venue that made it all possible. -
Artist Song Album Blue Collar Down to the Line Four Wheel Drive
Artist Song Album (BTO) Bachman-Turner Overdrive Blue Collar Best Of BTO (BTO) Bachman-Turner Overdrive Down To The Line Best Of BTO (BTO) Bachman-Turner Overdrive Four Wheel Drive Best Of BTO (BTO) Bachman-Turner Overdrive Free Wheelin' Best Of BTO (BTO) Bachman-Turner Overdrive Gimme Your Money Please Best Of BTO (BTO) Bachman-Turner Overdrive Hey You Best Of BTO (BTO) Bachman-Turner Overdrive Let It Ride Best Of BTO (BTO) Bachman-Turner Overdrive Lookin' Out For #1 Best Of BTO (BTO) Bachman-Turner Overdrive Roll On Down The Highway Best Of BTO (BTO) Bachman-Turner Overdrive Take It Like A Man Best Of BTO (BTO) Bachman-Turner Overdrive Takin' Care Of Business Best Of BTO (BTO) Bachman-Turner Overdrive You Ain't Seen Nothing Yet Best Of BTO (BTO) Bachman-Turner Overdrive Takin' Care Of Business Hits of 1974 (BTO) Bachman-Turner Overdrive You Ain't Seen Nothin' Yet Hits of 1974 (ELO) Electric Light Orchestra Can't Get It Out Of My Head Greatest Hits of ELO (ELO) Electric Light Orchestra Evil Woman Greatest Hits of ELO (ELO) Electric Light Orchestra Livin' Thing Greatest Hits of ELO (ELO) Electric Light Orchestra Ma-Ma-Ma Belle Greatest Hits of ELO (ELO) Electric Light Orchestra Mr. Blue Sky Greatest Hits of ELO (ELO) Electric Light Orchestra Rockaria Greatest Hits of ELO (ELO) Electric Light Orchestra Showdown Greatest Hits of ELO (ELO) Electric Light Orchestra Strange Magic Greatest Hits of ELO (ELO) Electric Light Orchestra Sweet Talkin' Woman Greatest Hits of ELO (ELO) Electric Light Orchestra Telephone Line Greatest Hits of ELO (ELO) Electric Light Orchestra Turn To Stone Greatest Hits of ELO (ELO) Electric Light Orchestra Can't Get It Out Of My Head Greatest Hits of ELO (ELO) Electric Light Orchestra Evil Woman Greatest Hits of ELO (ELO) Electric Light Orchestra Livin' Thing Greatest Hits of ELO (ELO) Electric Light Orchestra Ma-Ma-Ma Belle Greatest Hits of ELO (ELO) Electric Light Orchestra Mr. -
Chart-Chronology PHIL COLLINS
www.chart-history.net vdw56 PDF-file with all chart-entries plus covers on https://chart-history.net/cc/cc-phil-collins.pdf PHIL COLLINS Chart-Chronology Singles and Albums Germany United Kingdom From the 1950ies U S A to the current charts compiled by Volker Dörken Chart - Chronology The Top-100 Singles and Albums from Germany, the United Kingdom and the USA Phil Collins Philip David Charles Collins LVO (born 30 January 1951) is an English drummer, singer, songwriter, multi-instrumentalist, record producer, and actor. He was the drummer and singer of the rock band Genesis, and is also a solo artist. Singles 49 32 19 10 34 Longplay 23 20 15 8 81 B P Top 100 Top 40 Top 10 # 1 B P Top 100 Top 40 Top 10 # 1 1 11 37 21 11 2 1 45 22 18 14 5 1 8 36 27 13 3 1 26 16 14 12 6 1 15 27 21 14 7 1 10 14 11 6 2 Singles D G B U S A 1 In The Air Tonight 03/1981 1 1 01/1981 2 05/1981 19 2 I Missed Again 05/1981 23 03/1981 14 03/1981 19 3 If Leaving Me Is Easy 08/1981 61 05/1981 17 4 Thru' These Walls 10/1982 56 5 You Can't Hurry Love 01/1983 3 12/1982 1 2 11/1982 10 6 I Don't Care Anymore 02/1983 39 7 Don't Let Him Steal Your Heart Away 03/1983 45 8 I Cannot Believe It's True 05/1983 79 9 Why Can't It Wait 'Till Morning 05/1983 89 10 Against All Odds 05/1984 9 04/1984 2 02/1984 1 3 11 Easy Lover ►Philip Bailey & Phil Colins◄ 01/1985 5 03/1985 1 4 11/1984 2 12 Sussudio 02/1985 17 01/1985 12 05/1985 1 1 13 One More Night 04/1985 10 04/1985 4 02/1985 1 2 14 Don't Lose My Number 07/1985 4 15 Take Me Home 07/1985 19 03/1986 7 16 Separate Lives (Theme From "White -
Kishimoto Snyder-Popular Music in FRBR and RDA (Accepted
This is an Accepted Manuscript of an article published by Taylor & Francis in Cataloging & Classification Quarterly on 21 Dec. 2015, available online: http://www.tandfonline.com/10.1080/01639374.2015.1105898. Popular Music in FRBR and RDA: Toward User-Friendly and Cataloger-Friendly Identification of Works Kevin Kishimoto (University of Chicago) & Tracey Snyder (Cornell University) Abstract: The gradual adoption since 2010 of the content standard Resource Description and Access, based on the conceptual model Functional Requirements for Bibliographic Records, has brought change to many areas of library cataloging, including popular music. In particular, the cataloging community has had to grapple with new practices in assigning access points for resources once considered simple, such as popular music albums containing songs written by people other than the featured recording artist. This article outlines some of the difficulties encountered and offers a principled approach to cataloging popular music that would reduce cataloger burden and reconcile catalog data with users' expectations. INTRODUCTION Who can forget the deliciously awkward scene in the 2001 romantic comedy Bridget Jones’s Diary in which the hapless title character performs a badly out-of-tune rendition of the classic ballad “Without You” at a party at the office, with a smoking cigarette in her hand and at least a few drinks in her system? If you grew up in, or were at least present for, the 1970s, you probably recognized this as the late Harry Nilsson’s hit single from 1971. If you were young in the 1990s, you may instead have recognized this as Mariah Carey’s hit single from 1994.