Group 4 : Aurelio Dregni Nathan Severiano Chelsey Hancock Jake Kelly Yi Zhang
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The Doors”—The Doors (1967) Added to the National Registry: 2014 Essay by Richie Unterberger (Guest Post)*
“The Doors”—The Doors (1967) Added to the National Registry: 2014 Essay by Richie Unterberger (guest post)* Original album cover Original label The Doors One of the most explosive debut albums in history, “The Doors” boasted an unprecedented fusion of rock with blues, jazz, and classical music. With their hypnotic blend of Ray Manzarek’s eerie organ, Robby Krieger’s flamenco-flecked guitar runs, and John Densmore’s cool jazz-driven drumming, the band were among the foremost pioneers of California psychedelia. Jim Morrison’s brooding, haunting vocals injected a new strand of literate poetry into rock music, exploring both the majestic highs and the darkest corners of the human experience. The Byrds, Bob Dylan, and other folk-rockers were already bringing more sophisticated lyrics into rock when the Doors formed in Los Angeles in the summer of 1965. Unlike those slightly earlier innovators, however, the Doors were not electrified folkies. Indeed, their backgrounds were so diverse, it’s a miracle they came together in the first place. Chicago native Manzarek, already in his late 20s, was schooled in jazz and blues. Native Angelenos Krieger and Densmore, barely in their 20s, when the band started to generate a local following, had more open ears to jazz and blues than most fledgling rock musicians. The charismatic Morrison, who’d met Manzarek when the pair were studying film at the University of California at Los Angeles, had no professional musical experience. He had a frighteningly resonant voice, however, and his voracious reading of beat literature informed the poetry he’d soon put to music. -
University of Pardubice Faculty of Arts and Philosophy the City in Songs
University of Pardubice Faculty of Arts and Philosophy The City in Songs, Songs in the City: The Image of New York in the Folk Music of the 1960s Tomáš Racek Bachelor Thesis 2016 1 2 3 Prohlašuji: Tuto bakalářskou práci jsem vypracoval samostatně. Veškeré literární prameny a informace, které jsem použil, jsou uvedeny v seznamu literatury. Byl jsem seznámen s tím, že na moji práci se vztahují práva a povinnosti vyplývající ze zákona č.121/2000 Sb., autorský zákon, zejména se skutečností, že Univerzita Pardubice má právo na uzavření licenční smlouvy o užití této práce jako školního díla podle § 60 odst. 1 autorského zákona, a s tím, že pokud dojde k užití této práce mnou nebo bude poskytnuta licence o užití jinému subjektu, je Univerzita Pardubice oprávněna ode mne požadovat přiměřený příspěvek na úhradu nákladů, které na vytvoření díla vynaložila, a to podle okolností až do jejich skutečné výše. Souhlasím s prezenčním zpřístupněním mé práce v Univerzitní knihovně. V Pardubicích dne 29. 6. 2014 Tomáš Racek 4 Acknowledgements I would like to express my gratitude to my supervisor PhDr. Ladislav Vít, Ph.D. for his assistance, especially in the early stages of writing, and together with other university teachers, for all the effort they put in their valuable and inspirational lessons. I would also like to thank my mother, partner and children for their love, support, encouragement and patience during my studies. 5 ANOTATION This bachelor thesis is concerned with the image of New York City in the folk music of the 1960s, specifically in the song lyrics of the North American singer-songwriters Bob Dylan, Paul Simon, Joni Mitchell, Fred Neil, Phil Ochs, John Phillips, John Sebastian and Joey Levine. -
Capitol EAP-1-1101 Stan Freberg Released August, 1958. in Spring, Freberg Recorded a 6:38 Commercial for Butter-Nut Coffee, Which Was Based in Omaha
Capitol Albums, 1101 to 1200 and Full Dimensional Stereo Omaha! Capitol EAP-1-1101 Stan Freberg Released August, 1958. In spring, Freberg recorded a 6:38 commercial for Butter-Nut Coffee, which was based in Omaha. The successful commercial came out as Capitol Custom KB-2236/7. He decided to expand the concept into an EP soundtrack that served basically as a parody of Oklahoma while promoting Omaha. The city loved him, asking that he conduct the Omaha Symphony Orchestra in July – in a performance of his musical. The Most Mishige Capitol T-1102 Mickey Katz Released January, 1959. Freshmen Favorites Vol. 2 Capitol T-1103 The Four Freshmen Released January, 1959. Polka Night Capitol T-1104 Ray Budzilek Released January, 1959. Andy Griffith Shouts the Blues and Old Timey Songs Capitol T-1105 Andy Griffith Released January, 1959. Country Love Ballads Capitol T-1106 The Louvin Brothers Released January, 1959. From The Hungry i Capitol T-1107 The Kingston Trio Released January, 1959. 18th Century Jazz Capitol T-1108 The Jack Marshall Sextette Released January, 1959. Some Came Running Capitol (S)W-1109 Soundtrack Released March, 1959. Meredith Willson’s Marching Band Capitol T-1110 Meredith Willson Released January, 1959. Favorite Waltzes Capitol T-1111 Hank Thompson Released January, 1959. Unreleased/unknown 1112 Church in the Wildwood Capitol T-1113 Various Artists Released January, 1959. The Song Is June! Capitol (S)T-1114 June Christy Released January, 1959. Jonah Jumps Again Capitol (S)T-1115 Jonah Jones Quartet Released February, 1959. Salute to the Smooth Bands Capitol T-1116 Freddy Martin Released February, 1959. -
FOR IMMEDIATE RELEASE Contact: Media – Leading Edges, 601.483.9810, [email protected] Performance – MSU Riley Center
FOR IMMEDIATE RELEASE Contact: Media – Leading Edges, 601.483.9810, [email protected] Performance – MSU Riley Center Box Office, 601.696.2200, [email protected] ‘Lonesome Traveler: The Concert’ Celebrates Folk Music Roots at MSU Riley Center MERIDIAN, MS –“Lonesome Traveler: The Concert,” with featured guest star Peter Yarrow of Peter, Paul and Mary, will take an MSU Riley Center audience on a musical journey down the many streams of American folk music on Saturday, October 13, at 7:30 p.m. The multimedia concert, based on an acclaimed off-Broadway musical, is the second show in the Riley Center’s 2018-2019 Fall/Winter Performing Arts Series. “Lonesome Traveler” celebrates the music of such great folk and folk-rock artists as Woody Guthrie, Lead Belly, Pete Seeger and The Weavers, The Limeliters, Bob Dylan, The Byrds, Crosby, Stills & Nash, Joan Baez, Joni Mitchell and Simon & Garfunkel. It also includes a special tribute to Leonard Cohen. Charismatic young singers and multi-instrumentalists re-create the sounds and rekindle the idealistic spirit of the 1950s and ’60s folk revival. “Paul, Mary and I owed a great debt to the pioneers of folk who came before us,” Yarrow said. “It’s a joy for me to see a new generation carrying forward the traditions of folk music.” Members of every generation can sing along together on such warmly remembered hits as “If I Had a Hammer,” “Puff, the Magic Dragon,” “This Land Is Your Land,” “Blowin’ in the Wind,” “Turn! Turn! Turn!” “The Times They Are a-Changin’” and “Hallelujah.” It’s all folk music – music of the people, ever evolving, connecting us to our past and shaping our future. -
Get Back: the Unauthorized Chronicle of the Beatles' " Let It Be" Disaster, 1999, 336 Pages, Doug Sulpy, Ray Schweighardt, 0312199813, 9780312199814, St
Get Back: The Unauthorized Chronicle of the Beatles' " Let It Be" Disaster, 1999, 336 pages, Doug Sulpy, Ray Schweighardt, 0312199813, 9780312199814, St. Martin's Press, 1999 DOWNLOAD http://bit.ly/1A5PAQV http://www.powells.com/s?kw=Get+Back%3A+The+Unauthorized+Chronicle+of+the+Beatles%27+%22+Let+It+Be%22+Disaster Here, for the first time, Beatles experts Sulpy and Schweighardt trace the group's breakdown through the fascinating prism of the Get Back recording sessions. January 2, 1969: The Beatles begin a month of intensive sessions, designed to capture the musicians "as nature intended." Playing raw, live, with no studio tricks or gimmicks, the Beatles were consciously rejecting the high- gloss production style of their recent albums in favor of a return to their earlier stripped-down rock and roll sound. But Beatles Unplugged soon became Beatles Undone, and the project turned into the thirty-day saga of a group in freefall. Bickering and sniping, trudging through sloppy versions of old hits, the Fab Four were coming apart. For twenty-five years, tapes from the ill-fated Get Back sessions - only a fraction of which were released as Let It Be - have circulated among collectors. Sulpy and Schweighardt, for the first time, have undertaken a Herculean task: Sifting through those countless hours on tape, they reconstruct in amazing detail the drama of those sessions - the songs, jokes, outbursts, and fights. Get Back puts the reader in the studio as John cedes power to Yoko, Paul scrambles to keep things afloat, and George quits the band. It traces each step in the band's unique creative process. -
Retrospective Analysis of Plagiaristic Practices Within a Cinematic Industry in India – a Tip in the Ocean of Icebergs
Retrospective analysis of plagiaristic practices within a cinematic industry in india – a tip in the ocean of icebergs Item Type Article Authors Sivasubramaniam, Shiva D; Paneerselvam, Umamaheswaran; Ramachandran, Sharavan Citation Umamaheswaran, P., Ramachandran, S. and Sivasubramaniam, S.D., (2020). 'Retrospective Analysis of Plagiaristic Practices within a Cinematic Industry in India–a Tip in the Ocean of Icebergs'. Journal of Academic Ethics, pp.1-11. DOI: 10.1007/ s10805-020-09360-7 DOI 10.1007/s10805-020-09360-7 Publisher Springer Journal Journal of Academic Ethics Download date 27/09/2021 02:43:07 Link to Item http://hdl.handle.net/10545/624527 Journal of Academic Ethics https://doi.org/10.1007/s10805-020-09360-7 Retrospective Analysis of Plagiaristic Practices within a Cinematic Industry in India – aTip in the Ocean of Icebergs Paneerselvam Umamaheswaran1 & Sharavan Ramachandran2 & Shivadas D. Sivasubramaniam3 # The Author(s) 2020 Abstract Music plagiarism is defined as using tune, or melody that would closely imitate with another author’s music without proper attributions. It may occur either by stealing a musical idea (a melody or motif) or sampling (a portion of one sound, or tune is copied into a different song). Unlike the traditional music, the Indian cinematic music is extremely popular amongst the public. Since the expectations of the public for songs that are enjoyable are high, many music directors are seeking elsewhere to “borrow” tunes. Whilst a vast majority of Indian cinemagoers may not have noticed these plagiarised tunes, some journalists and vigilant music lovers have noticed these activities. This study has taken the initiative to investigate the extent of plagiaristic activities within one Indian cinematic music industry. -
The California Special"
To: WATERMARK PROGRAM SUBSCRIBERS From: Tom Rounds Re: "THE CALIFORNIA SPECIAL" Saturday, May 31, 1975 Our producer, Ron Jacobs, calls it "better than the History of Rock and Roll or the Elvis Presley Story". He, along with just about everybody else in the Southern California music community has been swept up in the tremendous enthusiasm building for Watermark's latest radio program production: "The California Special". Our 4 color brochure, which I promised a few weeks ago, won't be ready for this week's mailing, so we've re-printed the ad that will break next week. I've also enclosed a postcard, which you should fill out and return, even if you are just remotely interested. If you send in the postcard, we'll send you the demo tape just as soon as it's produced•.. about June 15. The complete 6 hour special will be ready shortly thereafter. "The California Special" will be a new kind of rockumentary, It' 11 be based on all the Southern California hits from 1960 through 1975, but the emphasis will be on the "summer fun and sun'' hits and artists .•. Beachboys, Jan & Dean, etc. The license will allow unlimited use through March of 1977, and we think you' 11 be able to get at least two runs out of the six hours this summer if you move fast. Because the content and the music is so comprehensive, it's probably an easy sell, if you decide to go that way. The ideal scheduling, if your advance programming commitments permit, would call for Sunday afternoon 12Noon-6PM. -
Sunflower 02-16-1960 (4.128Mb)
T Men Named Hope Kroenlein Gets VoL LXIV— No. §MFU)WER 31 Belle of Ball Title Engineers VWCA Friday. ^ sponsored by the To Show that sollTthrn^i^^'tfcto sorority ri-sS’S — Projects Money from the dance will « T^e Engineering Department ia for support of p r o j X aild nre He working hard at readying projects fframa of the campus YWCA dur “ nd «™* and dUplaya for the annual Open in? the comin? « a r said H.rth ,**'* Goeemln? House, to bo held Feb. 26 and 27. Nichol, ?eneml chairinan „ f S e io“ ’i^- an^MA dance. ’ SGA Congressman, and The event, to be shown in var T7,_Named j - the~ —•'top to iiiciimen were:were: s T n . ious engineering buildings, U in Fred Luedke, Mr. Engineer; Dick conjunction with National Engi Young, Mr. AthleU; Ken Orr. Mr. neering Week. The theme is “En Poli^cian; Doug Jackson, Mr. gineering Illustrated.” Music; Bana Kartasasmita, Mr Traffic Rules ALL SBT—^iffineerioff stiideiits. fleTt tn « All four departments of engi Organization; Jay McMurray, Mr. U ren Hall and Don Palmer make final ^ Sibley, neering will be represented by C o ll^ a U ; Henry Hall, Mr. Mass be displayed daring “ Open House.*' numerous displays and exhibit*, Media; Allan Johnston, Mr. Execu Will Receive according to John Johnston, d a ir- tive; Jim Hadley, Mr. Activities; le man. The department of aeronau and Bob Oeesler, Mr. Personality. tical engineering will exhibit an Luedke, an Engineering senior Closer Watch airplane production line in com la a member of DelU Upsilon fra “ We're going to strenuously en Tickets Going Fast ternity. -
John Stewart Song Database
This is the version from the "Teresa"-cd Page 1 of 2 Across The Milky Way Written by John Stewart. This is the version from the "Teresa and the Lost Songs" CD, Homecoming Records, 1998. John Stewart plays it in the key of D (first chord G). (C) (G) (D) (G) 5x If you are (D)lost as (G)in a (D)dream And you(C) cannot (D)find your (G)way,(D) (G)All the (D)reasons (G)you are (D)lost Will (C)guide you (G)on your (D)way. If you (C)turn them all to (D)stars (C)Across the (D)milky (G)way,(D) (G)Truly (D)they would (G)make All the (C)night as (D)bright as (C)day.(G) (D) (G) (C) (G) (D) (G) (C) (G) (D) (G) Children (D)come and (G)children (D)go, They´re not(C) children (D)any(G)more.(D) (G)And all I (D)have are (G)photo(D)graphs, I have(C) hundreds (G)on my (D)door. And if I (C)turned them all to (D)stars (C)Across the (D)milky (G)way,(D) (G)Truly (D)they would (G)make All the (C)night as (D)bright as (G)day,(D) (G)Truly (D)they would (G)make All the (C)night as (D)bright as (C)day.(G) (D) (G) (C) (G) (D) (G) (C) (G) (D) (G) (C) (G) (D) (G) If all the (D)hearts that the (G)spirit (D)loves were(C) standing (D)side by (G)side,(D) (G)They would (D)be for(G)ever (D)long And(C) ten thousand (G)miles (D)wide. -
Banjo Bob Doherty, Formerly of the Tipsy Rovers, Now Lead Singer for the Kingston Trio
Banjo Bob Doherty, formerly of the Tipsy Rovers, now Lead Singer for the Kingston Trio. Sure looks like it! Narrative by Donna Doherty: This is cover of a book that is about 15 years old, signed by the members of the trio back then and belonging to Bob Shane. Could this week get any better? It was presented to Bob last night as his trio won the award for best camper trio of the year. Narrative by Donna Doherty: For Bob’s 70th birthday his family presented him with a trip to the Kingston Trio’s Fantasy Camp. Here's a quick overview camp life: There are only 33 campers. Concerts on each of 4 nights. First 8 or 9 campers have the opportunity of a lifetime (make that dream). They play a song, chosen ahead of time, with the trio. Bob Shane (founder) sings a song or two. 8 or 9 trio groups perform. Some of the campers return year after year and have established groups. Never have 3 newbies been grouped together until this year. Bobs group, "The Common Folk" included a woman from OK and a guy from Nebraska. We have had an awesome 7 days with some of the friendliest people I've ever met. The Video For the first 1:50 of the video, the spotlight was fiercely focused on Banjo Bob, but after that the lighting was adjusted for a much better view. The song they are singing is “Three Jolly Coachmen”, from the very first Kingston Trio album in 1958. Here are the lyrics: One, two, and three jolly coachmen sat at an English tavern. -
Folk Music 1 Folk Music
Folk music 1 Folk music Folk music Béla Bartók recording Slovak peasant singers in 1908 Traditions List of folk music traditions Musicians List of folk musicians Instruments Folk instruments Folk music is an English term encompassing both traditional folk music and contemporary folk music. The term originated in the 19th century. Traditional folk music has been defined in several ways: as music transmitted by mouth, as music of the lower classes, and as music with unknown composers. It has been contrasted with commercial and classical styles. This music is also referred to as traditional music and, in US, as "roots music". Starting in the mid-20th century a new form of popular folk music evolved from traditional folk music. This process and period is called the (second) folk revival and reached a zenith in the 1960s. The most common name for this new form of music is also "folk music", but is often called "contemporary folk music" or "folk revival music" to make the distinction.[1] This type of folk music also includes fusion genres such as folk rock, electric folk, and others. While contemporary folk music is a genre generally distinct from traditional folk music, it often shares the same English name, performers and venues as traditional folk music; even individual songs may be a blend of the two. Traditional folk music Definitions A consistent definition of traditional folk music is elusive. The terms folk music, folk song, and folk dance are comparatively recent expressions. They are extensions of the term folk lore, which was coined -
FROM “WE SHALL OVERCOME” to “FORTUNATE SON”: the EVOLVING SOUND of PROTEST an Analysis on the Changing Nature of American Protest Music During the Sixties
FROM “WE SHALL OVERCOME” TO “FORTUNATE SON”: THE EVOLVING SOUND OF PROTEST An analysis on the changing nature of American protest music during the Sixties FLORIS VAN DER LAAN S1029781 MA North American Studies Supervisor: Frank Mehring 20 Augustus 2020 Thesis k Floris van der Laan - 2 Abstract Drawing on Denisoff’s theoretical framework - based on his analysis of the magnetic and rhetorical songs of persuasion - this thesis will examine how American protest music evolved during the Sixties (1960-1969). Songs of protest in relation to the Civil Rights Movement and the Vietnam War gave a sound to the sociopolitical zeitgeist, critically addressing matters that were present throughout this decade. From the gentle sounds of folk to the dazzling melodies of rock, protest music became an essential cultural medium that inspired forms of collective thought. Ideas of critique and feelings of dissent were uniquely captured in protest songs, creating this intrinsic correlation between politics, music, and protest. Still, a clear changing nature can be identified whilst scrutinizing the musical phases and genres – specifically folk and rock - the Sixties went through. By taking a closer look on the cultural artifacts of protest songs, this work will try to demonstrate how American songs of protest developed during this decade, often affected by sociopolitical factors. From Bob Dylan’s “Blowin’ in the Wind” to The Doors’ “The Unknown Soldier”, and from “Eve of Destruction” by Barry McGuire to “Superbird” by Country Joe and The Fish, a thorough analysis of protest music will be provided. On the basis of lyrics, melodies, and live performances, this thesis will discuss how protest songs reflected the mood of the times, and provided an ever-evolving destabilizing force that continuously adjusted to its social and political surroundings.