Daughter of the King Declaration
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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. -
Elvis Costello and Blondie
FOR IMMEDIATE RELEASE Media Contact: Bridget Smith v.845.583.2179 Photos & Interviews may be available upon request [email protected] ELVIS COSTELLO & THE IMPOSTERS AND BLONDIE EMBARK ON CO-HEADLINING SUMMER TOUR, BEGINNING AT BETHEL WOODS ON SATURDAY, JULY 20TH Tickets on-sale Saturday, April 6th at 10 AM April 2, 2019 (BETHEL, NY) – Bethel Woods Center for the Arts, the nonprofit cultural center located at the site of the 1969 Woodstock festival, today announced that Elvis Costello & The Imposters and Blondie will perform at the center on July 20th as the first stop on their coast-to-coast co-headlining tour. Tickets go on-sale Saturday, April 6th at 10:00 AM at www.BethelWoodsCenter.org, www.Ticketmaster.com, Ticketmaster outlets, or by phone at 1.800.745.3000. Elvis Costello and Blondie shared spots near the top of the UK Singles Chart 40 years ago when Blondie's "Heart Of Glass” sat neck-and-neck alongside Elvis Costello & The Attraction’s "Oliver's Army” in the company of The Bee Gees, Gloria Gaynor and ABBA. The same week, Blondie's seminal album Parallel Lines reached #1 on the Album Chart while Costello's Armed Forces landed at #3. Elvis Costello & The Imposters’ last tour in late 2018 found the combo reaching new live performance peaks. The band "came out swinging” (Star Tribune) in Minneapolis, were “unstoppable” in Anaheim (OC Register) and played an “epic and euphoric” (Variety) show in LA that even at nearly three hours “[left] ‘em wanting more.” The Imposters are: Steve Nieve (keyboards), Davey Faragher (bass) and Pete Thomas (drums). -
Audio/Video Creation Scans Southwest Landscapes
March 23, 1986 I HE Sunday CAMERA 313 Audio/video creation scans Southwest landscapes By REED GLENN scrutinize the patterns in the Camera Visual Arts Critic desiccated desert shrub bark - "The West," an audio/video and golden blooms, revel in ~, installation by 5teina and Woody sheer cinnamon cliffs against : Vasulka at Denver's new Center blue skies, and wonder at the center for Idea Art a crossover gallery for Idea Art, looks very much evolution of human construction, like a group of televisions on the from ancient Anasazi stonework It doesn't look like much. Concrete traffic - the sounds of which are well Originally,i says Mary ,tones, assistant ' blink - in an extremely con- to arrays of modern radar. In- floors and an exposed-concrete rafter muffled. director and an "emerging video artist" ;, trolled, artistic way. In fact, it terestingly, some of the cross- ceiling give a rather industrial and The Center for Idea Art moved to this herself, the CIA was more for the arts a curved wall of 16 TVs with crossed structure supporting the temporary feeling. A few hard plastic uptown (downtown?) location in the community than the general public. But spectacular cases of horizontal giant radar dishes resembles chairs give little visual respite from the Denver Center for the Performing Arts now organizers hope to cross over to a " drift, double exposure, split patterns from gothic cathedral stark interior. last July. Formed a little over three years more general audience with crossover art screens, and dizzying motion - ceilings or Indian basketry . But this is a place for ideas and ago, the gallery began in the warehouse forms - a combination of visual and all portraying striking scenes of Much of the strength of this performance . -
Cost University $2 Million by '88 of the Student Code of by Dave Urbanski Conduct
Today's - weather: Cloudy and NON PROfiT ORG US POSTAGE cold. Chance PAID of snow. Newark. Del ., Permtt No 26 Highs in the 30s. ' Vot 111 No. 40 Student Center, University of Delaware, Newark, Delaware 19716 Friday, March 7, 1986 r '~Budget cuts to · cost university $2 million by '88 of the Student Code of by Dave Urbanski Conduct. Assistant-News Editor The new policy. which was The university is slated to created in response to the lose as much as $2 million in harassment of gay and lesbian federal funding for building students in the past two years. maintenance, utility and other broadens the scope of the administrative costs over the policy, Dean of Students next two years. Timothy Brooks said. The proposed cuts, part of The revised code redefines the Gramm-Rudman deficit harassment as "deliberately reduction plan. are scheduled acting with intent to harass to begin April 1, Provost L. any member or guest of the Leon Campbell told the univer university community" based sity Faculty Senate during its on the person's race, sex, meeting Monday. religion, political beliefs, sex "We cannot accept this ual orienlation or disability. change," university Treasurer The original policy specified Robert Harrison said. only racism, sexism and anti The Federal Office of Semitism a~ harassment. Management and Budget is in Todd Christie <AS 86), a charge of reducing the funds, Delaware Undergraduate Stu which are known as indirect dent Congress•representative costs, Harrison said. to the Faculty Senate, said he The university . faculty was pleased with the policy favors the cuts in indirect change. -
Thomas Paine
I THE WRITINGS OF THOMAS PAINE COLLECTED AND EDITED BY MONCURE DANIEL CONWAY AUTHOR OF L_THE LIFR OF THOMAS PAINE_ y_ _ OMITTED CHAPTERS OF HISTOIY DI_LOSED IN TH I_"LIFE AND PAPERS OF EDMUND RANDOLPH_ tt _GEORGE W_HINGTON AND MOUNT VERNON_ _P ETC. VOLUME I. I774-I779 G. P. Pumam's Sons New York and London _b¢ "lkntckcrbo¢#¢_ I_¢ee COPYRIGHT, i8g 4 BY G. P. PUTNAM'S SONS Entered at Stationers' Hall, London BY G. P. PUTNAM'S SONS G. P. PUTNAM'S SONS CONTENTS. PAGB INTRODUCTION V PREFATORY NOTE TO PAINE'S FIRST ESSAY , I I._AFRICAN SLAVERY IN AMERICA 4 II.--A DIALOGUE BETWEEN GENERAL WOLFE AND GENERAL GAGE IN A WOOD NEAR BOSTON IO III.--THE MAGAZINE IN AMERICA. I4 IV.--USEFUL AND ENTERTAINING HINTS 20 V._NEw ANECDOTES OF ALEXANDER THE GREAT 26 VI.--REFLECTIONS ON THE LIFE AND DEATH OF LORD CLIVE 29 VII._CUPID AND HYMEN 36 VIII._DUELLING 40 IX._REFLECTIONS ON TITLES 46 X._THE DREAM INTERPRETED 48 XI._REFLECTIONS ON UNHAPPY MARRIAGES _I XII._THOUGHTS ON DEFENSIVE WAR 55 XIII.--AN OCCASIONAL LETTER ON THE FEMALE SEX 59 XIV._A SERIOUS THOUGHT 65 XV._COMMON SENSE 57 XVI._EPISTLE TO QUAKERS . I2I XVII.--THE FORESTER'SLETTERS • I27 iii _v CONTENTS. PAGE XVIII.mA DIALOGUE. I6I XIX.--THE AMERICAN CRISIS . I68 XX._RETREAT ACROSS THE DELAWARE 38I XXI.--LETTER TO FRANKLIN, IN PARIS . 384 XXII.--THE AFFAIR OF SILAS DEANE 39S XXIII.--To THE PUBLm ON MR. DEANE'S A_FAIR 409 XXIV.mMEssRs. DEANS, JAY, AND G_RARD 438 INTRODUCTION. -
Durante Los Años Sesenta Grabó Con Johnny Mathis, Neil Diamond
Bajista#05pag.qxp 08/02/2005 9:42 PÆgina 18 urante los años sesenta grabó con Johnny Mathis, Neil Diamond, Nancy DSinatra, Pat Boone, Sammy Davis Jr., The Everly Brothers, Dionne Warwick, Barbara Streisand, Linda Ronstadt, el guitarrista fla- menco Carlos Montoya, The Doors, con los que grabó "L.A. Woman" (fue invitado a unirse a la banda poco antes de la muerte de Jim Morrison). Un día recibió una llamada del guitarrista James Burton para lo que se conocería posteriormente como la "TCB Band" de Elvis. Scheff trabajó para el rey desde 1969 a 1973 y de 1975 hasta el final. En 1976 empezó a tocar para Bob Dylan, grabando varios discos. Durante los ochenta prosiguió su carrera como músico de sesión y grabó para John Denver, Elvis Costello y Roy Orbison (se le puede ver tocando el contra- bajo en el DVD "Black and white night") y literalmente decenas de artistas. Más de lo mismo en los noventa. Los discos en los que ha grabado se cuentan por cientos. Una auténtica leyenda que sigue en activo hoy en día. Scheff trasladó sus raíces de Jazz y R&B al terreno del Rock And Roll y del Country. Sus líneas son com- 18 bajista MARZO 2005 Bajista#05pag.qxp 08/02/2005 9:42 PÆgina 19 Ejemplo 01 plejas e imaginativas, o sim- ceras mayores a un tono de ples y eficaces según el tema distancia contra el mi al aire lo requiera. Domina el bajo de la cuarta cuerda, Scheff sin trastes y el contrabajo. Si sugiere los acordes de mi la ocasión lo requiere es un menor (Em) y de la con bajo excelente solista (un buen en mi (A/E). -
RED-75-373 Planning for America's Bicentennial Celebration--A
REPORT TO THE CONGRESS llllllllllllllllllllllllllllllllllllllllllllllllll LM094988 Planning For America’s Bicentennial Celebration- A Progress Report BYTHECOMPTROLLERGENERAL OFTHE UNITED STATES RED-75373 JUPdE 681975 COMPTROUER GENERAL OF THE UNITED !STATES WASHINGTON. D.C. a%0548 TO the President of the Senate and the 51 Speaker of the House of Representatives This report describes the planning for America ‘s Bicentennial celebration. It also describes actions taken to eliminate several problems identified in an earlier report by our Office. Our review was made pursuant to the Sudget and Accounting Act, 1921 (31 U.S.C. 53), and the Accounting and Auditing Act of 1950 (31 U.S.C. 67). G-je are sending copies of this report to the Director, Office of ivianagement and Budget; the Domestic Council of the Executive Office of the ?resident; the Secretary of the Inter ior; the Administrator of the American Revolution Bicentennial Administration, andg&intzted ot ’ G Comptroller General of the United States contents Page DIGEST i CHAPTER 1 INTRODUCTION 1 2 THE CELEBRATIONOF THE BICENTENNIAL Federal t States 7 Local Private Sector ;: Participation by foreign governments 16 3 ACTIVITIES OF THE AMERICAN REVOLUTION BICENTENNIAL ADMINISTRATION 17 Changes in approach toward the celebration Bicentennial Administration programs ;; Recognition of projects/events 23 4 OPERATIONOF THE AMERICAN REVOLUTION BICENTENNIAL ADMINISTRATION 31 Personnel management 31 Funds available for financing operations 34 5 CONCLUSIONS 38 6 SCOPE OF REVIEW 39 APPENDIX I Letter -
Show #1290 --- Week of 9/30/19-10/6/19
Show #1290 --- Week of 9/30/19-10/6/19 HOUR ONE--SEGMENTS 1-3 SONG ARTIST LENGTH ALBUM LABEL________________ SEGMENT ONE: "Million Dollar Intro" - Ani DiFranco :55 in-studio n/a "Little Palaces"-Elvis Costello 3:45 King Of America Rykodisc "November"-Shannon Lay 2:20 August Sub Pop "You’re Me And I’m You"-Black Belt Eagle Scout 4:35 At The Party With My Brown Friends Saddle Creek "Cow"-(Sandy) Alex G 2:45 House Of Sugar Domino "Gonna Miss You When You’re Gone"-Patty Griffin (in-studio) 3:25 in-studio n/a ***MUSIC OUT AND INTO: ***NATIONAL SPONSOR BREAK*** St. Cecilia Music Center/"2019-2020 Schedule" (:30) Outcue: " SCMC-ONLINE.org." TOTAL TRACK TIME: 20:30 ***PLAY CUSTOMIZED STATION ID INTO: SEGMENT TWO: "Sweetness And Light"-Bruce Cockburn 3:30 Crowing Ignites True North ***INTERVIEW & MUSIC: ANDREW BIRD (@Americanafest) ("Sisyphus," "Manifest") in-studio interview/performance n/a ***MUSIC OUT AND INTO: ***NATIONAL SPONSOR BREAK*** Leon Speakers/"The Leon Loft" (:30) Outcue: " at LeonSpeakers.com." International Acoustic Music Awards (IAMA) – "Call For Entries, 2019" Outcue: " InAcoustic.com." TOTAL TRACK TIME: 21:02 SEGMENT THREE: "Someone To Someone"-Byron Isaacs (SongWriter podcast) 4:00 single only self-released "Left For Denver"-The Lumineers 3:15 III Dualtone "Riverside"-Ollabelle (in-studio) 4:35 in-studio n/a ***MUSIC OUT AND INTO: ***NATIONAL SPONSOR BREAK*** The Ark/"Monthly Schedule" (:30) Outcue: " TheArk.org." TOTAL TRACK TIME: 13:25 TOTAL TIME FOR HOUR ONE-54:57 acoustic café · p.o. box 7730 · ann arbor, mi 48107-7730 · 734/761-2043 · fax 734/761-4412 [email protected] ACOUSTIC CAFE, CONTINUED Page 2 Show #1290 --- Week of 9/30/19-10/6/19 HOUR TWO--SEGMENTS 4-6: SONG ARTIST LENGTH ALBUM LABEL________________ SEGMENT FOUR: "The Flood In Color"-Joe Pug 2:35 The Flood In Color Nation Of Heat "Fearless"-SonReal 3:30 The Aaron LP Black Box "With You With Me"-Milkwood 3:15 How’s The Weather Paramount "Just What I Needed"-Ric Ocasek 3:15 In Their Own Words Razor & Tie ***MUSIC OUT AND INTO: ***NATIONAL SPONSOR BREAK*** St. -
The BG News March 25, 1999
Bowling Green State University ScholarWorks@BGSU BG News (Student Newspaper) University Publications 3-25-1999 The BG News March 25, 1999 Bowling Green State University Follow this and additional works at: https://scholarworks.bgsu.edu/bg-news Recommended Citation Bowling Green State University, "The BG News March 25, 1999" (1999). BG News (Student Newspaper). 6470. https://scholarworks.bgsu.edu/bg-news/6470 This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. This Article is brought to you for free and open access by the University Publications at ScholarWorks@BGSU. It has been accepted for inclusion in BG News (Student Newspaper) by an authorized administrator of ScholarWorks@BGSU. A The BG News /olume 8 5/lssuell2 A daily independent student press Thursday, March 25,1999 Kosovo Student prepares for ice show rocked by job and is highly appreciated By LINE ANETTE among her peers. DJUVE Julie Brown, publicity direc- massive The BG News tor for the Ice Classics '99, said This weekend a University she is amazed with the kind of airstrikes student will make her dream work Eland has put into her job come true after eight months of as director. The Associated Press hard work. "She is very organized," WASHINGTON — American Meredith Eland, a junior Brown said. "She's been really planes and ships led an opening i Columnist Jud Laipply sports management major, will efficient. I don't think people wave of airstrikes on Yugoslavia says warm weather direct the annual Silver Blade realize what a big commitment Wednesday that included the leads to 'spring flings.' Figure Skating Club as they it is." first-ever combat use of the Air perform Ice Classics 99' in Find- Eland has been responsible Force B-2 stealth bomber. -
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. -
KING of AMERICA by CURTIS RUTHERFORD a THESIS
KING OF AMERICA by CURTIS RUTHERFORD A THESIS Submitted in partial fulfillment of the requirements for the degree of the Master of Fine Arts in the Department of English in the Graduate School of The University of Alabama TUSCALOOSA, ALABAMA 2011 Copyright Curtis Rutherford 2011 ALL RIGHTS RESERVED ABSTRACT This is a collection of poetry and prose by Curtis Rutherford. The majority of this manuscript was written between April 2010 and February 2011. ii DEDICATION This thesis is dedicated to Soviet space dog, Laika (c. 1954-1957). iii ACKNOWLEDGEMENTS Owen Wister Review: ―My Sparkler Bomb‖ Phi Kappa Phi Forum: ―Mustangs‖ Steel Toe Review: ―Holy‖ Catch Up: ―Softball‖ and ―Drip Drip‖ My gratitude to the teachers, editors and friends who contributed to the completion of this manuscript—Sheila Black, Joel Brouwer, Barbara Chotiner, Terrance Hayes, Katya Iakubenko, Danny Letz, Dave Madden, Sergey Parizhskiy, Peter Streckfus, Roxana Tuleneva, Connie Voisine and Kathleene West. I wish to offer a special thank you to Robin Behn for her energy, encouragement and invaluable guidance. iv CONTENTS ABSTRACT……………………………………………………………………………...…….…ii DEDICATION…………………………………………………………...…………….…………iii ACKNOWLEDGEMENTS………………………………………………………………....…....iv My Sparkler Bomb………………………………………………………………………………..1 Your Energy In Memphis………………………………………………………………………....3 Mustangs……………………………………………………………………………………..……4 March to the Sea.……….……………………………………………………………………....…5 Diagnostics……………………………………………………………………………..……….....6 The Missionaries Come to Finish What they Started……………………………………….….…7 -
Long Day's Journey Into Night
Long Day’s Journey Into Night LONG DAY’S JOURNEY INTO NIGHT EUGENE O’NEILL CRITICAL EDITION Edited by William Davies King Foreword by Jessica Lange Foreword copyright © 2014 by Jessica Lange. Critical edition, including notes, chronology, essays, and bibliography, copyright © 2014 by William Davies King. Long Day’s Journey Into Night copyright © as an unpublished work 1955 by Carlotta Monterey O’Neill. Copyright © 1955 by Carlotta Monterey O’Neill. First published February 1956. Copyright © renewed 1984 by Yale University. Corrected edition copyright © 1989 by Yale University. All rights reserved. This book may not be reproduced, in whole or in part, including illustrations, in any form (beyond that copying permitted by Sections 107 and 108 of the US Copyright Law and except by reviewers for the public press), without written permission from the publishers. Yale University Press books may be purchased in quantity for educational, business, or promotional use. For information, please e-mail [email protected] (US office) or [email protected] (UK office). Frontispiece: Eugene O’Neill in 1939, at the time of writing Long Day’s Journey Into Night (Photo © Horace Bristol/Corbis. Louis Sheaffer–Eugene O’Neill Collection, Linda Lear Center for Special Collections & Archives, Connecticut College) Printed in the United States of America. Library of Congress Control Number: 2013956573 ISBN: 978-0-300-18641-3 (pbk.) 10 9 8 7 6 5 4 3 2 1 CAUTION: Professionals and amateurs are hereby warned that Long Day’s Journey Into Night, being fully protected under the copyright laws of the United States of America, the British Commonwealth, including Canada, and all other countries of the copyright union, is subject to royalties.