Abbey Road Vw Licence Plate Meaning
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
• Average Cafe Spend Per Visitor £2.33
DUNDEE CITY COUNCIL REPORT TO: Leisure, Arts and Communities Committee - 25 April 2011 REPORT ON: Dundee Industrial Heritage Ltd - Revenue Support 2011-2012 REPORT BY: Director of Leisure and Communities REPORT NO: 98-2011 1.0 PURPOSE OF REPORT 1.1 To submit to the Committee a request for renewal of Revenue Grant funding to Dundee Industrial Heritage Ltd for the year 2011-2012. 2.0 RECOMMENDATIONS It is recommended that the Committee: 2.1 remits the Director of Leisure & Communities, on behalf of Dundee City Council, to enter into a one year Service Level Agreement with Dundee Industrial Heritage Ltd, subject to on-going monitoring and evaluation as to its efficiency, economy and effectiveness. 2.2 remits the Director of Leisure and Communities to keep these arrangements under review and amend as appropriate. 2.3 approves the Revenue Grant Funding amounting to £63,000 per the period 1 April 2011 - 31 March 2012. 3.0 FINANCIAL IMPLICATIONS 3.1 The funding recommended is £63,000 from the Leisure and Communities Department 2011-2012 Revenue Budget as shown in the budget at Appendix 1. 3.2 The terms and conditions of Revenue Grant funding will be contained within a Service Level Agreement for 2011-2012 between Dundee City Council and Dundee Industrial Heritage Ltd. 4.0 MAIN TEXT 4.1 Dundee Industrial Heritage Limited (DIH) operates two of Dundee’s premier tourist attractions – Discovery Point and Verdant Works. It is a charitable company, the trading body of Dundee Heritage Trust. The Trust is the only independent charity in Scotland operating two five star rated museums 4.2 Review of the year 2010-2011 • Over 190,000 visits to the Trust’s venues. -
MUSC 422 Beatles Syllabus
The Beatles: Their Music and Their Times Fall 2019 Course no. MUSC 422 Section no. 47220 Units: 4 Time: MW 4 – 5:50 pm Room: THH 202 Course instructor: Bill Biersach Instructor’s office: MUS 316 Instructor’s office hours: MW 9 – 9:45 am, 12 – 1 pm Office phone: (213) 740-7416 Instructor’s email: [email protected] Teaching assistants: Adam Ratner [email protected] Danny Leo [email protected] Introduction and Purpose The purpose of this course is to familiarize the student with the music, lyrics, recordings, personal and public lives, production techniques, career strategy, social ramifications, and technological impact of the musical group known as The Beatles. The goal is to imbue the student with an appreciation for the music itself, a basic understanding of the primitive technology available at the time (both recording and playing back), and a broader comprehension of the social, economic, political, and cultural upheavals that gave rise to the musical trends of the Sixties. Instructional Strategy Each week the professor will present a lecture which will include musical examples, lyrics, and pertinent background information on the four Beatles, their personal and professional dealings, their approach to live performance and studio recording, and the activities of their managerial and production staff. There will also be a section devoted to the viewing of films, pertinent film clips, documentaries, and discussion of the texts led by the teaching assistants. Typically lectures will be on Mondays and the discussions on Wednesdays. Examinations and Grades There will be three examinations: two midterms and a final. Each exam will consist of 50 multiple-choice questions on Scantron answer sheets. -
Common Course Outline the Community College of Baltimore
Common Course Outline MUSC 128 The Beatles in the Rock Generation 3 Semester Hours The Community College of Baltimore County Description The Beatles in the Rock Generation Examines the development of the musical and lyrical artistry of the Beatles presented within the framework of aesthetic and social movement, 1957 to 1970. Corequisites: ENGL 051 or ESOL 051 or LVE 1 or LVE 2 or LVE 3 and RDNG 052 or LVR 2. Overall Course Objectives Upon successful completion of this course, the student will be able to: 1. Understand and articulate how and why the Beatles became the most influential pop group of the 1960’s and beyond. 2. Identify the principal musical and social influences on the Beatles. 3. Evaluate the growth and change of the Beatles' body of work as their career progressed. 4. Identify the influence the Beatles had on the music that succeeded them. 5. Evaluate the Beatles’ contribution to the cultural and social climate of the 1960's. 6. Trace the development of popular music in the 20th century. 7. Identify the stylistic and formal aspects of popular music. 8. Articulate the importance of music in human experience. 9. Utilize analytical and critical listening and thinking skills in evaluating music. Major Topics 1. A brief history of popular music; the Beatles early career, 1957-1963 a. Influences: Post-World War II popular music, Anglo-Irish folk music, English Music Hall/European Cabaret, American Rock and Roll: Elvis, Chuck Berry, Little Richard, Buddy Holly, Everly Bros., etc. b. Performances: Hamburg, Cavern Club c. Recordings: The Beatles Live at the BBC, Live at the Star Club, The Early Beatles, Please Please Me, With the Beatles, Past Masters Vol. -
Meek ([email protected]) Speedracer (Joe
START NEW THREAD REPLY Top of Thread LIST Read 460 times From: Meek ([email protected]) Date: 2/25/2002 11:58 PM Subject: What amps & guitars are used on The Beatles' Abbey Road? Could anyone tell me what amps & guitars where used on the Abbey Road album? I know there is a book out now about this very topic, but I do not have it yet. Any help would be...helpful? Thanks, Meek START NEW THREAD REPLY PREVIOUS LIST Read 476 times From: John Kelley Brown ([email protected]) Date: 2/26/2002 12:36 AM Subject: Re: What amps & guitars are used on The Beatles' Abbey R I've heard from a few sources they were using silver face Fender combos, nothing more specific than that though. Kelley START NEW THREAD REPLY PREVIOUS LIST Read 108 times From: SpeedRacer ([email protected]) Date: 3/1/2002 1:10 PM Subject: Re: Great book about this.. go to your fav book st ore and find the Beatles Gear, it's a new book justabotu what they were using and when and where.. I bought it and really like it.. just am fried from lack of sleep and can't think of the title right now. Anyhow, pretty cool if you're a gear head/recording engineer geek. Paul wailing a tele through Selmer 2x12 50W combo on Sgt Pepper.. no yer talkin toneage! START NEW THREAD REPLY PREVIOUS LIST Read 472 times From: ChrisW ([email protected]) Date: 2/26/2002 12:43 AM Subject: Re: What amps & guitars are used on The Beatles' Abbey Road? Lennon did use a Casino and a tweed Deluxe Chris START NEW THREAD REPLY PREVIOUS LIST Read 443 times From: Jon Frum Date: 2/26/2002 5:55 AM Subject: Re: What amps & guitars are used on The Beatles' Abbey Road? I believe that George had a strat by then. -
Abbey Road's Beatles' Breakfast & Bloody Mary
Abbey Road’s Beatles’ Breakfast & Bloody Mary Bar “Welcome. We’re Glad You’re Here!” Served Saturdays and Sundays at 9:00 a.m. THE BLOODY MARY BAR SEXY SADIE’S SIDES A variety of condiments to make Bagel and cream cheese 1.99 your own Bloody Mary. Featuring mild, spicy, Toast, white, wheat, rye, 1.99 and Clamato juice for a Bloody Caesar. Hash Browns or Potato Cakes 2.29 Each Vodka selection is served in a hurricane 2.99 glass and presented to your table. Bacon or Sausage Visit the Bloody Mary Bar to create Corned Beef Hash 2.29 your own special concoction! Fresh Fruit, seasonal 3.99 House Vodka 3.99 Absolut Peppar or Ketel One 4.99 BAKON Bacon Flavored Vodka 5.99 BEVERAGES Soft Drinks (w/one refill): Lady Madonna’s Mimosas Coke, Diet Coke, Mr. Pibb, Root Beer, Champagne and Orange Juice 4.99 Sprite & Pink Lemonade 2.49 Breakfast at Tiffanys Juices Champagne, Orange Juice, Grenadine, Orange, Grapefruit, & Southern Comfort 5.99 Pineapple, & Cranberry 2.49 1.99 Chartini Girl Iced or Hot Tea Raspberry vodka, champagne, splash Milk or Hot Chocolate 2.49 of Chambord 6.99 Café Selections Premium Coffee 100% Arabica Beans 1.99 Hair of the Bulldog Vodka, Red Bull, and Orange Juice 5,99 CELEBRATING 32 YEARS IN BUSINESS! Good Morning Martini Bombay Gin, Cointreau, Orange Juice and a splash of lemon sour 6.99 Blushing Maggie Mae Raspberry Liqueur, Peach Schnapps 5.99 Yesterday… Norwegian (a.m.) Wood A stiff drink, w/Vodka, Sour, Orange Juice, Black Raspberry Liq., & Peach Schnapps 5.99 Prudence’s Pancake Cocktail Jamieson, Butterscotch, & OJ 5.99 and Today. -
Press Release
PRESS RELEASE Foto Colectania merges photography and music through the most iconic vinyl covers of all time Robert Frank and the R olling Stones, Annie Leibovitz and Cindy Lauper, Helmut Newton and INXS, Herb Ritts and Madonna, Weegee and George Michael, among st others , star in a great exhibition at Foto Colectania. (1) Vinyl : Miles Davis, Tutu , Warner Bros. R ecords - 1 - 25490, United States, 1986. Design : Eiko Ishioka. Photography : Irving Penn. (2) Vinyl : Prince, Lovesexy , Paisley Park – 9 25720 - 1, United States , 1988. Design : Laura LiPuma. Photography : J ean - Baptiste Mondino. (3) Vinyl : The Beatles, Abbey Road , Apple Records – PCS 7088. England, 1969 . Design : John Kosh. Photography : Iain Macmillan . ( 4) Vinyl : Grace Jones, Island Life , Island Recor ds – 207 472, France , 1985. Design : Greg Porto. Barcelona, November 21 st . - The Foto Colectania Foundation presents the exhibition 'TOTAL RECORDS. Vinyl s and P hotography ' , in collaboration with Banc Sabadell Foundation , showing a selection of 250 vinyl covers that reflect the fruitful relationship between photography and music. The exhibit ion, which has been presented in Arles, Zurich and Berlin, arrives to Barcelona at the hand s of Foto Colectania. The show is produced by Les Rencontres d'Arles, curated by Antoine de Beaupré, Serge Vincendet and Sam Stourdzé, with the complicity of Jacques Denis. The installation of "Total Records" in Barcelona is completed with a section of Span ish vinyl records, created especially for this exhibition, as well as a sample of the Gladys Palmera ’s Collection, which is internationally recognized as the most outstanding musical catalogue of Cuban music from 1940 to 1960. -
Strategic Intertextuality in Three of John Lennon╎s Late Beatles Songs
STRATEGIC INTERTEXTUALITY IN THREE OF JOHN LENNON’S LATE BEATLES SONGS* MARK SPICER his article will focus on an aspect of the Beatles’ compositional practice that I believe T merits further attention, one that helps to define their late style (that is, from the ground- breaking album Revolver [1966] onwards) and which has had a profound influence on all subsequent composers of popular music: namely, their method of drawing on the resources of pre-existing music (or lyrics, or both) when writing and recording new songs. This may at first seem entirely obvious, especially since nowadays such a practice has been adopted routinely by many songwriters and producers, and is in fact the prevailing compositional strategy within certain pop and rock genres, rap being probably the most blatant example. Many rap artists are well known for their so-called “rap versions,” as Tim Hughes has described them, in which a distinctive element of a pre-existing song is lifted out of its original context—typically via digital sampling—and used as the foundation upon which a new song is built.1 Will Smith’s hit “Wild Wild West” (1999), for example, is composed around a sample of the bass-driven main groove from Stevie Wonder’s funk classic “I Wish” (1976); and Eminem’s hit “Like Toy Soldiers” * This essay is based in part on the first chapter of my dissertation, “British Pop-Rock Music in the Post-Beatles Era” (Ph.D. dissertation, Yale University, 2001). An earlier version was presented at the annual meeting of the Society for Music Theory, Columbus, in November 2002. -
Abbey Road Album Photo (Video)
Crowds Gather To Mark 50th Anniversary Of The Beatles’ Abbey Road Album Photo (Video) Hundreds of people gathered at the world’s most famous zebra crossing on Thursday to mark the 50th anniversary of the day the Beatles created one of the best-known album covers in music history and an image imitated by countless fans ever since. [Here is a LIVE webcam of Abby Road] The picture of John Lennon, Paul McCartney, George Harrison and Ringo Starr striding over the pedestrian crossing on Abbey Road was taken outside the EMI Recording Studios where they made the 1969 album of the same name. To mark the anniversary, a special ‘Abbey Road’ package featuring new mixes of the album’s 17 tracks in stereo and 23 session recordings and demos, will be released on Sept. 27 by Apple Corps/Capitol/UMe, the record companies said on Thursday. Scottish photographer Iain Macmillan took just six shots of the group on the crossing, with the fifth used as the cover of the band’s 11th studio album, released on Sept. 26 1969. The picture shows Lennon in a white suit leading the group across the road. Starr wears a black suit while McCartney is barefoot, out of step and holding a cigarette. Harrison is in blue denim. A Volkswagen Beetle is parked in the background. On Thursday, the Beetle was back in position while traffic crawled along the crowded street as dozens of fans paraded on the black and white painted crossing for souvenir photos. Beatles insider and former Apple Records executive Tony Bramwell said nobody at the time was really aware that ‘Abbey Road’ would be one of the group’s last releases. -
Morgenstern, Dan. [Record Review: the Beatles: Abbey Road] Down
Records ore reviewed by Chris Albertson, Don DeMicheol, Gilbert M. Erskine, Ira Giller, Alan Heinemon, Wayne Jo nes, Lawrence Kart, Joe-n Litweiler, John McDonough, Dan Morgenstern, Irvin Moskowit z, Don Nelsen, Harvey Pekar, Har vey Siders, Coral Sloane, and Pete Weldi ng. Reviews are signed by t he writers. Ratings are, * * * * * excellent, * * * * very goo d , * * * good , * * fair, * poo r. When two catalog numbers are listed, the first is mono, and the secon d is stereo. SPOTLIGHTREVIEW absorb and utili ze are not grafted on to strong , original vibist, not in the chs s c their work but have become organic parts Jackson, Burt on or Hut cherson, but 1 The Beatles of it. Thu s, for exa mple, the clear Ray fluent and arresting player noneth ele,s. ABBEY ROAD-Appl e SO-383: Comt T ogeth er,· Something; l\'faxwel/ 's Silver H amm er; Oh l Charles influence on Harri son's Some thing, But Fischer (and the leader, toe\ or. Darling; Octop11s1 Garden; I Want Y 011 (She's or the obvious r&b roots of / Want You suppo ses) have chosen for the mo st pa So H tavJ) ,' H ere Comes Th e Sun; B ecause; Ai'ulley: you Never Give Afe Your J\foney; Sun ne ver result in the blackface embarrass unexciting tun es, predominantly b~llad· K ing; J\fean Mr. l\fu slard,- P olyl hel ene Pam,· She ments produced by some other white ad often Latin in flavor, and have pu t Aye; Ca m e itJ Th ro ugh th e Ba thr oom JJ1/indow; Golden Slumber s; Carry That IVeighl. -
Abbey Road Chambers User Guide
Abbey Road Chambers Reverb/Delay User Guide Contents Introduction ............................................................................................................................................... 3 Quick Start ................................................................................................................................................ 5 Signal Flow ............................................................................................................................................... 6 Components ............................................................................................................................................. 8 Interface .................................................................................................................................................. 10 Controls .................................................................................................................................................. 11 Input Section ................................................................................................................................................................................ 11 STEED Section ............................................................................................................................................................................ 11 Filters to Chamber Section .......................................................................................................................................................... -
The Beatles and the Crisis of Self-Identity
Sosland Journal 77 THE BEATLES AND THE CRISIS OF SELF-IDENTITY Jared Gutzmer “Ringo- a lovely performer. George- a mystical unre- alized talent. But John and Paul, Saints John and Paul, were, and made, and aureoled and beatifi ed and eternalized the concept that shall always be known, remembered and deeply loved as The Beatles” -Leonard Bernstein The Beatles are one of the most popular bands of all time. This is an undisputed fact no matter the location. They were so popular that in America, they had to stop touring due to the screaming fans which caused the band not to be able to hear themselves. Never before was there a group that was so incredibly popular in history. This popularity and other fac- tors led the members of the Beatles to change as individuals and as a group as they matured musically and mentally. Their identity shifted from a group identity to a self-identity. From the Beatles fi rst album, Please Please Me, to their last, Let It Be, the shift in their identity can be seen through their music and the appearances that led to individualism and eventually their downfall. 78 Sosland Journal The Music “It would not seem quite so likely that the accompany- ing fever known as Beatlemania will also be success- fully exported. On this side of the Atlantic it is dazed stuff.” -Jack Gould, New York Times television critic The Beatles music and lyrics changed drastically from their fi rst to last album due to adapting to a changing soci- ety, musical maturity, and their increased popularity. -
170312 Sermon-Final-170312 Sermon
170312 Sermon – Page 1 of 4 “Ladies and gentlemen, the Beatles!” With those words, spoken 53 years, one month, and three days ago, Ed Sullivan introduced John, Paul, George, and Ringo to a TV audience of 73 million gathered in front their TV sets to see The Beatles’ first live performance in the United States. Sixty percent of the television sets in America were tuned in to witness the birth of Beatlemania as the girls in the audience screamed, and Paul sang, “Close your eyes and I’ll kiss you, tomorrow I’ll miss you…” They played five songs that night, and by the end of the show they owned the hearts of millions of American youth of all ages. Never before had so many viewers tuned in to a live television program; what they saw would change rock and roll – and the world – forever. The energy, the innocence, the enthusiasm, the matching black suits with black ties, the mop-top haircuts, the smiles, the irreverent banter… The Beatles exploded onto the pop-culture scene, and we were ready to follow them wherever and however they went. In a matter of months Beatles fan clubs were formed across the country, and every imaginable knick-knack had the pictures of the band on it. There were Fab Four lunch boxes, dolls, serving trays, trading cards, coloring books, coin holders, shot glasses, mop-top wigs, and even Beatle-branded talcum powder and nylon stockings! To say the Beatles wrote the musical score for the movie that was my formative years would be a huge understatement.