Penguin Programme Guide
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PREVIEW PREVIEW Previewstrictly on the Surface, ‘The Platters Rock’ Just Doesn’T Sound Right
PREVIEW PREVIEW PREVIEWStrictly on the surface, ‘The Platters Rock’ just doesn’t sound right. During the mid-to-late 1950s, the ultra- polished vocal group was the epitome of cool, velvet-smooth harmonizing as they cranked out an avalanche of smash ballads under the supervision of manager Buck Ram. Filmmakers cast them as the relatively safe and sedate antidote to the otherwise steamy sounds dished up in the memorable films ‘Rock Around the Clock,’ ‘The Girl Can’t Help It,’ ‘Rock All Night,’ ‘Carnival Rock,’ and ‘Girls Town,’ their segments allowing overheated teenagers a chance to to. They’d started out as an R&B vocal group cool down a bit in their sweaty theater seats. before magnificently crossing over to the pop realm, and that early training never deserted Yet a close examination of their mammoth them altogether. catalog for Chicago’s Mercury Records reveals a surprising number of up-tempo The quintet’s unusual four-guys-and-one- gems that entirely legitimize the concept of gal lineup was influential in itself, mirrored this collection. You may not recognize all by a number of African American vocal of the titles at first glance, but taken as a groups that followed in their wake (most whole they confirm that The Platters could notably Smokey Robinson’s Miracles). But indeed rock whenever Ram allowed them very few outfits could boast the presence of 5 a stratospheric lead tenor the equal of The Bass singer Herb Reed was the first Platters’ Tony Williams, whose powerful, member that we now revere as a Platter to PREVIEWgymnastic vocal flights approximated a ride come into the fold. -
Crossing Over: from Black Rhythm Blues to White Rock 'N' Roll
PART2 RHYTHM& BUSINESS:THE POLITICAL ECONOMY OF BLACKMUSIC Crossing Over: From Black Rhythm Blues . Publishers (ASCAP), a “performance rights” organization that recovers royalty pay- to WhiteRock ‘n’ Roll ments for the performance of copyrighted music. Until 1939,ASCAP was a closed BY REEBEEGAROFALO society with a virtual monopoly on all copyrighted music. As proprietor of the com- positions of its members, ASCAP could regulate the use of any selection in its cata- logue. The organization exercised considerable power in the shaping of public taste. Membership in the society was generally skewed toward writers of show tunes and The history of popular music in this country-at least, in the twentieth century-can semi-serious works such as Richard Rodgers and Lorenz Hart, Cole Porter, George be described in terms of a pattern of black innovation and white popularization, Gershwin, Irving Berlin, and George M. Cohan. Of the society’s 170 charter mem- which 1 have referred to elsewhere as “black roots, white fruits.’” The pattern is built bers, six were black: Harry Burleigh, Will Marion Cook, J. Rosamond and James not only on the wellspring of creativity that black artists bring to popular music but Weldon Johnson, Cecil Mack, and Will Tyers.’ While other “literate” black writers also on the systematic exclusion of black personnel from positions of power within and composers (W. C. Handy, Duke Ellington) would be able to gain entrance to the industry and on the artificial separation of black and white audiences. Because of ASCAP, the vast majority of “untutored” black artists were routinely excluded from industry and audience racism, black music has been relegated to a separate and the society and thereby systematically denied the full benefits of copyright protection. -
Summer 2020.Indd
Summer 2020 at | cmu.edu/osher w CONSIDER A GIFT TO OSHER To make a contribution to the Osher Annual Fund, please call the office at 412.268.7489, go through the Osher website with a credit card, or mail a check to the office. Thank you in advance for your generosity. BOARD OF DIRECTORS CURRICULUM COMMITTEE OFFICE STAFF Jim Reitz, President Gary Bates Lyn Decker, Executive Director Allan Hribar, Vice-President Lester Berkowitz Olivia McCann, Administrator / Programs Jan Hawkins, Secretary John Brown Chelsea Prestia, Administrator / Publications Marcia Taylor, Treasurer Maureen Brown Kate Lehman, Administrator / General Office John Olmsted, Past President Flip Conti Ann Augustine Jan Davis Rosalie Barsotti Lyn Decker CATALOG EDITORS Gary Bates Mary Duquin Chelsea Prestia, Editor Jeffrey Holst Anna Estop Olivia McCann Ann Isaac Byron Gottfried Helen-Faye Rosenblum Raja Sooriamurthi Marilyn Maiello Rosalyn Treger Jeffrey Swoger Enid Miller Kate Lehman Randy Weinberg Helen-Faye Rosenblum Mark Winer Judy Rubinstein CONTACT INFORMATION Rochelle Steiner Osher Lifelong Learning Institute Jeffrey Swoger Carnegie Mellon University Rebecca Culyba, Randy Weinberg Associate Provost 4614 Wean Hall and University Liaison 5000 Forbes Avenue Pittsburgh, PA 15213-3815 Please include your return address on all mail sent to the Osher office. Phone: 412.268.7489 Email: [email protected] Website: cmu.edu/osher ON THE COVER The Randy Pausch Bridge connects The Purnell Center and Gates & Hillman Centers and features more than 7,000 programmable (and environmentally friendly) LED lights. The design of the Pausch Bridge pays tribute to all the "penguins" of the world with abstract penguin cut-outs. Randy reminded students that even in dangerous waters, one penguin had to be brave enough to take the first dive. -
Inside & Online
October 3, 2013 1 Pointer View The OCTOBER 3, 2013 Vol. 70, No. 37 ® Duty, Honor, Country PointerServing the U.S. Military Academy and the community View of West Point ® INSIDE & ONLINE www.pointerview.com www.usma.edu GovernmentCadets head to class Wednesday in spite of the government Shutdown shutdown, which has furloughed the majority of the civillian faculty and workforce at the U.S. Military Academy. “While we will continue our education Resources during the shutdown and training mission, our ability to deliver at a Tier 1 education level of quality is significantly degraded www.usma.edu/furlough without our valued civilian employees.” said the Brig. Gen. Timothy Trainor, the Dean of the Academic Board. For a message from the Superintendent and more information on how the government shutdown is affecting the Academy and West Point see pages 2 and 3. PHOTO BY SGT. 1ST CLAss CHRISTOPHER FINCHAM/USMA PAO NCOIC 2 October 3, 2013 News & Features Pointer View Shutdown message from the Superintendent West Point Community Members, diminish the importance of your work to the Army or firefighters, security guards, medical personnel, our mission. We recognize the tremendous hardship utilities and other excepted personnel. As you know, the Department of Defense received on you and your families, and we are doing all we can We respect and admire your patience and instruction to begin an orderly shutdown due to the to both support you personally through this impasse, perseverance through all of this, especially after the government budgetary impasse and the Academy is and to secure salary funding as expeditiously as furloughs over the summer. -
Chapter 2: Pop-Rock of the 50S and 60S
The Development of Rock & Roll by Dr. Daniel Jacobson © 2016 All Rights Reserved CHAPTER 2 POP-ROCK OF THE 50S AND 60S INTRODUCTION Softer “pop” music styles have played important roles in the development of rock, especially from c1953 to 1966 and in the early 70s. Various pop-related styles in the 50s and early 60s include: • Doo-Wop (1950s and early ‘60s; combined Pop, Gospel and soft R & B elements) • Teen Idol “Crooners” (late ‘50s/early ‘60s; Dick Clark early rock era; soft R & B) • Surf Music (late ‘50s/early ‘60s) • Brill Building/Aldon Music (‘60s pop; extension of “Tin Pan Alley” tradition) • Early Motown (early 1960s; “Soul-pop” music) I. THE CHANGING OF THE GUARD IN 50s ROCK During the years 1957 to 1961, Rock & Roll lost the impact of at least ten of its most prominent trendsetters. • March 1956: While on his way to perform for The Perry Como Show in New York City, Carl Perkins was involved in a car crash in which he suffered a fractured shoulder and skull. Perkins lost his chance for major fame, and was soon overshadowed by the rise of Elvis Presley. • October 1957: Little Richard renounced Rock and Roll for the ministry of the Seventh Day Adventist Church. • November 1957: Jerry Lee Lewis married his 13-year-old third cousin (while “forgetting” to divorce his first wife.) The scandal that followed destroyed his career. • March 1958: Elvis Presley was drafted into the army, serving in Germany until 1960. • February 1959: a small-plane crash near Fargo, North Dakota killed Buddy Holly, J.P. -
February 2017
AFM LOCAL 47 Vol. 3 No. 2 February 2017 online Black History Month How the roots of our past continue to shape us today Millions Celebrate Diversity at BlackMusic, BlackWork Historical Presidential Inauguration Rallies Exhibit Explores the Black Los Angeles Around the World Musicians Union Local 767 ISSN: 2379-1322 Publisher Editor AFM Local 47 Gary Lasley 817 Vine Street Managing Editor / Advertising Manager Hollywood, CA 90038-3779 Linda A. Rapka p 323.462.2161 f 323.993.3195 Graphic Designer / Asst. Layout Editor www.afm47.org Candace Evans AFM LOCAL 47 EXECUTIVE BOARD Election Board & COMMITTEES Mark Zimoski, chair Overture Online is the official monthly elec- Stephen Green, Scott Higgins, tronic magazine of the American Federa- Titled Officers Marie Matson, Kris Mettala, tion of Musicians Local 47, a labor union for President John Acosta Paul Sternhagen, Nick Stone Vice President Rick Baptist professional musicians located in Holly- Secretary/Treasurer Gary Lasley Fair Employment Practices wood. Committee Trustees Ray Brown, Beverly Dahlke-Smith Judy Chilnick, Dylan Hart, Formed by and for Los Angeles musicians Bonnie Janofsky Grievance Committee Ray Brown, Lesa Terry over a century ago, Local 47 promotes and Directors protects the concerns of musicians in all Pam Gates, John Lofton, Hearing Representative areas of the music business. Our jurisdic- Andy Malloy, Phil O’Connor, Vivian Wolf Bill Reichenbach, Vivian Wolf tion includes all counties of Los Angeles Legislative Committee (except the Long Beach area). With more Hearing Board Jason Poss, chair Allen Savedoff, chair Kenny Dennis, Greg Goodall, than 7,000 members, Local 47 negotiates Alan Estes, Jon Kurnick, Jeff Lass, Dan Greco, Lisa Haley, with employers to establish fair wages Norman Ludwin, Helen Nightengale, Ken Munday, Stephanie O’Keefe and working conditions for our members. -
Jukebox Oldies
JUKEBOX OLDIES – MOTOWN ANTHEMS Disc One - Title Artist Disc Two - Title Artist 01 Baby Love The Supremes 01 I Heard It Through the Grapevine Marvin Gaye 02 Dancing In The Street Martha Reeves & The Vandellas 02 Jimmy Mack Martha Reeves & The Vandellas 03 Reach Out, I’ll Be There Four Tops 03 You Keep Me Hangin’ On The Supremes 04 Uptight (Everything’s Alright) Stevie Wonder 04 The Onion Song Marvin Gaye & Tammi Terrell 05 Do You Love Me The Contours 05 Got To Be There Michael Jackson 06 Please Mr Postman The Marvelettes 06 What Becomes Of The Jimmy Ruffin 07 You Really Got A Hold On Me The Miracles 07 Reach Out And Touch Diana Ross 08 My Girl The Temptations 08 You’re All I Need To Get By Marvin Gaye & Tammi Terrell 09 Where Did Our Love Go The Supremes 09 Reflections Diana Ross & The Supremes 10 I Can’t Help Myself Four Tops 10 My Cherie Amour Stevie Wonder 11 The Tracks Of My Tears Smokey Robinson & The Miracles 11 There’s A Ghost In My House R. Dean Taylor 12 My Guy Mary Wells 12 Too Busy Thinking About My Marvin Gaye 13 (Love Is Like A) Heatwave Martha Reeves & The Vandellas 13 The Happening The Supremes 14 Needle In A Haystack The Velvelettes 14 It’s A Shame The Spinners 15 It’s The Same Old Song Four Tops 15 Ain’t No Mountain High Enough Diana Ross 16 Get Ready The Temptations 16 Ben Michael Jackson 17 Stop! (in the name of love) The Supremes 17 Someday We’ll Be Together Diana Ross & The Supremes 18 How Sweet It Is Marvin Gaye 18 Ain’t Too Proud To Beg The Temptations 19 Take Me In Your Arms Kim Weston 19 I’m Still Waiting Diana Ross 20 Nowhere To Run Martha Reeves & The Vandellas 20 I’ll Be There The Jackson 5 21 Shotgun Junior Walker & The All Stars 21 What’s Going On Marvin Gaye 22 It Takes Two Marvin Gaye & Kim Weston 22 For Once In My Life Stevie Wonder 23 This Old Heart Of Mine The Isley Brothers 23 Stoned Love The Supremes 24 You Can’t Hurry Love The Supremes 24 ABC The Jackson 5 25 (I’m a) Road Runner JR. -
The Top Ten Vocal Groups of the Golden '50S
THE Top Ten Vocal Groups of the Golden ‘50s The Great R&B Files (# 6 of 12) Updated December 27, 2018 THE Top Ten Vocal Groups of the Golden ‘50s Rhythm and Blues Harmony Presented by Claus Röhnisch The R&B Pioneers Series - Volume Six of twelve Also read page 1 (86) - Top Rhythm & Blues Records - The Top R&B Hits from 30 classic years of R&B - The John Lee Hooker Session Discography with Year-By-Year Recap - The Blues Giants of the 1950s - Twelve Great Legends - Ten Sepia Super Stars of Rock ‘n’ Roll – Idols making Music Histouy - Transitions from Rhythm to Soul – Twelve Original Soul Icons - The True R&B Pioneers – Twelve Hit-Makers from the Early Years - Predecessors of the Soul Excplosion in the 1960s – Twelve Famous Favorites - The R&B Pioneers Series – The Top 30 Favorites - Clyde McPhartter - the Original Soul Star - The Clown Princes of Rock and Roll: The Coasters - Those Hoodlum Friends – The Coasters The Great R&B-files Created by Claus Röhnisch Find them all at http://www.rhythm-and-blues.info The R&B Pioneers Series – Volume Six of twelve THE Top Ten Vocal Groups of the Golden ‘50s Two great ”reference” books on Doo-Wop: The Doo-Wop Decades, 1945-1965 by B. Lee Cooper and Frank W, Hoffman CSIPP, US 2017 The Top 1000 Doo-Wop Songs by Anthony Gribin and Matthew Schiff Ttgpress, 2014 2 The R&B Pioneers Series – Volume Six of twelve THE Top Ten Vocal Groups of the Golden ‘50s Introduction Of all the countless (and mostly black) vocal groups, who gave us that exciting and wonderful harmony singing in the 1950s, I have selected ten outstanding pioneer R&B groups. -
History of Rock
The Birth of Rock & Roll The Birth of Rock & Roll • Pop, Country & Western, and Rhythm & Blues coexisted in th early 1950s as three separate markets. • This all changed during a three year period (1954 to 1957). • The result of this change is what is considered the Birth oF Rock and Roll Allan Freed, American Disc Jockey • December 15, 1921 – January 20, 1965 • He became internationally known For promoting the mix of blues, country, rhythm and blues music on the radio. • Coined the phrase “Rock & Roll” Crossovers • Crossovers – Records that originated in one market but succeeded in another. • Became more Frequent in the early 1950s – most often were Rhythm & Blues songs reaching the lower end oF the Pop charts. Early Crossover Examples • “Earth Angel” by The Penguins – • “Cryin’ in the Chapel” by The Orioles – * Held the Number 1 position in the R&B Charts and also climbed to the Number 11 spot on the Pop Charts Covers • Covers – an alternate version of an original song. Most commonly Rhythm & Blues covered into Pop but could be From any style. • This involved both white musicians covering the songs of black musicians and vice-versa. • Often these Pop covers exceeded the sales of the original. Cover Examples • “Earth Angel” by the Crew Cuts – • “Secret Love” by Doris Day – • “Secret Love” by The Moonglows - The Penguins The Crew Cuts The Music Consumer of the 1950s • Crossover Sales, R&B Cover Versions, and Pop “Sound-Alikes” (original pop songs in the R&B style) all reFlected an important new phenomenon. • The Emergence of a Distinct Youth Culture • Prior to the 1950s, the primary customer For the entertainment industry was adults The Youth Rebellion • “Blackboard Jungle”(1955) – starring Sydney Poitier and Glen Ford • “Rock Around the Clock” by Bill Haley – came to symbolize the emergence oF this new musical sound Bill Haley & The Comets • From Detroit, MI • His musical career swept across the three music markets – Pop, C&W, R&B. -
Top Ten Vocal Groups Rhythm and Blues
THE Top Ten Vocal Groups of the Golden ‘50s The Great R&B Files (# 6 of 12) Updated July 10, 2019 THE Top Ten Vocal Groups of the Golden ‘50s Rhythm and Blues Harmony Presented by Claus Röhnisch The R&B Pioneers Series - Volume Six of twelve Also read page 1 (86) - Top Rhythm & Blues Records - The Top R&B Hits from 30 classic years of R&B - The John Lee Hooker Session Discography with Year-By-Year Recap - The Blues Giants of the 1950s - Twelve Great Legends - Ten Sepia Super Stars of Rock ‘n’ Roll – Idols making Music Histouy - Transitions from Rhythm to Soul – Twelve Original Soul Icons - The True R&B Pioneers – Twelve Hit-Makers from the Early Years - Predecessors of the Soul Excplosion in the 1960s – Twelve Famous Favorites - The R&B Pioneers Series – The Top 30 Favorites - Clyde McPhartter - the Original Soul Star - The Clown Princes of Rock and Roll: The Coasters - Those Hoodlum Friends – The Coasters The Great R&B-files Created by Claus Röhnisch Find them all at http://www.rhythm-and-blues.info The R&B Pioneers Series – Volume Six of twelve THE Top Ten Vocal Groups of the Golden ‘50s Two great ”reference” books on Doo-Wop: The Doo-Wop Decades, 1945-1965 by B. Lee Cooper and Frank W, Hoffman CSIPP, US 2017 The Top 1000 Doo-Wop Songs by Anthony Gribin and Matthew Schiff Ttgpress, 2014 2 The R&B Pioneers Series – Volume Six of twelve THE Top Ten Vocal Groups of the Golden ‘50s Introduction Of all the countless (and mostly black) vocal groups, who gave us that exciting and wonderful harmony singing in the 1950s, I have selected ten outstanding pioneer R&B groups. -
KRM's Greatest Hits of All Time 1955-1975
KRM’s Greatest Hits of All Time 1955-1975 1955 ... You Belong to Me ... The Duprees 1956 ... Eternally ... Doris Day Now, I got a sur- Wow, here they 1956 ... Why Do Fools Fall In Love ... Franky Lymon & the Teenagers prise myself when I are already: the 1956 ... In the Still of The Night ... The Five Satins looked closely at the songs I picked as the Greatest Hits of 1957 ... EarthAngel ... The Penguins our lives!! The top fifty. Had I best of the cull! 1957AB ... Little Darling ... The Diamonds guessed beforehand, This is the Fifth 1957B ... Diana ... Paul Anka I would have said Level. Tier One 1958A ... Little Star ... The Elegants that they would cluster around the would be all the 1958A ... Twilight Time ... The Platters years 1960 and ‘61: thousands of 1958B ... Dream Dream Dream ... Everly Brothers but they peaked hits ever 1958B ... When ... The Kalin Twins quite strongly recorded by 1958B ... Born Too Late ... The Poni-Tails around 1959! In BillBoard 1959A ... The Twelfth of Never ... Johnny Mathis fact, more than ten Magazine. percent were from Tier Two 1959A ... Donna ... Ritchie Valens that year, twice as consists of those 1959A ... Susie Darling ... Robin Luke many from next which came to 1959A ... Broken Hearted Melody ... Sarah Vaughn closest. Approxi- my attention 1959A ... Smoke Gets in Your Eyes ... The Platters mately half were by between the big names in the years 1955 to 1959A ... Tragedy ... Thomas Wayne history of pop 1963 and were 1959AB ... Dream Lover ... Bobby Darin music, career recorded in my 1959AB ... There Goes My Baby ... The Drifters recording artists own high school 1959B .. -
Earth Angel (Will You Be Mine)”—The Penguins (1954) Added to the National Registry: 2004 Essay by Cary O’Dell
“Earth Angel (Will You Be Mine)”—The Penguins (1954) Added to the National Registry: 2004 Essay by Cary O’Dell The Penguins Original 45 label It is, perhaps, the quintessential doo-wop song. Though it was not the first song in the genre, nor its first “hit,” “Earth Angel (Will You Be Mine)” by the Penguins (DooTone 348; 1954), certainly defines the musical style as much as anything before or since. Doo-wop has been defined as: “a subcategory of vocal group harmony that includes the following musical qualities: group harmony, a wide range of vocal parts, nonsense syllables, a simple beat, light instrumentation, and simple music and lyrics.” Like most codified musical styles, “doo-wop” has its origins in a variety of other genres. Certainly it has its origins in rhythm and blues and black gospel. Traces of doo-wop can also be heard in the music of the Ink Spots and the Mills Brothers, whose heydays were during the Big Band era of the 1930s and ‘40s. And, of course, there’s a “scat” element to doo-wop as well, indicating a strong jazz influence. Doo-wop was born in city ghettos among black youths, who practiced their vocal art in gymnasiums and on street corners, communally using their voices to take the place of musical instruments they either couldn’t afford or didn’t know how to play. The emphasis on vocal dynamics has remained doo-wop’s one consistent factor. The era of doo-wop is usually considered to be from 1953 to 1963 and was filled with records recorded by groups often with one-word names like the Orioles, the Miracles, the Chordettes as well was dozens of others usually named after musical terms, birds or automobiles (the Monotones, the Swallows and the Fleetwoods, et.al.).