Feb. 02 1984, Vol11 No. 03
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Not Your Mother's Library Transcript Episode 11: Mamma Mia! and More Musicals (Brief Intro Music) Rachel: Hello, and Welcome T
Not Your Mother’s Library Transcript Episode 11: Mamma Mia! and More Musicals (Brief intro music) Rachel: Hello, and welcome to Not Your Mother’s Library, a readers’ advisory podcast from the Oak Creek Public Library. I’m Rachel, and once again since Melody’s departure I am without a co-host. This is where you would stick a crying-face emoji. Luckily for everyone, though, today we have a brand new guest! This is most excellent, truly, because we are going to be talking about musicals, and I do not have any sort of expertise in that area. So, to balance the episode out with a more professional perspective, I would like to welcome to the podcast Oak Creek Library’s very own Technical Services Librarian! Would you like to introduce yourself? Joanne: Hello, everyone. I am a new guest! Hooray! (laughs) Rachel: Yeah! Joanne: So, I am the Technical Services Librarian here at the Oak Creek Library. My name is Joanne. I graduated from Carroll University with a degree in music, which was super helpful for libraries. Not so much. Rachel: (laughs) Joanne: And then went to UW-Milwaukee to get my masters in library science, and I’ve been working in public libraries ever since. I’ve always had a love of music since I've been in a child. My mom is actually a church organist, and so I think that’s where I get it from. Rachel: Wow, yeah. Joanne: I used to play piano—I did about 10 years and then quit. (laughs) So, I might be able to read some sheet music but probably not very well. -
Popular Love Songs
Popular Love Songs: After All – Multiple artists Amazed - Lonestar All For Love – Stevie Brock Almost Paradise – Ann Wilson & Mike Reno All My Life - Linda Ronstadt & Aaron Neville Always and Forever – Luther Vandross Babe - Styx Because Of You – 98 Degrees Because You Loved Me – Celine Dion Best of My Love – The Eagles Candle In The Wind – Elton John Can't Take My Eyes off of You – Lauryn Hill Can't We Try – Vonda Shepard & Dan Hill Don't Know Much – Linda Ronstadt & Aaron Neville Dreaming of You - Selena Emotion – The Bee Gees Endless Love – Lionel Richie & Diana Ross Even Now – Barry Manilow Every Breath You Take – The Police Everything I Own – Aaron Tippin Friends And Lovers – Gloria Loring & Carl Anderson Glory of Love – Peter Cetera Greatest Love of All – Whitney Houston Heaven Knows – Donna Summer & Brooklyn Dreams Hello – Lionel Richie Here I Am – Bryan Adams Honesty – Billly Joel Hopelessly Devoted – Olivia Newton-John How Do I Live – Trisha Yearwood I Can't Tell You Why – The Eagles I'd Love You to Want Me - Lobo I Just Fall in Love Again – Anne Murray I'll Always Love You – Dean Martin I Need You – Tim McGraw & Faith Hill In Your Eyes - Peter Gabriel It Might Be You – Stephen Bishop I've Never Been To Me - Charlene I Write The Songs – Barry Manilow I Will Survive – Gloria Gaynor Just Once – James Ingram Just When I Needed You Most – Dolly Parton Looking Through The Eyes of Love – Gene Pitney Lost in Your Eyes – Debbie Gibson Lost Without Your Love - Bread Love Will Keep Us Alive – The Eagles Mandy – Barry Manilow Making Love -
Young Americans to Emotional Rescue: Selected Meetings
YOUNG AMERICANS TO EMOTIONAL RESCUE: SELECTING MEETINGS BETWEEN DISCO AND ROCK, 1975-1980 Daniel Kavka A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC August 2010 Committee: Jeremy Wallach, Advisor Katherine Meizel © 2010 Daniel Kavka All Rights Reserved iii ABSTRACT Jeremy Wallach, Advisor Disco-rock, composed of disco-influenced recordings by rock artists, was a sub-genre of both disco and rock in the 1970s. Seminal recordings included: David Bowie’s Young Americans; The Rolling Stones’ “Hot Stuff,” “Miss You,” “Dance Pt.1,” and “Emotional Rescue”; KISS’s “Strutter ’78,” and “I Was Made For Lovin’ You”; Rod Stewart’s “Do Ya Think I’m Sexy“; and Elton John’s Thom Bell Sessions and Victim of Love. Though disco-rock was a great commercial success during the disco era, it has received limited acknowledgement in post-disco scholarship. This thesis addresses the lack of existing scholarship pertaining to disco-rock. It examines both disco and disco-rock as products of cultural shifts during the 1970s. Disco was linked to the emergence of underground dance clubs in New York City, while disco-rock resulted from the increased mainstream visibility of disco culture during the mid seventies, as well as rock musicians’ exposure to disco music. My thesis argues for the study of a genre (disco-rock) that has been dismissed as inauthentic and commercial, a trend common to popular music discourse, and one that is linked to previous debates regarding the social value of pop music. -
Rolling Stone Magazine's Top 500 Songs
Rolling Stone Magazine's Top 500 Songs No. Interpret Title Year of release 1. Bob Dylan Like a Rolling Stone 1961 2. The Rolling Stones Satisfaction 1965 3. John Lennon Imagine 1971 4. Marvin Gaye What’s Going on 1971 5. Aretha Franklin Respect 1967 6. The Beach Boys Good Vibrations 1966 7. Chuck Berry Johnny B. Goode 1958 8. The Beatles Hey Jude 1968 9. Nirvana Smells Like Teen Spirit 1991 10. Ray Charles What'd I Say (part 1&2) 1959 11. The Who My Generation 1965 12. Sam Cooke A Change is Gonna Come 1964 13. The Beatles Yesterday 1965 14. Bob Dylan Blowin' in the Wind 1963 15. The Clash London Calling 1980 16. The Beatles I Want zo Hold Your Hand 1963 17. Jimmy Hendrix Purple Haze 1967 18. Chuck Berry Maybellene 1955 19. Elvis Presley Hound Dog 1956 20. The Beatles Let It Be 1970 21. Bruce Springsteen Born to Run 1975 22. The Ronettes Be My Baby 1963 23. The Beatles In my Life 1965 24. The Impressions People Get Ready 1965 25. The Beach Boys God Only Knows 1966 26. The Beatles A day in a life 1967 27. Derek and the Dominos Layla 1970 28. Otis Redding Sitting on the Dock of the Bay 1968 29. The Beatles Help 1965 30. Johnny Cash I Walk the Line 1956 31. Led Zeppelin Stairway to Heaven 1971 32. The Rolling Stones Sympathy for the Devil 1968 33. Tina Turner River Deep - Mountain High 1966 34. The Righteous Brothers You've Lost that Lovin' Feelin' 1964 35. -
Beehive; Brings the Music of the '60'S to Missoula
University of Montana ScholarWorks at University of Montana University of Montana News Releases, 1928, 1956-present University Relations 3-24-1999 Beehive; brings the music of the '60's to Missoula University of Montana--Missoula. Office of University Relations Follow this and additional works at: https://scholarworks.umt.edu/newsreleases Let us know how access to this document benefits ou.y Recommended Citation University of Montana--Missoula. Office of University Relations, "Beehive; brings the music of the '60's to Missoula" (1999). University of Montana News Releases, 1928, 1956-present. 15902. https://scholarworks.umt.edu/newsreleases/15902 This News Article is brought to you for free and open access by the University Relations at ScholarWorks at University of Montana. It has been accepted for inclusion in University of Montana News Releases, 1928, 1956-present by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. The University of Montana UNIVERSITY RELATIONS • MISSOULA, MT 59812 • 406-243-2522 • FAX: 406-243-4520 This release is available electronically on INN (News Net.) March 24, 1999 Contact: Tom Webster, director, University Theatre Productions, (406) 243-2853. ‘BEEHIVE’ BRINGS THE MUSIC OF THE ’60s TO MISSOULA MISSOULA— Five wailing women, a smokin’ six-piece band and 15 cans of hairspray will usher in the hottest singing stars of the 1960s when “Beehive” comes to Missoula. “Beehive, the ’60s Musical Sensation” will be in concert at 8 p.m. Sunday, April 11, in the University Theatre on The University of Montana campus. In a spirited look at one of the liveliest musical decades ever, “Beehive” features the music of ’60s female superstars like Diana Ross and the Supremes, Tina Turner, Aretha Franklin, Dusty Springfield and Leslie Gore. -
Ilidaile De SEVIGNE and the INTELLECTUAL LIFE of HER
UNIVERSITY OF LONDON. BEDFORD COLLEGE ILiDAIlE de SEVIGNE AND THE INTELLECTUAL LIFE OF HER TIIIES A Thesis submitted for the degree of Master of Arts. AIRIL 1956. L.M.B.Cuming, ProQuest Number: 10097228 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest. ProQuest 10097228 Published by ProQuest LLC(2016). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. Microform Edition © ProQuest LLC. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 ACmOWLEDGE«NTS. Ko student can fail be to conscious that every piece of research involves the participation of a great many people. The present study is no exception, and the writer welcomes this opportunity of expressing her gratitude to all those who have contributed their share of help in the work involved. First of all I would like to thank my Religious Superiors for having made possible to me a further period of study, involving among other things a long delay in taking up the teaching activities of the Congregation, and the University of London for the financial assistance which has enabled me to continue academic work. Ly thanks are also due to the staffs of the British Museum and Senate House libraries: to the French staff of Bedford College, whose help during my undergraduate days first prepared me for the work in volved in research; and most of all to Professor Spink, for his help in pointing out possible avenues of exploration, and for his generous assistance with books, time and not least, encouragement during the two years spent on this study. -
1 Selina Tusitala Marsh the Young and the Restless (1994) Where Are
Selina Tusitala Marsh The Young and the Restless (1994) where are all you brown women? where are all my selves? eight fifty to see another pretty blond blue-eyed face not my face not my skin or eye screened yet again for my pleasure – leisure becomes arduous is there a constitution for prostitution to be screened every other night? Coloured black and red and sway like they always do – those sexy jungle bunnies and my shades of brown fall down and colour white slowly like the snow on the tv when all images are gone then there is me slow fade to black a lack of identity turns me down tuns me off screens my self sentenced to irrelevancy Where are all you brown women? Have they made you more than maid yet? Maine is a mammy on ‘Young and the Restless’ Selina is the cop, she’s young but she’s useless Hattie is a mama, she’s ageless and sexless Lieutenant U’hura is a go-go she’s thin and not breast-less Mona Lisa is a seducer she’s cheap and she’s hopeless Diana Ross is Billy she sings but she’s tongue-less Donna Summer the performer 1 was young now toothless Oprah is the eyes her mouth makes her waist-less the gang girls boom-boom their young but their tasteless this less is loss for me craving for identity and screened reflections of what I am not leaves my brown selves young and restless 2 rightsideup flying fox cuts through the crepuscular gloom singed bitter black words noose trees once frog-egg green with story and song fagogo once ripened now gone to seed dying in the eclipsed magination shadowed from theoried pagination flying fox refuses her own dirge shrieking a singular sound through the hallowed latin halls wing tips scratch walls scouring the name of pe`a spiralling over and over again she hangs in a corner of the beige khaki Department and sees rightsideup a world upsidedown (n.b. -
Playlist in 1969, Yale University Admitted Its First Women Undergraduates, Thus Ending 268 Years As an All-Male College
YALE NEEDS WOMEN Playlist In 1969, Yale University admitted its first women undergraduates, thus ending 268 years as an all-male college. Yale Needs Women (Sourcebooks, 2019) tells their story. Here is the playlist to go with it: 22 songs released between 1969 and 1972, plus a two-song prelude from 1967. A quick scan will show that male performers outnumber women on this playlist, perhaps an odd choice given the Yale Needs Women title. It’s a reflection of the times, however. The music industry needed women too. You can find this playlist on Spotify. Search anne.g.perkins, or use this link: https://open.spotify.com/playlist/4aXLc1veNkKCMqCWd0biKE To find out more about Yale Needs Women and the first women undergraduates at Yale, go to yaleneedswomen.com. Many thanks to Rick High, Lily and Mac Perkins-High, and David and Ginger Kendall for their help in creating this playlist. Sources for the liner notes below are at the end. PRELUDE: 1967 1. Aretha Franklin, RESPECT. Aretha Franklin was the first woman ever inducted into the Rock and Roll Hall of Fame, and “Respect” was her first song to hit #1. She was twenty-five years old, six years into an abusive marriage that she would end in 1969, a black woman in a nation where that status meant double discrimination. “All I’m askin’ is for a little respect.” 2. Country Joe and The Fish, I-FEEL-LIKE-I’M-FIXIN’-TO-DIE RAG. Released in November 1967, the I-Feel-Like-I’m-Fixin’-To-Die Rag became one of the country’s most popular Vietnam War protest songs, particularly after its performance at Woodstock in August 1969. -
The Fetishization of Firearms in African-American Folklore and Culture
THE FETISHIZATION OF FIREARMS IN AFRICAN-AMERICAN FOLKLORE AND CULTURE A Dissertation Presented to The Faculty of the Graduate School University of Missouri-Columbia In Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy by RAYMOND MELTON JAVON SU8MMERVILLE Dr. Anand Prahlad, Dissertation Supervisor DECEMBER 2016 © Copyright by Raymond Melton Javon Summerville 2016 All Rights Reserved The undersigned, appointed by the dean of the Graduate School, have examined the dissertation entitled: The Fetishization of Firearms in African-American Folklore and Culture presented by Raymond Summerville, a candidate for the degree of doctor of philosophy, and hereby certify that, in their opinion, it is worthy of acceptance. Professor Anand Prahlad Professor Karen Piper Professor Joanna Hearne Professor Richard Callahan For my mother, Mrs. Sheila Bernice Almond Summerville September 24, 1956—March 1, 2016 ACKNOWLEDGEMENTS I would like to thank my parents, Melton and (the late) Sheila Summerville for instilling in me their work ethic and strong values. All of my friends, immediate and extended family who have volunteered their generous support over the years. I would especially like to thank my advisor Dr. Anand Prahlad for all of his creative insights, constructive feedback, and guidance. He has been an exceptional role model who has encouraged me to continue to strive to reach my personal and professional goals. I would like to thank Dr. Lawless for her valued teachings and for supporting my initial interest in folklore studies. I would also like to thank all of my committee members, Dr. Hearne, Dr. Callahan, and Dr. Piper. Their continued support has been vital. -
Outkast'd and Claimin' True
OUTKAST’D AND CLAIMIN’ TRUE: THE LANGUAGE OF SCHOOLING AND EDUCATION IN THE SOUTHERN HIPHOP COMMUNITY OF PRACTICE by JOYCELYN A. WILSON (Under the direction of Judith Preissle) ABSTRACT The hiphop community of practice encompasses a range of aesthetic values, norms, patterns, and traditions. Because of its growth over the last three decades, the community has come to include regionallyspecific networks linked together by community members who engage in meaningful practices and experiences. Expressed through common language ideologies, these practices contribute to the members’ communal and individual identity while simultaneously providing platforms to articulate social understandings. Using the constructs of community of practice and social networks, this research project is an interpretive study grounded primarily in the use of lyrics and interviews to investigate the linguistic patterns and language norms of hip hop’s southern network, placing emphasis on the Atlanta, Georgia southern hiphop network. The two main goals are to gain an understanding of the role of school in the cultivation of the network and identify the network’s relationship to schooling and education. The purpose is to identify initial steps for implementing a hiphop pedagogy in curriculum and instruction. INDEX WORDS: Hiphop community of practice, social network, language ideology, hiphop generation, indigenous research, schooling, education OUTKAST’D AND CLAIMIN’ TRUE: THE LANGUAGE OF SCHOOLING AND EDUCATION IN THE SOUTHERN HIPHOP COMMUNITY OF PRACTICE by JOYCELYN A. WILSON B.S., The University of Georgia, 1996 M.A., Pepperdine University, 1998 A Dissertation Submitted to the Graduate Faculty of the University of Georgia in Partial Fulfillment of the Requirements for the Degree DOCTOR OF PHILOSOPHY ATHENS, GEORGIA 2007 ã 2007 Joycelyn A. -
Estremo, Un Bresciano Dietro «Voce» Di Madame «Voce», Anche Il Giovane Bre- Sciano Approda Al Festival Di Sanremo
GIORNALE DI BRESCIA · Giovedì 18 febbraio 2021 45 > SPETTACOLI Renga: «Canto il bello delle piccole cose Spero che sia il Festival della ripartenza» Con «Quando trovo te» la sua nona volta sul palco dell’Ariston: «Un po’ rock, un po’ stile Timoria» nuova normalità in tempi di Protagonisti lockdown? È pure una questione d’età, probabilmente. Se ci aggiun- Enrico Danesi giamo un film al cinema, ogni tanto, e una capatina al risto- rante, per quanto mi riguarda sonoa posto: a casac’è qualco- «Finalmente torno su un sa di bello che ti aspetta, e che palco, torno a fare il mio lavo- quasi sempre coincide con la ro.Credocheil Festivaldi San- felicità. La canzone racconta remo possa essere il simbolo di un uomo che cammina per di una ripartenza: la riaccen- strada, in preda a un tormen- sione dei motori, in particola- toesistenziale, ecomincia a ri- re nel settore dello spettacolo, cordare ciò che aveva nasco- che in questi mesi è stato tra- sto, messo al riparo, nella sua scurato.Saràun’edizione sen- mente: riaffiorando, i ricordi za pubblico, e per- glisvelano il valore ciòresterànegli an- Ai più giovani delle piccole cose nali come qualco- tra i Big che salvano la vita. L’artista. Il bresciano Francesco Renga è pronto per il suo nono Festival di Sanremo // FOTO TONI THORIMBERT sa di unico... alme- lui augura Come è nata? no lo spero!». «che affrontino Durante il pri- La conferenza mo lockdown ho ascoltare, ricevendo il premio Ingara tra iBig ci sonomol- l’esperienza con stampa su Zoom fatto un trasloco. -
La Finta Giardiniera Karthäuser • Ovenden • Penda • Chappuis • Rivenq • Im • Nagy Freiburger Barockorchester René Jacobs Franz Liszt
LA FINTA GIARDINIERA KARTHÄUSER • OVENDEN • PENDA • CHAPPUIS • RIVENQ • IM • NAGY FREIBURGER BAROCKORCHESTER RENÉ JACOBS FRANZ LISZT Sommaire Contents / Inhalt Plages CD / Tracklisting / Index 3 La finta giardiniera - Silke Leopold 7 Un opéra de Mozart ...encore jamais joué sur aucune scène - René Jacobs 9 Une version retrouvée - Milada Jonášová 15 Synopsis 38 La finta giardiniera - Silke Leopold 17 A Mozart opera “not yet seen on any stage” - René Jacobs 19 Contemporary Prague copies - Milada Jonášová 24 Synopsis 39 La finta giardiniera - Silke Leopold 27 Eine Mozart-Opera „...noch auf keiner Bühne erschienen” - René Jacobs 29 Die Náměšť -Fassung - Milada Jonášová 35 Die Handlung 40 Textes chantés et traductions 43 Sung texts & translations / Libretto und Übersetzungen Notes / Anmerkungen 97 Les interprètes / The performers / Die Besetzung 98 CD 1 1 | Ouverture 4’22 17 | Recitativo Podestà: Evviva, evviva! 1’02 2 | ATTO PRIMO 5’05 Scena nona Scena prima Serpetta: In questa casa non si può più stare No.1 Introduzione 18 | No.9a Cavatina Serpetta: Un marito oh dio, vorrei 2’18 Ramiro, Podestà, Sandrina, Nardo, Serpetta: Che lieto giorno Recitativo Nardo: Come in questa canzone 3 | Recitativo Podestà, Ramiro, Serpetta, Nardo, Sandrina: 1’56 No.9b Cavatina Nardo: Un marito, oh dio, vorresti Viva, viva il buon gusto 19 | Recitativo Serpetta, Nardo: Bravo, signor buffone 1’17 4 | No.2 Aria Ramiro: Se l’augellin se n’ fugge 3’59 20 | No.10 Aria Serpetta: Appena mi vedon 3’19 5 | Scena seconda 2’19 21 | Scena decima 4’59 Recitativo Podestà, Serpetta,