To View Or Download Our 2018 Season Program
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Brevard Live January 2016
Brevard Live January 2016 - 1 2 - Brevard Live January 2016 Brevard Live January 2016 - 3 4 - Brevard Live January 2016 Brevard Live January 2016 - 5 6 - Brevard Live January 2016 Contents January 2016 FEATURES DAVE MASON Columns CARROT TOP COMES HOME Meet Dave Mason for an evening of If you ever have the chance to see Car- rock music history as he retraces the ear- Charles Van Riper rot Top’s show, either on the road or in liest days of his career with Traffic and 20 Political Satire Vegas - make sure you do. It’s a laugh a later the classic recordings that launched minute riot from beginning to end, and his solo career. Calendars he never pumps the breaks once. Page 17 25 Live Entertainment, Page 11 Concerts, Festivals ATLANTA RHYTHM SECTION TRAVIS TRITT With 15 albums of outstanding song- Local Download He has received two Grammys and four writing and entertaining live perfor- 33 by Andy Harrington CMA Awards. Tritt has also charted mances, Atlanta Rhythm Section em- Local Music Scene more than 40 times on the Hot Coun- bodies all that the phrase “classic rock” try Songs charts, including five number implies - despite of being labeled as a Behind The Scene ones: “Help Me Hold On,” “Anymore,” southern rock band. MIFF Scenes by “Can I Trust You with My Heart,” “Fool- 34 Page 18 Charles & Lissa ish Pride”, and “Best of Intentions.” Page 12 JOHN MASSUNG Flori-duh! The work of John Massung takes the 36 by Charles Knight ABBA MANIA viewer, quite literally, above and beyond Billed as the world’s number one tour- the standard perception of our local par- The Dope Doctor ing ABBA tribute concert, Abba Mania adise. -
Hardrock Haven: Zebra - the DVD Review 2008
Hardrock Haven: Zebra - The DVD Review 2008 http://www.hardrockhaven.net/reviews2008/may08/Zebra%20-%20The... HOME CD/DVD REVIEWS CONCERT REVIEWS EDITORIALS IN DEPTH INTERVIEWS NEWS DESK 1 of 3 5/19/2008 11:28 AM Hardrock Haven: Zebra - The DVD Review 2008 http://www.hardrockhaven.net/reviews2008/may08/Zebra%20-%20The... INSIDE HRH CD/DVD Review Latest Updates: Zebra Contest 5/16/08 FEATURES Con Rvws 5/16/08 The DVD MVD BOTM Reviews 5/14/08 Reviews 5/10/08 Contests by John Kindred Con Rvw 5/4/08 Staff Writer BOTM 5/4/08 Entertainment Reviews 5/3/08 Comments: Zebra came to fruition in New Orleans during the mid Links Interviews 5/2/08 ‘70s. Formed by Randy Jackson (vocals/guitar), Felix Hanemann Reviews 4/27/08 (bass/keyboards) and Guy Gelso (drums) the trio built a cult Reviews 4/23/08 INTERACT following both in New Orleans and in New York and eventually Reviews 4/20/08 Interview 4/17/08 Contact Us garnered the attention of producer Jack Douglas. The band’s debut album on Atlantic Records was the fastest selling record in Guestbook the labels history. It shot up the Billboard chart to position #29 Band of the Month: MySpace and produce two of the band’s most loved songs "Tell Me What May: Faber Drive You Want" and "Who's Behind the Door?" Apr: Decadent Nation Newsletter Mar: MASS The instant success of the band quickly turned sour as their Feb: Grief of War Search sophomore follow up album No Tellin' Lies didn’t sell as Jan: Thunderstone Staff successfully as their debut. -
Tuareg Music and Capitalist Reckonings in Niger a Dissertation Submitted
UNIVERSITY OF CALIFORNIA Los Angeles Rhythms of Value: Tuareg Music and Capitalist Reckonings in Niger A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Ethnomusicology by Eric James Schmidt 2018 © Copyright by Eric James Schmidt 2018 ABSTRACT OF THE DISSERTATION Rhythms of Value: Tuareg Music and Capitalist Reckonings in Niger by Eric James Schmidt Doctor of Philosophy in Ethnomusicology University of California, Los Angeles, 2018 Professor Timothy D. Taylor, Chair This dissertation examines how Tuareg people in Niger use music to reckon with their increasing but incomplete entanglement in global neoliberal capitalism. I argue that a variety of social actors—Tuareg musicians, fans, festival organizers, and government officials, as well as music producers from Europe and North America—have come to regard Tuareg music as a resource by which to realize economic, political, and other social ambitions. Such treatment of culture-as-resource is intimately linked to the global expansion of neoliberal capitalism, which has led individual and collective subjects around the world to take on a more entrepreneurial nature by exploiting representations of their identities for a variety of ends. While Tuareg collective identity has strongly been tied to an economy of pastoralism and caravan trade, the contemporary moment demands a reimagining of what it means to be, and to survive as, Tuareg. Since the 1970s, cycles of drought, entrenched poverty, and periodic conflicts have pushed more and more Tuaregs to pursue wage labor in cities across northwestern Africa or to work as trans- ii Saharan smugglers; meanwhile, tourism expanded from the 1980s into one of the region’s biggest industries by drawing on pastoralist skills while capitalizing on strategic essentialisms of Tuareg culture and identity. -
Flatpicking Guitar Magazine Index of Reviews
Flatpicking Guitar Magazine Index of Reviews All reviews of flatpicking CDs, DVDs, Videos, Books, Guitar Gear and Accessories, Guitars, and books that have appeared in Flatpicking Guitar Magazine are shown in this index. CDs (Listed Alphabetically by artists last name - except for European Gypsy Jazz CD reviews, which can all be found in Volume 6, Number 3, starting on page 72): Brandon Adams, Hardest Kind of Memories, Volume 12, Number 3, page 68 Dale Adkins (with Tacoma), Out of the Blue, Volume 1, Number 2, page 59 Dale Adkins (with Front Line), Mansions of Kings, Volume 7, Number 2, page 80 Steve Alexander, Acoustic Flatpick Guitar, Volume 12, Number 4, page 69 Travis Alltop, Two Different Worlds, Volume 3, Number 2, page 61 Matthew Arcara, Matthew Arcara, Volume 7, Number 2, page 74 Jef Autry, Bluegrass ‘98, Volume 2, Number 6, page 63 Jeff Autry, Foothills, Volume 3, Number 4, page 65 Butch Baldassari, New Classics for Bluegrass Mandolin, Volume 3, Number 3, page 67 William Bay: Acoustic Guitar Portraits, Volume 15, Number 6, page 65 Richard Bennett, Walking Down the Line, Volume 2, Number 2, page 58 Richard Bennett, A Long Lonesome Time, Volume 3, Number 2, page 64 Richard Bennett (with Auldridge and Gaudreau), This Old Town, Volume 4, Number 4, page 70 Richard Bennett (with Auldridge and Gaudreau), Blue Lonesome Wind, Volume 5, Number 6, page 75 Gonzalo Bergara, Portena Soledad, Volume 13, Number 2, page 67 Greg Blake with Jeff Scroggins & Colorado, Volume 17, Number 2, page 58 Norman Blake (with Tut Taylor), Flatpickin’ in the -
Groovology & the Magic of Other People's Music
Groovology and the Magic of Other People’s Music Charles Keil While the word “groove” seems to be gaining ever greater currency, the explorations and wording of groove phenomena in "musicking" (Small 1998) does not seem to be a rapidly growing field of groovology per se. 1 This paper tries to explain the general lack of academic interest in groovology as a discipline and then argues that some important issues can’t be grasped without it. Every groove is both a mystery or Batesonian 'sacrament' as well as a practical, pragmatic or testable practice within a 'joyous science' of measuring "— ultimately, any 'difference which makes a difference,' traveling in a circuit." (Bateson 1991:xiii) The practical question is something like: what do we have to do with our bodies playing these instruments and singing in order to get their bodies moving, bobbing their heads, snapping their fingers, up from their tables and dancing? The mystery: how do people and musicking become consubstantial, a communion, communitas , a sacrament, the music inside the people and the people inside the music? In Music Grooves (Keil and Feld 1994) and in the “Special Issue: Participatory Discrepancies” of Ethnomusicology (Vol. 39, No. 1, Winter 1995, articles by Keil, Progler, Alen, and 11 respondents) we have tried to persuade ethnomusicologists and other potentially interested scholars (in fields as diverse as political rhetoric, sermonizing, comedy-timing, sex-therapy, sports psychology, play, etc.) that in asking these two questions and in this wording of grooves, -
BEST of 2011 – OUR FAVOURITE ALBUMS of the YEAR 1317 Commercial Drive Vancouver, BC Tel: 604-251-6964 Email: [email protected] Web: Highlifeworld.Com
HIGHLIFE Donec Egestas Scelerisque WORLD dolor: MUSIC BEST OF 2011 – OUR FAVOURITE ALBUMS OF THE YEAR 1317 Commercial Drive Vancouver, BC tel: 604-251-6964 email: [email protected] web: highlifeworld.com BEST OF 2011 BOMBINO Agadez Niger From the Saharan sands of Niger comes this recording by the brilliant guitarist/vocalist Bombino, who manages to create a distinctive desert blues style with echoes of both Ali Farka Toure and Tinariwen. An essential recording! TOM WAITS Bad As Me USA Gravelly-voiced poet and musical maverick Tom Waits returns with this strong batch of rocking blues stompers and tender ballads, joined by the likes of Keith Richards, Marc Ribot and David Hidalgo. Beginning with a train journey north to Chicago and ending in a bar on New Year’s eve (singing ‘Auld Lang Syne’ no less) this is a trip worth taking. Highly recommended! KIRAN AHLUWALIA Aam Zameen: Common Ground Canada Indo-Canadian vocalist Kiran Ahluwalia, known for her beautifully updated Ghazal music, this time does some continent hopping as she collaborates with desert blues sensations Tinariwen and Terakaft. From the opening take on Nusrat Fateh Ali Khan’s classic ‘Mustt Mustt’, propelled by handclaps and call and response vocals, we are in for an exciting cross-cultural musical feast. WILCO The Whole Love USA The 8th release by Jeff Tweedy and cohorts impressively reprises the various musical inclinations of this effortlessly creative group. From the off-kilter whirlwind of the opener to the epic beauty of the 12 minute closer, this is an album by a band at the top of their game. -
Song, State, Sawa Music and Political Radio Between the US and Syria
Song, State, Sawa Music and Political Radio between the US and Syria Beau Bothwell Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2013 © 2013 Beau Bothwell All rights reserved ABSTRACT Song, State, Sawa: Music and Political Radio between the US and Syria Beau Bothwell This dissertation is a study of popular music and state-controlled radio broadcasting in the Arabic-speaking world, focusing on Syria and the Syrian radioscape, and a set of American stations named Radio Sawa. I examine American and Syrian politically directed broadcasts as multi-faceted objects around which broadcasters and listeners often differ not only in goals, operating assumptions, and political beliefs, but also in how they fundamentally conceptualize the practice of listening to the radio. Beginning with the history of international broadcasting in the Middle East, I analyze the institutional theories under which music is employed as a tool of American and Syrian policy, the imagined youths to whom the musical messages are addressed, and the actual sonic content tasked with political persuasion. At the reception side of the broadcaster-listener interaction, this dissertation addresses the auditory practices, histories of radio, and theories of music through which listeners in the sonic environment of Damascus, Syria create locally relevant meaning out of music and radio. Drawing on theories of listening and communication developed in historical musicology and ethnomusicology, science and technology studies, and recent transnational ethnographic and media studies, as well as on theories of listening developed in the Arabic public discourse about popular music, my dissertation outlines the intersection of the hypothetical listeners defined by the US and Syrian governments in their efforts to use music for political ends, and the actual people who turn on the radio to hear the music. -
2018–2019 Annual Report
18|19 Annual Report Contents 2 62 From the Chairman of the Board Ensemble Connect 4 66 From the Executive and Artistic Director Digital Initiatives 6 68 Board of Trustees Donors 8 96 2018–2019 Concert Season Treasurer’s Review 36 97 Carnegie Hall Citywide Consolidated Balance Sheet 38 98 Map of Carnegie Hall Programs Administrative Staff Photos: Harding by Fadi Kheir, (front cover) 40 101 Weill Music Institute Music Ambassadors Live from Here 56 Front cover photo: Béla Fleck, Edgar Meyer, by Stephanie Berger. Stephanie by Chris “Critter” Eldridge, and Chris Thile National Youth Ensembles in Live from Here March 9 Daniel Harding and the Royal Concertgebouw Orchestra February 14 From the Chairman of the Board Dear Friends, In the 12 months since the last publication of this annual report, we have mourned the passing, but equally importantly, celebrated the lives of six beloved trustees who served Carnegie Hall over the years with the utmost grace, dedication, and It is my great pleasure to share with you Carnegie Hall’s 2018–2019 Annual Report. distinction. Last spring, we lost Charles M. Rosenthal, Senior Managing Director at First Manhattan and a longtime advocate of These pages detail the historic work that has been made possible by your support, Carnegie Hall. Charles was elected to the board in 2012, sharing his considerable financial expertise and bringing a deep love and further emphasize the extraordinary progress made by this institution to of music and an unstinting commitment to helping the aspiring young musicians of Ensemble Connect realize their potential. extend the reach of our artistic, education, and social impact programs far beyond In August 2019, Kenneth J. -
Disco Top 15 Histories
10. Billboard’s Disco Top 15, Oct 1974- Jul 1981 Recording, Act, Chart Debut Date Disco Top 15 Chart History Peak R&B, Pop Action Satisfaction, Melody Stewart, 11/15/80 14-14-9-9-9-9-10-10 x, x African Symphony, Van McCoy, 12/14/74 15-15-12-13-14 x, x After Dark, Pattie Brooks, 4/29/78 15-6-4-2-2-1-1-1-1-1-1-2-3-3-5-5-5-10-13 x, x Ai No Corrida, Quincy Jones, 3/14/81 15-9-8-7-7-7-5-3-3-3-3-8-10 10,28 Ain’t No Stoppin’ Us, McFadden & Whitehead, 5/5/79 14-12-11-10-10-10-10 1,13 Ain’t That Enough For You, JDavisMonsterOrch, 9/2/78 13-11-7-5-4-4-7-9-13 x,89 All American Girls, Sister Sledge, 2/21/81 14-9-8-6-6-10-11 3,79 All Night Thing, Invisible Man’s Band, 3/1/80 15-14-13-12-10-10 9,45 Always There, Side Effect, 6/10/76 15-14-12-13 56,x And The Beat Goes On, Whispers, 1/12/80 13-2-2-2-1-1-2-3-3-4-11-15 1,19 And You Call That Love, Vernon Burch, 2/22/75 15-14-13-13-12-8-7-9-12 x,x Another One Bites The Dust, Queen, 8/16/80 6-6-3-3-2-2-2-3-7-12 2,1 Another Star, Stevie Wonder, 10/23/76 13-13-12-6-5-3-2-3-3-3-5-8 18,32 Are You Ready For This, The Brothers, 4/26/75 15-14-13-15 x,x Ask Me, Ecstasy,Passion,Pain, 10/26/74 2-4-2-6-9-8-9-7-9-13post peak 19,52 At Midnight, T-Connection, 1/6/79 10-8-7-3-3-8-6-8-14 32,56 Baby Face, Wing & A Prayer, 11/6/75 13-5-2-2-1-3-2-4-6-9-14 32,14 Back Together Again, R Flack & D Hathaway, 4/12/80 15-11-9-6-6-6-7-8-15 18,56 Bad Girls, Donna Summer, 5/5/79 2-1-1-1-1-1-1-1-2-2-3-10-13 1,1 Bad Luck, H Melvin, 2/15/75 12-4-2-1-1-1-1-1-1-1-1-1-2-2-3-4-5-5-7-10-15 4,15 Bang A Gong, Witch Queen, 3/10/79 12-11-9-8-15 -
Jack Pearson
$6.00 Magazine Volume 16, Number 2 January/February 2012 Jack Pearson Al Smith Nick DiSebastian Schenk Guitars 1 Flatpicking Guitar Magazine January/February 2012 design by [email protected] by “I am very picky about the strings I use on my Kendrick Custom Guitar, and GHS gives me unbeatable tone in a very long lasting string.” GHS Corporation / 2813 Wilber Avenue / Battle Creek . Michigan 49015 / 800 388 4447 2 Flatpicking Guitar Magazine January/February 2012 Block off February 23 thru the 26th!! Get directions to the Hyatt Regency in Bellevue, WA. Make hotel & travel arrangements. Purchase tickets for shows and workshops! Practice Jamming!! Get new strings! Bookmark wintergrass.com for more information! Tell my friends about who’s performing: Ricky Skaggs & Kentucky Thunder Tim O’Brien, The Wilders, The Grascals, The Hillbenders, Anderson Family Bluegrass and more!!! Practice Jamming!!!!! wintergrass.com 3 Flatpicking Guitar Magazine January/February 2012 Feb 23-26th 4 Flatpicking Guitar Magazine January/February 2012 1 Flatpicking Guitar Magazine January/February 2012 CONTENTS Flatpicking FEATURES Jack Pearson & “Blackberry Pickin’” 6 Guitar Schenk Guitars 25 Flatpick Profile: Al Smith & “Take This Hammer” 30 Magazine CD Highlight: Nick DiSebastian: “Snowday” 58 The Nashville Number System: Part 2 63 Volume 16, Number 2 COLUMNS January/February 2012 Bluegrass Rhythm Guitar: Homer Haynes 15 Published bi-monthly by: Joe Carr High View Publications Beginner’s Page: “I Saw the Light” 18 P.O. Box 2160 Dan Huckabee Pulaski, VA 24301 -
May 5, 2016, Vol. 58, No. 17
PHOTO: STEVE EBERHARDT • Verizon: huelga • Cinco bancos grandes 12 Workers and oppressed peoples of the world unite! workers.org Vol. 58, No. 17 May 5, 2016 $1 3 WWP at anti-Klan protest in Georgia. LONG LIVE INTERNATIONAL WORKERS’ DAY A message from WWP candidates Migrant upsurge and MAY DAY By Teresa Gutierrez Monica Moorehead for U.S. President Lamont Lilly for U.S. Vice President May Day actions this year mark the tenth anniversary of the upsurge s national electoral candidates of Workers World Party, May Day — of immigrant workers that gave birth Teresa Gutierrez to today’s national immigrant rights has been a co- A International Workers Day — to us means a demand for dignity and movement. coordinator of the unconditional liberation for the multinational working class from the Legislation introduced by Rep. May 1st Coalition yoke of global capitalism or imperialism around the world. James Sensenbrenner (R-Wis) in for Worker and We salute the millions of workers in poor and rich countries who take Immigrant Rights December 2005 had been one of the to the streets in protests, strikes and shutdowns on May Day to call most racist and reactionary bills to for a decade and is currently campaign attention to all forms of injustices, as well as triumphs, against a system pass in the House. manager for the that puts corporate profits before human needs. We salute the Cuban The Sensenbrenner bill would not Workers World revolution where millions of workers march on May Day to commem- only have made it a felony to be in the Party 2016 election John Parker for U.S. -
Transnational Habitus: Mariem Hassan As the Transcultural Representation of the Relationship Between Saharaui Music and Nubenegra Records
Transnational Habitus: Mariem Hassan as the transcultural representation of the relationship between Saharaui music and Nubenegra records Luis Gimenez Amoros Submitted in partial fullfilment of the requirements for the degree of Doctor of Philosophy, Rhodes University PhD (thesis) Department of Music and Musicology Supervisor: Dr Lee Watkins I Abstract This thesis expands on primary field research conducted for my MMus degree. Undertaken in the Saharaui refugee camps of southern Algeria (2004-2005) that research - based on ethnographic data and the analysis of Saharaui music, known as Haul 1- focussed on the musical system, the social context of musical performance and the music culture in Saharaui refugee camps. This doctoral research examines Saharaui Haul music as practised in Spain and is particularly focussed on its entry, since 1998, into the global market by way of the World Music label, Nubenegra records. The encounter between Saharaui musicians and Nubenegra records has created a new type of Saharaui Haul which is different to that played in the refugee camps. This phenomenon has emerged as a result of western music producers compelling Saharaui musicians to introduce musical changes so that both parties may be considered as musical agents occupying different positions on a continuum of tradition and change. Nubenegra undertook the commodification of Saharaui music and disseminated it from the camps to the rest of the world. A musical and social analysis of the relationship between Nubenegra and Saharaui musicians living in Spain will form the basis of the research in this thesis. In particular, Mariem Hassan is an example of a musician who had her music disseminated through the relationship with Nubenegra and she is promoted as the music ambassador of the Western Sahara.