James Taylor: Making Music and Memories by John Fries
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Lightning in a Bottle
LIGHTNING IN A BOTTLE A Sony Pictures Classics Release 106 minutes EAST COAST: WEST COAST: EXHIBITOR CONTACTS: FALCO INK BLOCK-KORENBROT SONY PICTURES CLASSICS STEVE BEEMAN LEE GINSBERG CARMELO PIRRONE 850 SEVENTH AVENUE, 8271 MELROSE AVENUE, ANGELA GRESHAM SUITE 1005 SUITE 200 550 MADISON AVENUE, NEW YORK, NY 10024 LOS ANGELES, CA 90046 8TH FLOOR PHONE: (212) 445-7100 PHONE: (323) 655-0593 NEW YORK, NY 10022 FAX: (212) 445-0623 FAX: (323) 655-7302 PHONE: (212) 833-8833 FAX: (212) 833-8844 Visit the Sony Pictures Classics Internet site at: http:/www.sonyclassics.com 1 Volkswagen of America presents A Vulcan Production in Association with Cappa Productions & Jigsaw Productions Director of Photography – Lisa Rinzler Edited by – Bob Eisenhardt and Keith Salmon Musical Director – Steve Jordan Co-Producer - Richard Hutton Executive Producer - Martin Scorsese Executive Producers - Paul G. Allen and Jody Patton Producer- Jack Gulick Producer - Margaret Bodde Produced by Alex Gibney Directed by Antoine Fuqua Old or new, mainstream or underground, music is in our veins. Always has been, always will be. Whether it was a VW Bug on its way to Woodstock or a VW Bus road-tripping to one of the very first blues festivals. So here's to that spirit of nostalgia, and the soul of the blues. We're proud to sponsor of LIGHTNING IN A BOTTLE. Stay tuned. Drivers Wanted. A Presentation of Vulcan Productions The Blues Music Foundation Dolby Digital Columbia Records Legacy Recordings Soundtrack album available on Columbia Records/Legacy Recordings/Sony Music Soundtrax Copyright © 2004 Blues Music Foundation, All Rights Reserved. -
Warner/Reprise Loss Leaders Booklet
THE WARNER BROS. LOSS LEADERS SERIES (1969-1980) Depending On How You Count Them, 34 Essential Various Artist Collections From Another Time We figured it was about time to pull together all of the incredible Warner Bros. Loss Leaders releases dating back to 1969 (and even a little earlier). For those who lived through the era, Warner Bros. Records was winning the sales of an entire generation by signing and supporting some of music’s most uniquely groundbreaking recording artists… during music’s most uniquely groundbreak- ing time. With an appealingly irreverent style (“targeted youth marketing,” it would be called today), WB was making lifelong fans of the kids who entered into the label’s vast catalog of art- ists via the Loss Leaders series—advertised on inner sleeves & brochures, and offering generous selections priced at $1 per LP, $2 for doubles and $3 for their sole 3-LP release, Looney Tunes And Merrie Melodies. And that was including postage. Yes… those were the days, but back then there were very few ways, outside of cut-out bins or a five-finger discount, to score bulk music as cheaply. Warners unashamedly admitted that their inten- tions were to sell more records, by introducing listeners to music they weren’t hearing on their radios, or finding in many of their (still weakly distributed) record stores. And it seemed to work… because the series continued until 1980, and the program issued approximately 34 titles, by our questionable count (detailed in later posts). But, the oldsters among us all fondly remember the multi-paged, gatefold sleeves and inviting artwork/packaging that beckoned from the inner sleeves of our favorite albums, not to mention the assorted rarities, b-sides and oddities that dotted many of the releases. -
Dolemite Is My Name
DOLEMITE IS MY NAME Written by Scott Alexander and Larry Karaszewski FINAL IN THE BLACK We hear Marvin Gaye's "What's Goin' On" playing softly. VOICE I ain't lying. People love me. INT. DOLPHIN'S - DAY CU of a beat-up record from the 1950s. On the paper cover is a VERY YOUNG Rudy, in a tuxedo. It says "Rudy Moore - BUGGY RIDE" RUDY You play this, folks gonna start hoppin' and squirmin', just like back in the day. A hand lifts the record up to the face of RUDY RAY MOORE, late '40s, black, sweet, determined. RUDY When I sang this on stage, I swear to God, people fainted! Ambulance man was picking them off the floor! When I had a gig, the promoter would warn the hospital: "Rudy's on tonight -- you're gonna be carrying bodies out of the motherfucking club!" We see that we are in a RADIO BOOTH. A sign blinks "On The Air." The DJ, ROJ, frowns at the record. ROJ "Buggy Ride"? RUDY Wasn't no small-time shit. ROJ GodDAMN, Rudy! That record's 1000 years old! I've got Marvin Gaye singin' "Let's Get It On"! I can't be playin' no "Buggy Ride." (beat) Look, I have 60 seconds. I have to cue the next tune. Hm! Rudy bites his lip and walks away. Roj tries to go back to his job. He reaches for a Sly Stone single -- when Rudy suddenly bounds back up. RUDY How about "Step It Up and Go"? That's a real catchy rhythm-and-blues number. -
James Taylor
JAMES TAYLOR Over the course of his long career, James Taylor has earned 40 gold, platinum and multi- platinum awards for a catalog running from 1970’s Sweet Baby James to his Grammy Award-winning efforts Hourglass (1997) and October Road (2002). Taylor’s first Greatest Hits album earned him the RIAA’s elite Diamond Award, given for sales in excess of 10 million units in the United States. For his accomplishments, James Taylor was honored with the 1998 Century Award, Billboard magazine’s highest accolade, bestowed for distinguished creative achievement. The year 2000 saw his induction into both the Rock ‘n’ Roll Hall of Fame and the prestigious Songwriter’s Hall of Fame. In 2007 he was nominated for a Grammy Award for James Taylor at Christmas. In 2008 Taylor garnered another Emmy nomination for One Man Band album. Raised in North Carolina, Taylor now lives in western Massachusetts. He has sold some 35 million albums throughout his career, which began back in 1968 when he was signed by Peter Asher to the Beatles’ Apple Records. The album James Taylor was his first and only solo effort for Apple, which came a year after his first working experience with Danny Kortchmar and the band Flying Machine. It was only a matter of time before Taylor would make his mark. Above all, there are the songs: “Fire and Rain,” “Country Road,” “Something in The Way She Moves,” ”Mexico,” “Shower The People,” “Your Smiling Face,” “Carolina In My Mind,” “Sweet Baby James,” “Don’t Let Me Be Lonely Tonight,” “You Can Close Your Eyes,” “Walking Man,” “Never Die Young,” “Shed A Little Light,” “Copperline” and many more. -
Leland Sklar
The Inspiring Musical Journeys of Cordial Artists James Taylor Sonics are perfect. perfect. Sonics are Helen Reddy Expertly made.” cables. Cordial Rita Coolidge “Loving my Spencer Davis Group The Doors Jackson Browne Paul Williams Kenny Rankin Billy Cobham Linda Ronstadt Rick Springfield Crosby & Nash Stephen Stills Carly Simon Kim Carnes Art Garfunkle Rod Stewart Carol King Glenn Campbell Leo Sayer Hall & Oates Hoyt Axton Bette Midler Warren Zevon Donna Summer America Dolly Parton Billy Preston Don Henley Phil Collins Jimmy Webb Bonnie Raitt Ricky Skaggs Reba McEntire George Strait Oak Ridge Boys Randy Newman Leland Sklar P Patty Loveless that doin’ still there, Been Family Immediate with hanging out Currently live performances. uncountable and songs 2,000 albums/25,000 over whose work spans a player for surprising too credits—not onthe would be listed Leland agood chance there’s ‘90s and and ‘80s, ‘70s, the from artist album/song/ iconic any much pretty name could you is, Fact Check Taylor? James musicscene. popular the of forefront the at always and more— and movie dates, tours, sessions, recording of milestone number with extraordinary an long ( the represents Sklar Leland bassist Lyle Lovett pre-eminent artist, Cordial other any than more erhaps Manhattan Transfer Pathways long! Neil Diamond . Phil Collins? Suzy Bogguss Check Wynonna Judd populated ) career Clint Black a best: aesthetic Browne? . Jackson Leonard Cohen Wilson Philips —a group Thomas Dolby Check Air Supply Ray Charles Chet Atkins . The Peter Frampton Julio Iglesias -
Program for the Elixir of Love
DONIZETTI’S THE ELIXIR OF LOVE A potent potion to drive devotion APRIL 21, 24, 27, 29, 2018 STUDENT MATINEE: APRIL 26, 2018 BENEDUM CENTER 2017-18 SEASON TABLE OF CONTENTS THE ELIXIR EstatementJEWELRY OF LOVE (L’elisir d’amore) Set the stage for compliments and make a statement Music by Gaetano Donizetti every time you wear a piece of fine jewelry from Libretto by Felice Romani, after Eugène Scribe’s libretto for Daniel Auber’s Le philtre (1831) our Vintage & Contemporary Estate Collection. Affordable luxury that steals the spotlight. 2 .............Letter From Our Board Leadership Michele Fabrizi 3 .............Letter From Our General Director Board Chair 5 .............The Cast Gene Welsh 7 .............Synopsis Board President Christopher Hahn 11 ............Artist Biographies General Director 22 ...........Director’s Note Antony Walker 24 ...........Learn About Opera Music Director 25 ...........Student Matinee 26 ...........The Monteverdi Society Allison M. Ruppert Managing Editor 27 ............Board of Directors Platinum rings featuring Greenawalt Design LLC Rubies, Pink Tourmaline, 31 ............Annual Fund Listings Graphic Design and Precious Topaz. To schedule 38 ...........Orchestra your advertising in Pittsburgh Opera’s Authentic • Curated • Quality 39 ...........Chorus and Supernumeraries program, please call 412-471-1497 or VINTAGE & CONTEMPORARY 43 ...........Staff and Volunteers email advertising@ culturaldistrict.org. MOSES 44 ...........Benedum Directory Jewelers SINCE 1949 This program is published by Pittsburgh Opera, Inc., 2425 Liberty Avenue, Pittsburgh, PA 15222. EstateJEWELRY COLLECTION Phone: 412-281-0912; Fax 412-281-4324; Website www.pittsburghopera.org. Celebrating 69 years in business! All correspondence should be sent to the above address. Pittsburgh Opera assumes no responsibility for unsolicited manuscripts. Articles may be reprinted with permission. -
Kourier Document Setup 6-13-19
Kourier ALABAMA DISTRICT Summer 2019 Published by Alabama Kiwanis Foundation 28 pages District Convention is Aug. 2-4 By Patrice Stewart president of the Kiwanis Club of Kiwanis Kourier editor Huntsville and chairman of the con- It’s almost time to celebrate in vention. “We asked to host this year Huntsville, where the 101st Alabama because of our club’s 100th anniver- District Convention will be held Aug. sary. Huntsville is growing, and we 2-4 at Embassy Suites. want to show off our city.” The Kiwanis Club of Huntsville will The Huntsville club must receive serve as the host club, and Kiwanians other Kiwanis clubs formed that year registrations by July 26 to give meal and guests from around the state are will also be recognized at this conven- numbers to the hotel. invited to join in celebrating the club’s tion. Huntsville Kiwanians and district 100th anniversary. This Huntsville club “We are looking forward to hosting leaders have planned several speakers was organized July 14, 1919; several the whole district,” said Marc Byers, (See HUNTSVILLE, Page 5) Scenes from Kiwanis International Convention, from President-elect Vigneron from the Belgium-Luxembourg left: Kiwanis Club of Montgomery officers Sam Johnson District; and KI Executive Director Stan Soderstrom, left, and John Hutcheson, Kiwanis International President- greets Alabama Past Governor Armand St. Raymond, who elect Daniel Vigneron and Alabama Kiwanis Governor has been appointed to the Kiwanis Children’s Fund board Ben Taylor with two gold plaques for top Signature Proj- beginning Oct. 1. Soderstrom will be the luncheon ect; Alabama Governor-elect Bob Brown, left, meets with speaker at the District Convention in Huntsville Aug. -
“Tar Baby and the Great White Wonder”: Joni Mitchell's Pimp Game
121 6 “Tar Baby and the Great White Wonder”: Joni Mitchell’s Pimp Game Eric Lott Tar baby and the Great White Wonder Talking over a glass of rum Burning on the inside With the knowledge of things to come Th ere’s gambling out on the terrace And midnight ramblin’ on the lawn As they lead toward temptation With dreamland coming on —Joni Mitchell, “Dreamland,” 1977 J. D. Souther tells the story of a day, in late 1977, at record producer Peter Asher’s house. Souther was introduced by Asher and his wife Betsy to a thin black man with huge sunglasses and a big mustache. His name was Claude, and Souther concluded that he was a pimp. He was decked out in dark pants, white vest, and white jacket, his Afro tamed down by a fancy chapeau. Claude didn’t say much as the group, which also included guitarist Danny Kortchmar, made small talk. Aft er a short while, as Sheila Weller recounts the episode in Girls Like Us: Carole King, Joni Mitchell, Carly Simon—and the Journey of a Generation , “Claude took off his hat. And then he took off his wig . Claude was Joni , in blackface. Souther and Joni had been lovers, but he hadn’t recognized her under the costume. Th is was her new alter ego, a character she would imminently 99781501332098_pi-224.indd781501332098_pi-224.indd 112121 331-Oct-181-Oct-18 88:42:30:42:30 PPMM 122 122 Joni Mitchell name ‘Art Nouveau,’ her ‘inner black person.’ ” Mitchell has oft en repeated what she says will be the fi rst line of her autobiography: “I was the only black man in the room” (Weller 2008 , 424–425; Marom 2014 ). -
Attendee List by Company Name
Attendee List by Company Name As of September 24, 2018 George Hansen Art Lewis Benjamin Roberts A M Best Company AARP Services Inc ABS Group Oldwick, NJ Washington, DC Knoxville, TN Bonnie Birns Ross Bradshaw Tim Eddy Accenture Accenture Accenture Jericho, NY North Brunswick, NJ Tampa, FL Bill Luo Philip Moreland Paul Pflieger Accenture Accenture Accenture Franklin Park, NJ Denville, NJ Minneapolis, MN Steven de Jong Kevin Pledge Stephen Camilli Acceptiv Acceptiv ACTEX Learning Auckland, New Zealand Toronto, ON New Hartford, CT Jennifer Hart Emil Chacko Aimee Kaye Actuarial Careers Actuarial Careers Actuarial Careers Inc White Plains, NY White Plains, NY White Plains, NY Barbara Roman Jesse West Ted Jackness Actuarial Careers Inc Actuarial Careers Inc Actuarial Careers, Inc. White Plains, NY White Plains, NY White Plains, NY Tim Cardinal Ben Wolzenski Edward Kuo Actuarial Compass Actuarial Innovations, LLC Actuarial Perspective Inc. Morrow, OH Saint Louis, MO Mississauga, ON Nate Campbell Bob Crompton John Hegstrom Actuarial Resources Corporation Actuarial Resources Corporation Actuarial Resources Corporation Overland Park, KS Alpharetta, GA San Antonio, TX Roger Loomis Craig Maly John Marsteller Actuarial Resources Corporation Actuarial Resources Corporation Actuarial Resources Corporation Overland Park, KS Overland Park, KS Indianapolis, IN Jim Merwald Robert Peterson Tom Schroeder Actuarial Resources Corporation Actuarial Resources Corporation Actuarial Resources Corporation Overland Park, KS Overland Park, KS Overland Park, KS Eric -
Psaudio Copper
Issue 142 AUGUST 2ND, 2021 Is there a reader among us who doesn’t dig ZZ Top? We mourn the passing of Joseph Michael “Dusty” Hill (72), bassist, vocalist and keyboardist for the tres hombres. Blending blues, boogie, bone-crushing rock, born-for-MTV visuals, humor and outrageousness – they once took a passel of live animals on stage as part of their 1976 – 1977 Worldwide Texas Tour – Hill, drummer Frank Beard and guitarist Billy F. Gibbons have scorched stages worldwide. As a friend said, “it’s amazing how just three guys could make that much sound.” Rest in peace, Mr. Hill. In this issue: Anne E. Johnson gets inspired by the music of Renaissance composer William Byrd, and understands The Animals. Wayne Robins reviews Native Sons, the superb new album from Los Lobos. Ray Chelstowski interviews The Immediate Family, featuring studio legends Waddy Wachtel, Lee Sklar, Russ Kunkel and others, in an exclusive video interview. I offer up more confessions of a record collector. Tom Gibbs finds much to like in some new SACD discs. John Seetoo winds up his coverage of the Audio Engineering Society’s Spring 2021 AES show. Ken Sander travels through an alternate California reality. WL Woodward continues his series on troubadour Tom Waits. Russ Welton interviews cellist Jo Quail, who takes a unique approach to the instrument. In another article, he ponders what's needed for sustaining creativity. Adrian Wu looks at more of his favorite analog recordings. Cliff Chenfeld turns us on to some outstanding new music in his latest Be Here Now column. -
WARNER BROS. / WEA RECORDS 1970 to 1982
AUSTRALIAN RECORD LABELS WARNER BROS. / WEA RECORDS 1970 to 1982 COMPILED BY MICHAEL DE LOOPER © BIG THREE PUBLICATIONS, APRIL 2019 WARNER BROS. / WEA RECORDS, 1970–1982 A BRIEF WARNER BROS. / WEA HISTORY WIKIPEDIA TELLS US THAT... WEA’S ROOTS DATE BACK TO THE FOUNDING OF WARNER BROS. RECORDS IN 1958 AS A DIVISION OF WARNER BROS. PICTURES. IN 1963, WARNER BROS. RECORDS PURCHASED FRANK SINATRA’S REPRISE RECORDS. AFTER WARNER BROS. WAS SOLD TO SEVEN ARTS PRODUCTIONS IN 1967 (FORMING WARNER BROS.-SEVEN ARTS), IT PURCHASED ATLANTIC RECORDS AS WELL AS ITS SUBSIDIARY ATCO RECORDS. IN 1969, THE WARNER BROS.-SEVEN ARTS COMPANY WAS SOLD TO THE KINNEY NATIONAL COMPANY. KINNEY MUSIC INTERNATIONAL (LATER CHANGING ITS NAME TO WARNER COMMUNICATIONS) COMBINED THE OPERATIONS OF ALL OF ITS RECORD LABELS, AND KINNEY CEO STEVE ROSS LED THE GROUP THROUGH ITS MOST SUCCESSFUL PERIOD, UNTIL HIS DEATH IN 1994. IN 1969, ELEKTRA RECORDS BOSS JAC HOLZMAN APPROACHED ATLANTIC'S JERRY WEXLER TO SET UP A JOINT DISTRIBUTION NETWORK FOR WARNER, ELEKTRA, AND ATLANTIC. ATLANTIC RECORDS ALSO AGREED TO ASSIST WARNER BROS. IN ESTABLISHING OVERSEAS DIVISIONS, BUT RIVALRY WAS STILL A FACTOR —WHEN WARNER EXECUTIVE PHIL ROSE ARRIVED IN AUSTRALIA TO BEGIN SETTING UP AN AUSTRALIAN SUBSIDIARY, HE DISCOVERED THAT ONLY ONE WEEK EARLIER ATLANTIC HAD SIGNED A NEW FOUR-YEAR DISTRIBUTION DEAL WITH FESTIVAL RECORDS. IN MARCH 1972, KINNEY MUSIC INTERNATIONAL WAS RENAMED WEA MUSIC INTERNATIONAL. DURING THE 1970S, THE WARNER GROUP BUILT UP A COMMANDING POSITION IN THE MUSIC INDUSTRY. IN 1970, IT BOUGHT ELEKTRA (FOUNDED BY HOLZMAN IN 1950) FOR $10 MILLION, ALONG WITH THE BUDGET CLASSICAL MUSIC LABEL NONESUCH RECORDS. -
Guantanamo's Greatest Hits: the Semiotics of Sound and the Protection of Performer Rights Under the Lanham Act
Vanderbilt Journal of Entertainment & Technology Law Volume 16 Issue 1 Issue 1 - Fall 2013 Article 2 2013 Guantanamo's Greatest Hits: The Semiotics of Sound and the Protection of Performer Rights under the Lanham Act John Tehranian Follow this and additional works at: https://scholarship.law.vanderbilt.edu/jetlaw Part of the Entertainment, Arts, and Sports Law Commons, and the Intellectual Property Law Commons Recommended Citation John Tehranian, Guantanamo's Greatest Hits: The Semiotics of Sound and the Protection of Performer Rights under the Lanham Act, 16 Vanderbilt Journal of Entertainment and Technology Law 11 (2020) Available at: https://scholarship.law.vanderbilt.edu/jetlaw/vol16/iss1/2 This Article is brought to you for free and open access by Scholarship@Vanderbilt Law. It has been accepted for inclusion in Vanderbilt Journal of Entertainment & Technology Law by an authorized editor of Scholarship@Vanderbilt Law. For more information, please contact [email protected]. Guantanamo's Greatest Hits: The Semiotics of Sound and the Protection of Performer Rights under the Lanham Act John Tehranian* ABSTRACT As Bruce Springsteen and Ronald Reagan, Jackson Brown and John McCain, and Tom Morello and Paul Ryan can attest, the exploitation of creative works for political or commercial purposes that run contrary to artists'idealscan stir passionsand trigger lawsuits. Yet for performers who are not authors of the exploited works, there is little meaningful legal relief provided by the federal Copyright Act. Instead, such performers-from featured singers and dancers to actors and other personalities known for their distinctive traits-have leaned on alternative theories for recovery, thereby raising the specter of liability outside of copyright law for such unwelcome uses.