The Glass Onion

Total Page:16

File Type:pdf, Size:1020Kb

The Glass Onion THE GLASS ONION Available Eight Days A Week / Ain’t Got Nothin’ But Love (and News), Babe MAXWELL “SILVER HAMMER” Max, he came from behind, and it was like, bang, man! Bang! And that silver hammer EDISON STRIKES AGAIN! came down on Daniel’s head.” After narrowly evading justice in a court of Edison is a student of medicine, in law, known serial murderer Maxwell “Silver his early twenties, and has a history of Hammer” violent activity. He is wanted also for the Edison has murder of a scientist co-worker, a school struck again. teacher, and the judge of a local court. The victim, a Local police chief and renowned man known elephant hunter Bungalow Bill shared in a only as press release that a hammer was found at “Daniel”, was the scene with Edison’s fingerprints. “This killed last murder follows previous patterns… and we Tuesday in a now need only to clarify motive. We suspect saloon Silver hammer found on the that Edison was hired for this job.” There is somewhere in scene of the crime. currently no evidence to prove this theory. the black He has requested that anyone with mountain hills of Dakota. Daniel’s fiancé, information regarding Edison or his victims Nancy, was not available for questioning. call police headquarters immediately. Says Rocky Raccoon, a witness to the incident, “This man who calls himself Features Maxwell “Silver Hammer” Edison Strikes Again! The continuing saga of a serial hammer murderer. (Cover Story) (Page 1) Recovered Jude Letter: Insight into the relationship between world-famous “Jude” and The Beatles. (Page 2) Come Together: An outline of the major events that defined The Beatles. (Page 3) Every Issue CLASSIFIEDS At A Glance Mean Mr. Mustard $1750 Rare ltd. ed. White Album Editorial column featuring the grumpy with peel-back cover Mr. Mustard. (Page 3-4) revealing nude picture of John and Yoko. Only 100 Your Mother Should Know printed. Advice column of the wise Prudence. (Page 4) FREE Strawberries picked from a never-ending field. Best Dig It enjoyed with eyes closed. Reader submissions of poetry. (Page 5-6) More in Classifieds section. Recovered Jude Letter The following is a letter recovered from the estate of Paul McCartney. The letter is dated November 2, 1969. Dear Paul, Hey, man. I’m really diggin’ that Yellow Submarine movie, it’s like... wow, man. So, I know you’re an expert at love. You and John and the guys wrote entire albums about it. Oh yeah, and speaking of John, what’s going on with his hair on the Abbey Road cover? I love it. And do you need some shoes? I found a great pair of sandals on the beach a few days ago, and I remembered you’re not wearing any on Abbey Road, so if you want ‘em they’re yours. Anyway, I wrote to ask you a question. See, there’s this great girl I met, and I think I might love her. But y’know, she’s got enough money to… buy the state of Hawaii or something. She drives her own expensive car that cost about $8000! And everybody knows that I don’t even have enough money to buy gas for the damn thing. So, there’s my problem. I’m afraid that she’ll find out how little money I have and think I’m some kind of bum. I know I should just mellow out a little, but you sing about broken hearts a lot in your earlier stuff and it doesn’t sound like much fun. What should I do, Paul? Sincerely, Jude PS – I was just wondering, is “Lucy in the Sky with Diamonds” supposed to… you know, stand for something? ‘Cause that would be so groovy, man… 2 Come Together “Oh, all right,” is what Paul McCartney naturally, was to take over America. answered to John Lennon’s request for him to join the Quarrymen, Lennon’s band at the time. This yawn-inspiring action does not seem very fitting for such an important event in musical and social history, and it is obvious that these two neatly groomed boys had no idea what just a few years’ time would do for their music and hairstyles. The talented John and Paul wrote about what they knew (holding hands, broken hearts) and played the way they wanted (which was very well). Quickly outgrowing the Quarrymen, the Ed Sullivan put The Beatles on two evolved into The Beatles after being his show in 1964, where they played a joined by the other band members, couple songs, and waved, and smiled, George and Ringo. They played local and also became internationally famous (and not so local) clubs and bars and in less time than it takes to print five- became increasingly famous in England hundred more copies of a hit album that and Germany. In 1962 they signed a just can’t seem to stay on the shelves contract with manager Brian Epstein on long enough for every screaming girl on Parlophone Records, and in one the street to have her very own personal month’s time recorded and released copy. The combination of five singles, their first single, “Love Me Do”. By 1963, two albums and the publicity of one they had a number one album, “Please night made the Beatles a household Please Me”. Having become nationally name. famous in Britain, the next big step, Mean Mr. Mustard Those goddamn Elvis character with his spastic hip hippies that call thrusting is nothing compared to them. themselves the Yeah, those four guys, they showed Beatles have ruined everybody that you could make good music forever. What songs about sappy love stuff, and then the hell kind of name is “Beatles” they showed that you could sing about anyway? In my day, we had good bands other things, like politics, fruit, fartin’ with good names, like Benny Goodman. around, birthday parties, and getting old. Now you’ve got noise from the likes of (I know a lot about that last one, believe Jimi Hendrix and Jefferson Airplane. you me.) Heck, I might just be a grumpy Now, you’ve got entire radio old man, but I think it’s all the Beatles’ stations devoted to bands who have fault. Ya’ see, it was those darn followed in the Beatles’ path and made whipper-snappers that opened up music about every topic under the sun in opportunities for all kinds of music to every way imaginable. So yeah, if you come out of the floorboards. That sissy like that kind of junk, then the Beatles 3 are great. But I don’t like that junk. It’s just don’t really care for. I’ll take my noisy, and all the complicated sounds Glenn Miller, thank you very much. and imagery are confusing. So in my ________________________________ opinion, the Beatles have only helped to Mr. Mustard is a mean, dirty old man who is create a market for layered, textured, known to shout out obscene things in public. He sleeps in a hole in the ground in the park. deep, meaningful, important songs that I Your Mother Should Know Dear Prudence: you've got time to rectify in my hour of darkness, Two weeks ago I told all the things that you She is standing right in my son that the Beatles should. front of me, speaking were evil and I burned words of wisdom, "Let It all his albums. This was Dear Prudence: Be." in response to John My friends have been Lennon’s remark that experimenting with Dear Prudence: they were “bigger than drugs, and are always A couple weeks ago I Jesus”. I’m having asking me to join them. got into an argument second thoughts, I’m confused and with my mom. I left though; my son left the worried that they might home, and now I’m house and hasn’t not like me if I say no. living with some returned or spoken to What should I do the wonderful friends. I think me since the incident. next time I’m offered I overreacted a bit but What should I do? drugs? I’m not sure how to go Signed, Signed, home again without Lonely Single Parent Morally Upright Teen fighting again. How can I make amends? Lonely Single Parent: Morally Upright Teen: Signed, Although your mind's When I find myself in Lost Child opaque, try thinking times of trouble, Mother more (if just for your Mary comes to me, Lost Child: own sake). The future speaking words of All you need is love. still looks good and wisdom: "Let It Be." And 4 Dig It high fidelity? the cd won’t play i scratched it every scratch is a memory “this is my favorite vinyl.” “hey, this is my favorite song.” skipping to track 5 skipping to track 17 “i wouldn’t skip around if i could.” listening to the album skip back to track 2 listen to the song the cd is skipping a scratch; click-pop! “i can hear it, the time when we danced through the basement and i bumped the record player “stop dancing so hard, the cd won’t play… causing the needle to scratch halfway through eleanor rigby” okay, that’s better.” “could you burn me a copy?” a listening party. patience, the cassette is almost done... “man, this sounds great.” 5 Dig It Abbey Road ”Look at him, all dressed in white. My blue jeans are lively and superior. Why am I always in the back?” The sun (it is hot) On bare feet that are walking And belonging to someone holding a lonely cigarette.
Recommended publications
  • 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.
    [Show full text]
  • 50Er – 60Er-Jahre Titel Interpret
    50er – 60er-Jahre Titel Interpret A Day In The Life Beatles A Hard Days Night Beatles A Whiter Shade Of Pale Procol harum Ain´t That a Shame Fats Domino All Day And All Of The Night Kinks All I Have To Do Everly Brothers All My Loving Beatles And I Love Her Beatles As Tears Go by Rollings Stones Baby You´re A Rich Man Beatles Back In The U.S.S.R Beatles Bad Moon Rising Credence Clearwater Revival Balla Balla Rainbows Because Beatles Beeboopaloola Tony Sheridan Black Magic Woman Santana Blackbird Beatles Blue Berry Hill Fats Domino Blue Suede Shoes Elvis Presley Bonnie And Clyde Georgie Fame Born To Be Wild Steppenwolf Bus Stop Hollies Bye, Bye Love Everly Brothers California Dreamin Mamas & Papas Can´t Buy Me Love Beatles Can´t Help Falling In Love Elvis Presley Carol Chuck Berry Chains Beatles Come Together Beatles Congratulations Cliff Richard Cry Baby Cry Beatles Day Tripper Beatles Days Kinks Dear Prudence Beatles Death Of A Clown Kinks Dedicated Follerwer Of fashion Kinks Delilah Tom Jones Diana Paul Anka Do Wah Diddy Diddy Manfred Mann Do You Want To Know A Secret Beatles Dock Of The bay Otis Redding Don´t let Me Be Misunderstood Animals Dream A Little Dream Mamas & Papas Drive My car Beatles Eight days A Week Beatles Eleanor Rigby Beatles Every Night Paul Mc Cartney Everybody Loves Somebody Dean Martin Everybody´s Trying To Be My Baby Beatles Everybodys talkin´At me Harry Nielson Evil Ways Santana Ferry Cross The Mersey Gerry & Pacemakers For Your Love Yardbirds From Me To You Beatles Get Back Beatles Getting Better Beatles Gimme
    [Show full text]
  • “My Girl”—The Temptations (1964) Added to the National Registry: 2017 Essay by Mark Ribowsky (Guest Post)*
    “My Girl”—The Temptations (1964) Added to the National Registry: 2017 Essay by Mark Ribowsky (guest post)* The Temptations, c. 1964 The Temptations’ 1964 recording of “My Girl” came at a critical confluence for the group, the Motown label, and a culture roiling with the first waves of the British invasion of popular music. The five-man cell of disparate souls, later to be codified by black disc jockeys as the “tall, tan, talented, titillating, tempting Temptations,” had been knocking around Motown’s corridors and studio for three years, cutting six failed singles before finally scoring on the charts that year with Smokey Robinson’s cleverly spunky “The Way You Do the Things You Do” that winter. It rose to number 11 on the pop chart and to the top of the R&B chart, an important marker on the music landscape altered by the Beatles’ conquest of America that year. Having Smokey to guide them was incalculably advantageous. Berry Gordy, the former street hustler who had founded Motown as a conduit for Detroit’s inner-city voices in 1959, invested a lot of trust in the baby-faced Robinson, who as front man of the Miracles delivered the company’s seminal number one R&B hit and million-selling single, “Shop Around.” Four years later, in 1964, he wrote and produced Mary Wells’ “My Guy,” Motown’s second number one pop hit. Gordy conquered the black urban market but craved the broader white pop audience. The Temptations were riders on that train. Formed in 1959 by Otis Williams, a leather-jacketed street singer, their original lineup consisted of Williams, Elbridge “Al” Bryant, bass singer Melvin Franklin and tenors Eddie Kendricks and Paul Williams.
    [Show full text]
  • 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.
    [Show full text]
  • Maxwell Johnson JRCOSTEP Summer 2017 Illinois State University Rhinelander District Office Rhinelander, Wisconsin
    ENS Maxwell Johnson JRCOSTEP Summer 2017 Illinois State University Rhinelander District Office Rhinelander, Wisconsin My name is Maxwell Johnson and I am a student at Illinois State University (ISU). I will be continuing my senior year this fall and I plan to graduate next May with a Bachelor of Science in Environmental Health. One of the fundamental requirements of the environmental health program at ISU is to complete a nine-week externship with an approved organization. My aim from the start was to find an externship that would provide a mix of both autonomy and mentorship that would promote collaborative growth and independent function as an EH professional. Fortunately, the Director of ISU’s Environmental Health program, CAPT George Byrns, USPHS (Ret), introduced me to Indian Health Service (IHS). He is a large reason why I switched from almost a decade in medicine to studying environmental health, so when he spoke passionately about the IHS and USPHS opportunities I listened intently. It was no more than a week or two later that I was already working on my application packet for the JRCOSTEP. After a relatively short period of time I was informed I would be stationed in Rhinelander, WI with the Rhinelander District Office (RDO). I had never been north of Tomahawk, WI so I was very pleased to see that the beauty of the Northwoods only became more pronounced the further north I went. The RDO is within the Bemidji Area IHS that covers all tribes throughout Minnesota, Michigan, and Wisconsin. I was fortunate enough to work under the guidance of Barry Hugo, CDR William Crump, and alongside two new hires named Jeremy Blankenship and last year’s JRCOSTEP, Garret Steiner.
    [Show full text]
  • 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.
    [Show full text]
  • “What Happened to the Post-War Dream?”: Nostalgia, Trauma, and Affect in British Rock of the 1960S and 1970S by Kathryn B. C
    “What Happened to the Post-War Dream?”: Nostalgia, Trauma, and Affect in British Rock of the 1960s and 1970s by Kathryn B. Cox A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Music Musicology: History) in the University of Michigan 2018 Doctoral Committee: Professor Charles Hiroshi Garrett, Chair Professor James M. Borders Professor Walter T. Everett Professor Jane Fair Fulcher Associate Professor Kali A. K. Israel Kathryn B. Cox [email protected] ORCID iD: 0000-0002-6359-1835 © Kathryn B. Cox 2018 DEDICATION For Charles and Bené S. Cox, whose unwavering faith in me has always shone through, even in the hardest times. The world is a better place because you both are in it. And for Laura Ingram Ellis: as much as I wanted this dissertation to spring forth from my head fully formed, like Athena from Zeus’s forehead, it did not happen that way. It happened one sentence at a time, some more excruciatingly wrought than others, and you were there for every single sentence. So these sentences I have written especially for you, Laura, with my deepest and most profound gratitude. ii ACKNOWLEDGMENTS Although it sometimes felt like a solitary process, I wrote this dissertation with the help and support of several different people, all of whom I deeply appreciate. First and foremost on this list is Prof. Charles Hiroshi Garrett, whom I learned so much from and whose patience and wisdom helped shape this project. I am very grateful to committee members Prof. James Borders, Prof. Walter Everett, Prof.
    [Show full text]
  • Beatles Cover Albums During the Beatle Period
    Beatles Cover Albums during the Beatle Period As a companion to the Hollyridge Strings page, this page proposes to be a listing of (and commentary on) certain albums that were released in the United States between 1964 and April 1970. Every album in this listing has a title that indicates Beatles-related content and/or a cover that is a parody of a Beatles cover. In addition, the content of every album listed here is at least 50% Beatles-related (or, in the case of albums from 1964, "British"). Albums that are not included here include, for example, records named after a single Beatles song but which contain only a few Beatles songs: for example, Hey Jude, Hey Bing!, by Bing Crosby. 1964: Nineteen-sixty-four saw the first wave of Beatles cover albums. The earliest of these were released before the release of "Can't Buy Me Love." They tended to be quickly-recorded records designed to capitalize rapidly on the group's expanding success. Therefore, most of these albums are on small record labels, and the records themselves tended to be loaded with "filler." Possibly, the companies were not aware of the majority of Beatle product. Beattle Mash The Liverpool Kids Palace M-777 Side One Side Two 1. She Loves You 1. Thrill Me Baby 2. Why Don't You Set Me Free 2. I'm Lost Without You 3. Let Me Tell You 3. You Are the One 4. Take a Chance 4. Pea Jacket Hop 5. Swinging Papa 5. Japanese Beatles 6. Lookout for Charlie The label not only spells "Beatle" correctly but also lists the artist as "The Schoolboys." The liner notes show that this album was released before the Beatles' trip to America in February, 1964.
    [Show full text]
  • Song & Music in the Movement
    Transcript: Song & Music in the Movement A Conversation with Candie Carawan, Charles Cobb, Bettie Mae Fikes, Worth Long, Charles Neblett, and Hollis Watkins, September 19 – 20, 2017. Tuesday, September 19, 2017 Song_2017.09.19_01TASCAM Charlie Cobb: [00:41] So the recorders are on and the levels are okay. Okay. This is a fairly simple process here and informal. What I want to get, as you all know, is conversation about music and the Movement. And what I'm going to do—I'm not giving elaborate introductions. I'm going to go around the table and name who's here for the record, for the recorded record. Beyond that, I will depend on each one of you in your first, in this first round of comments to introduce yourselves however you wish. To the extent that I feel it necessary, I will prod you if I feel you've left something out that I think is important, which is one of the prerogatives of the moderator. [Laughs] Other than that, it's pretty loose going around the table—and this will be the order in which we'll also speak—Chuck Neblett, Hollis Watkins, Worth Long, Candie Carawan, Bettie Mae Fikes. I could say things like, from Carbondale, Illinois and Mississippi and Worth Long: Atlanta. Cobb: Durham, North Carolina. Tennessee and Alabama, I'm not gonna do all of that. You all can give whatever geographical description of yourself within the context of discussing the music. What I do want in this first round is, since all of you are important voices in terms of music and culture in the Movement—to talk about how you made your way to the Freedom Singers and freedom singing.
    [Show full text]
  • Party at the Limit Song List
    Party At The Limit Song List Walking on Sunshine by Katina and the Waves Shook Me All Night Long by AC/DC Wagon Wheel by Darius Rucker Route 66 by Nat King Cole Rock Steady by The Whispers Play that Funky Music by Wild Cherry Humble and Kind by Tim McGraw Hole in the Wall by Mel Waiters Honey I’m Good by Andy Grammer Got My Whiskey by Mel Waiters Don’t Know Why by Norah Jones Brown Eyed Girl by Van Morrison Boogie Oogie Oogie by A Taste of Honey Bad Girls by Donna Summers Bang Bang by Ariana Grande, Nicki Minaj, Jessie J At Last by Etta James Anniversary by Tone, Toni, Tony All I Do is Win by DJ Khaled Bad Boys for Life Intro EWF Intro Lose Yourself Intro Blame it by Jamie Foxx Cake by the Ocean by DNCE Can’t Feel My Face by The Weekend Get Right Back to My Baby by Vivian Green Free Falling by Tom Petty Footsteps in the Dark by Isley Brothers Hey Ya by Andre 3000 Hotline Bling by Drake Just the Two of Us by Bill Withers Isn’t She Lovely by Stevie Wonder Ribbon in the Sky by Stevie Wonder Natural Woman by Aretha Franklin Livin La Vida Loca by Rickey Martin Love on Top by Beyonce Ordinary People by John Legend On and On by Erykah Badu Please Don’t Stop the Music by Rihanna Real Love by Mary J Blige Just Fine by Mary J Blige Crazy in Love by Beyonce De Ja Vu by Beyonce Stand by Me by Ben E King Staying Alive by the Bee Gees Stay With Me by Sam Smith All of Me by John Legend Starboy by The Weekend Smooth Operator by Sade To Be Real- Chaka Khan Sweet Love by Anita Baker Chicken Fried by Zac Brown Band I Got a Feeling by Black Eyed Peas OMG
    [Show full text]
  • Come Together
    Come Together Genre Record labels should Come Together (maybe not right now, but some time before the conference), complete an engineering-related service project, and put together a hit music video. Artists Come Together should involve the efforts of the entire record label (the ASCE Student Chapter). Presentations will be given by the production team of up to four members. Instruments ▪ Record labels should produce a music video no shorter than 2 minutes but no longer than 3 minutes. Videos shorter than 1 minute or longer than 4 minutes will be disqualified. ▪ Music choice should be appropriate for a semi-professional environment. ▪ Production teams should bring the music video to the presentation on a USB drive. ▪ Music videos should be exported in the MP4 (.mp4) file format. ▪ The music video should clearly identify its title and the name of your record label. ▪ The music video should clearly cite the music used and its recording artist(s). Videos that do not cite the music and its recording artist(s) will be disqualified. Tracks Record labels will be assigned timeslots the day of the competition. Record labels will send their production team to present the music video to judges from “the Academy.” The team will show the music video and respond to the judges’ questions. Time Score – 5% of Total Score Judges will assess the video’s compliance with the minimum and maximum length requirements. Compliance is “all or nothing”. Labels will receive the maximum possible time score or zero time score. Identification Score – 5% of Total Score Judges will assess the video’s compliance with the title and name identification requirements.
    [Show full text]
  • Fabfest-2021-Program.Pdf
    FABFESTCharlotte.org Welcome to FabFest-Charlotte’s Beatles Festival! When we celebrated our first FabFest in 2019, we had no idea we’d have to wait two long years to do it again! After this past year apart, we could not be happier to return to live music with the timeless songs of the Beatles. FabFest is a labor of love and the combined effort of many people. FRIDAY, JULY 9 It’s also an opportunity to discover new artists and sing along, just like all of our Tosco Music Parties. THE FAB FOUR Tosco Music launched FabFest to help music lovers of all ages and 8:00pm cultures come together around the universal popularity of the music of the Beatles. FabFest also draws fans from across the region to the Belk Theater Queen City, and raises support for our nonprofit programs. 130 N. Tryon Street Thank you for being part of this year’s festival and helping Tosco FabFest Silent Auction in Lobby Music build community through music year-round. On behalf of our Board of Directors and everyone involved, I wish you a wonderful FabFest weekend! SATURDAY, JULY 10 John Tosco Executive Director FABFEST DAYTIME 10:00am-5:00pm About Tosco Music Spirit Square 345 N. College Street For more than 30 years, Tosco Music has presented music with a purpose in Charlotte. Our nonprofit programs build community More Live Music! through music, celebrate diversity with a wide variety of performers Speakers, Activities, Games and music styles, and support musicians of all ages, serving both youth and older adults across Charlotte.
    [Show full text]