Transcription of Soundtrack
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Badass Band 47- MAKAR
Badass Band 47- MAKAR (hps://badassbandsblog.files.wordpress.com/2012/08/makar.jpg) Jonesing for a dynamic guy/girl duo to add to your music repertoire? Look no further music lovers. Not only is this duo talented musically, they are after this music fiend’s own heart considering that the members are writers aside from their songwriting, Andrea is even a published poet. They are quite out of the ordinary as you will find in listening to their tunes, and their range is broad which offers ear solace to any kind of music lover. Badass Band 47 is New York’s MAKAR. MAKAR is another band that found me, and once their tunes hit my ears, I had a hard time deciding which of them I liked best. It was almost as if I went into super ADD mode, I was clicking on all their tracks trying to decide which I liked best right off the bat and they were all so different I couldn’t sele on one. I ended up forcing myself to just download them all and listen to them in order from start to finish. So, that being said, let’s start by talking about the vocals. Andrea’s vocals I can really only describe as light and refreshing. They have power, but not in the traditional sense, in the sense that they are so soft and singsongy that you just can help but listen. For me this is especially exemplified on songs like ‘I Wanna Know What I Don’t Know’ or ‘Belong Here’ As for Mark, his voice is deep but also keeps the more light, singsongy quality that Andrea’s has. -
BWTB Nov. 13Th Dukes 2016
1 Playlist Nov. 13th 2016 LIVE! From DUKES in Malibu 9AM / OPEN Three hours non stop uninterrupted Music from JPG&R…as we broadcast LIVE from DUKES in Malibu…. John Lennon – Steel and Glass - Walls And Bridges ‘74 Much like “How Do You Sleep” three years earlier, this is another blistering Lennon track that sets its sights on Allen Klein (who had contributed lyrics to “How Do You Sleep” those few years before). The Beatles - Revolution 1 - The Beatles 2 The first song recorded during the sessions for the “White Album.” At the time of its recording, this slower version was the only version of John Lennon’s “Revolution,” and it carried that titled without a “1” or a “9” in the title. Recording began on May 30, 1968, and 18 takes were recorded. On the final take, the first with a lead vocal, the song continued past the 4 1/2 minute mark and went onto an extended jam. It would end at 10:17 with John shouting to the others and to the control room “OK, I’ve had enough!” The final six minutes were pure chaos with discordant instrumental jamming, plenty of feedback, percussive clicks (which are heard in the song’s introduction as well), and John repeatedly screaming “alright” and moaning along with his girlfriend, Yoko Ono. Ono also spoke random streams of consciousness on the track such as “if you become naked.” This bizarre six-minute section was clipped off the version of what would become “Revolution 1” to form the basis of “Revolution 9.” Yoko’s “naked” line appears in the released version of “Revolution 9” at 7:53. -
Course Outline and Syllabus the Fab Four and the Stones: How America Surrendered to the Advance Guard of the British Invasion
Course Outline and Syllabus The Fab Four and the Stones: How America surrendered to the advance guard of the British Invasion. This six-week course takes a closer look at the music that inspired these bands, their roots-based influences, and their output of inspired work that was created in the 1960’s. Topics include: The early days, 1960-62: London, Liverpool and Hamburg: Importing rhythm and blues and rockabilly from the States…real rock and roll bands—what a concept! Watch out, world! The heady days of 1963: Don’t look now, but these guys just might be more than great cover bands…and they are becoming very popular…Beatlemania takes off. We can write songs; 1964: the rock and roll band as a creative force. John and Paul, their yin and yang-like personal and musical differences fueling their creative tension, discover that two heads are better than one. The Stones, meanwhile, keep cranking out covers, and plot their conquest of America, one riff at a time. The middle periods, 1965-66: For the boys from Liverpool, waves of brilliant albums that will last forever—every cut a memorable, sing-along winner. While for the Londoners, an artistic breakthrough with their first all--original record. Mick and Keith’s tempestuous relationship pushes away band founder Brian Jones; the Stones are established as a force in the music world. Prisoners of their own success, 1967-68: How their popularity drove them to great heights—and lowered them to awful depths. It’s a long way from three chords and a cloud of dust. -
John Lennon from ‘Imagine’ to Martyrdom Paul Mccartney Wings – Band on the Run George Harrison All Things Must Pass Ringo Starr the Boogaloo Beatle
THE YEARS 1970 -19 8 0 John Lennon From ‘Imagine’ to martyrdom Paul McCartney Wings – band on the run George Harrison All things must pass Ringo Starr The boogaloo Beatle The genuine article VOLUME 2 ISSUE 3 UK £5.99 Packed with classic interviews, reviews and photos from the archives of NME and Melody Maker www.jackdaniels.com ©2005 Jack Daniel’s. All Rights Reserved. JACK DANIEL’S and OLD NO. 7 are registered trademarks. A fine sippin’ whiskey is best enjoyed responsibly. by Billy Preston t’s hard to believe it’s been over sent word for me to come by, we got to – all I remember was we had a groove going and 40 years since I fi rst met The jamming and one thing led to another and someone said “take a solo”, then when the album Beatles in Hamburg in 1962. I ended up recording in the studio with came out my name was there on the song. Plenty I arrived to do a two-week them. The press called me the Fifth Beatle of other musicians worked with them at that time, residency at the Star Club with but I was just really happy to be there. people like Eric Clapton, but they chose to give me Little Richard. He was a hero of theirs Things were hard for them then, Brian a credit for which I’m very grateful. so they were in awe and I think they had died and there was a lot of politics I ended up signing to Apple and making were impressed with me too because and money hassles with Apple, but we a couple of albums with them and in turn had I was only 16 and holding down a job got on personality-wise and they grew to the opportunity to work on their solo albums. -
Kinross-Shire Can in the Village All My Life
Kinross Newsletter Founded in 1977 by Mrs Nan Walker, MBE Issue No 367 September 2009 www.kinrossnewsletter.org ISSN 1757-4781 DEADLINE CONTENTS for the October Issue From the Editor ............................................................2 2.00 pm, Monday 21 September 2009 Letters ..........................................................................2 News and Articles .........................................................4 for publication on Kinross Show Prize Winners..........................................6 Saturday 3 October 2009 Police Box..................................................................11 Community Councils...................................................12 Contributions for inclusion in the Club & Community Group News .................................20 Newsletter Sport ..........................................................................31 The Newsletter welcomes items from clubs, Out & About...............................................................37 community organisations and individuals for Gardens Open..............................................................39 publication. This is free of charge (we only Congratulations and Thanks.........................................40 charge for commercial advertising - see Church Information, Obituaries....................................41 below right). All items may be subject to Playgroups & Nurseries...............................................43 editing. Please also see our Letters Policy on Notices.......................................................................44 -
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. -
Pepperland—Mark Morris' Exuberant Homage to the 1960S Countercultural Touchstones in Sgt. Pepper's Lonely Hearts Club Band
Pepperland—Mark Morris’ exuberant homage to the 1960s countercultural touchstones in Sgt. Pepper’s Lonely Hearts Club Band—makes its NY premiere at BAM, May 8—11 Pepperland Mark Morris Dance Group Choreography by Mark Morris Music by The Beatles and Ethan Iverson Music arrangements by Ethan Iverson Set design by Johan Henckens Costume design by Elizabeth Kurtzman Lighting design by Nick Kolin BAM Howard Gilman Opera House (30 Lafayette Ave) May 8—11 at 7:30pm Tickets start at $30 Physically Integrated Workshop: Mark Morris Dance Group Led by Domingo Estrada Jr. and Nicole Sabella Co-presented by BAM and Mark Morris Dance Group May 4 at 4pm Mark Morris Dance Center (3 Lafayette Ave) Price: $20 For dancers with and without disabilities April 1, 2019/Brooklyn, NY—Pepperland, a vivid work by the choreographer Mark Morris was created at the request of the City of Liverpool to inaugurate the “Sgt. Pepper at 50 Festival” in 2017, paying tribute to the Beatles’ groundbreaking album Sgt. Pepper's Lonely Hearts Club Band. Renowned for his profound understanding of musical forms, Morris teases out the album’s colorfully avant garde motifs through spirited movement and an inspired score by jazz composer Ethan Iverson. The Pepperland score is performed by a unique music ensemble, featuring voice, theremin, soprano sax, trombone, piano, keyboard, and percussion. Iverson’s new arrangements of six songs from the album intermingle with six “Pepper-inspired” original pieces, illuminating the LP’s eclectic roots. An important work of British psychedelia, musical influences included Indian classical music, vaudeville, classical, jazz, avant-garde, and blues. -
Michael Jackson's Gesamtkunstwerk
Liminalities: A Journal of Performance Studies Vol. 11, No. 5 (November 2015) Michael Jackson’s Gesamtkunstwerk: Artistic Interrelation, Immersion, and Interactivity From the Studio to the Stadium Sylvia J. Martin Michael Jackson produced art in its most total sense. Throughout his forty-year career Jackson merged art forms, melded genres and styles, and promoted an ethos of unity in his work. Jackson’s mastery of combined song and dance is generally acknowledged as the hallmark of his performance. Scholars have not- ed Jackson’s place in the lengthy soul tradition of enmeshed movement and mu- sic (Mercer 39; Neal 2012) with musicologist Jacqueline Warwick describing Jackson as “embodied musicality” (Warwick 249). Jackson’s colleagues have also attested that even when off-stage and off-camera, singing and dancing were frequently inseparable for Jackson. James Ingram, co-songwriter of the Thriller album hit “PYT,” was astonished when he observed Jackson burst into dance moves while recording that song, since in Ingram’s studio experience singers typically conserve their breath for recording (Smiley). Similarly, Bruce Swedien, Jackson’s longtime studio recording engineer, told National Public Radio, “Re- cording [with Jackson] was never a static event. We used to record with the lights out in the studio, and I had him on my drum platform. Michael would dance on that as he did the vocals” (Swedien ix-x). Surveying his life-long body of work, Jackson’s creative capacities, in fact, encompassed acting, directing, producing, staging, and design as well as lyri- cism, music composition, dance, and choreography—and many of these across genres (Brackett 2012). -
Nawazuddin Siddiqui
lifestyle WEDNESDAY, APRIL 1, 2015 Music & Movies Nawazuddin Siddiqui, farmer’s son turned ‘Hindi indie’ star t is a story worthy of a Bollywood plot: The son of a selected for the Cannes Film Festival, he turned heads in cinema hall to watch his films. north Indian farmer, one of nine children, rising to crime thrillers “Kahaani” (Story) and “Talaash” (Search). He will appear again with Salman Khan in upcoming Ibecome the face of independent Hindi cinema. But He said his family are still surprised by how far he has romantic drama “Bajrangi Bhaijaan”, and with Shah Rukh Nawazuddin Siddiqui is still getting used to his success. come. “And you cannot blame them. I am a five-foot six- Khan in “Raees” (Rich Man), in which he plays a cop who “When someone is looking at me, I feel they are looking inch, dark, ordinary-looking man. People didn’t imagine is chasing Khan’s mafia character. Siddiqui says he at someone standing behind me, not at me,” the 40-year- that I would make it,” he said. “It is the mindset of our admires Bollywood megastars for their longevity- old confessed to AFP during an interview at a Mumbai country too, that people like (me) don’t become stars. ”they’re very well-maintained”-and he wouldn’t rule out hotel. Maybe it’s a result of 200 years of colonial rule.” doing a song-and-dance number himself, despite his “I have not got used to it and I won’t allow myself to Industry outsider reservations about Bollywood musicals. -
DAVID MERRITT & the MUSIC of NOT LISTENING by Carl Wilson It Was Hearing About an Application Called Shazam That Made Me
DAVID MERRITT & THE MUSIC OF NOT LISTENING by Carl Wilson It was hearing about an application called Shazam that made me finally give in and buy an iPhone. Rumour had it that it let you point your phone at any music playing, say, on the radio or in a shop or bar and, with a swipe of finger over touchscreen, get the song’s and artist’s names. For a writer about pop music whose superpowers do not include total trivia recall -- and who, for great chunks of his life, didn’t pay especially close heed to what was on the charts -- it was an irresistible lure: When “On the Loose” came chugging through the room, I’d be able to make a surreptitious consult and meet expectant questioning eyes with the answer that it was Saga who had to do it their way or no way at all, not any of the other 1970s Canadian chest-hair bands whose names might scissor-kick their way across my brain, like Triumph or Chilliwack or April Wine. No wonder the app was christened with the shibboleth of magical malarkey that comic- book Billy would shout in order to be lightning-strike-morphed into Captain Marvel. But in real life, Shazam was not such a thunderbolt. It can’t make out what I hear through the porous walls and floors of my apartment, or through the registers ringing or tableware clanking at a cafe It can only identify what was set apart and clear, the way music seldom comes these days -- Shazam pays a variety of attention to music that seems old-fashioned in a slick digital device, like the caricature of the “true” music fan that remains from album-era rock culture: headphones on, eyes shut, hands in prayer position against the chest. -
Helter Skelter” and Sixties Revisionism “Helter Skelter” Et L'héritage Polémique Des Années 1960
Volume ! La revue des musiques populaires 9 : 2 | 2012 Contre-cultures n°2 “Helter Skelter” and Sixties Revisionism “Helter Skelter” et l'héritage polémique des années 1960 Gerald Carlin and Mark Jones Electronic version URL: http://journals.openedition.org/volume/3407 DOI: 10.4000/volume.3407 ISSN: 1950-568X Printed version Date of publication: 15 December 2012 Number of pages: 34-49 ISBN: 978-2-913169-33-3 ISSN: 1634-5495 Electronic reference Gerald Carlin and Mark Jones, « “Helter Skelter” and Sixties Revisionism », Volume ! [Online], 9 : 2 | 2012, Online since 15 June 2014, connection on 10 December 2020. URL : http:// journals.openedition.org/volume/3407 ; DOI : https://doi.org/10.4000/volume.3407 This text was automatically generated on 10 December 2020. L'auteur & les Éd. Mélanie Seteun “Helter Skelter” and Sixties Revisionism 1 “Helter Skelter” and Sixties Revisionism “Helter Skelter” et l'héritage polémique des années 1960 Gerald Carlin and Mark Jones EDITOR'S NOTE This text was published in Countercultures & Popular Music (Farnham, Ashgate, 2014), while its French translation appeared in this issue of Volume! in 2012. “Helter Skelter” and the End of the Sixties Volume !, 9 : 2 | 2012 “Helter Skelter” and Sixties Revisionism 2 1 In late August 1968, within a few days of each other, new singles were released by the Beatles and the Rolling Stones. The unusual proximity of release dates by the world’s two most significant rock bands was echoed by the congruity of the songs’ themes: the Stones’ “Street Fighting Man” and the Beatles’ “Revolution” were both responses to the political unrest and protest which characterised the spring and summer of 1968. -
The Beatles on Film
Roland Reiter The Beatles on Film 2008-02-12 07-53-56 --- Projekt: transcript.titeleien / Dokument: FAX ID 02e7170758668448|(S. 1 ) T00_01 schmutztitel - 885.p 170758668456 Roland Reiter (Dr. phil.) works at the Center for the Study of the Americas at the University of Graz, Austria. His research interests include various social and aesthetic aspects of popular culture. 2008-02-12 07-53-56 --- Projekt: transcript.titeleien / Dokument: FAX ID 02e7170758668448|(S. 2 ) T00_02 seite 2 - 885.p 170758668496 Roland Reiter The Beatles on Film. Analysis of Movies, Documentaries, Spoofs and Cartoons 2008-02-12 07-53-56 --- Projekt: transcript.titeleien / Dokument: FAX ID 02e7170758668448|(S. 3 ) T00_03 titel - 885.p 170758668560 Gedruckt mit Unterstützung der Universität Graz, des Landes Steiermark und des Zentrums für Amerikastudien. Bibliographic information published by Die Deutsche Bibliothek Die Deutsche Bibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available on the Internet at http://dnb.ddb.de © 2008 transcript Verlag, Bielefeld This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 License. Layout by: Kordula Röckenhaus, Bielefeld Edited by: Roland Reiter Typeset by: Roland Reiter Printed by: Majuskel Medienproduktion GmbH, Wetzlar ISBN 978-3-89942-885-8 2008-12-11 13-18-49 --- Projekt: transcript.titeleien / Dokument: FAX ID 02a2196899938240|(S. 4 ) T00_04 impressum - 885.p 196899938248 CONTENTS Introduction 7 Beatles History – Part One: 1956-1964