Netwo Oberman

Total Page:16

File Type:pdf, Size:1020Kb

Netwo Oberman 1 Whitney Houston A Sparkling Debut Keeps Climbing Story on Page 1 INSIDE: GOLPM RCA/ IOLA HEAD NETWO iES ir GEFFEN CAPITO CILITY GUEST OBERMAN \ ? SUBSCRIPTION ORDER: PLEASE ENTER MY CASHBOX SUBSCRIPTION: PLEASE CHECK CLASSIFICATION: RETAILER ARTIST I NAME VIDEO JUKEBOXES I DEALER AMUSEMENT GAMES COMPANY TITLE ONE-STOP VENDING MACHINES DISTRIBUTOR RADIO SYNDICATOR f'” ADDRESS BUSINESS HOME APT. NO. RACK JOBBER RADIO CONSULTANT PUBLISHER INDEPENDENT PROMOTION CITY STATE/PROVINCE/COUNTRY ZIP RECORD COMPANY INDEPENDENT MARKETING I RADIO OTHER: NATURE OF BUSINESS PAYMENT ENCLOSED SIGNATURE DATE USA OUTSIDE USA FOR 1 YEAR 1 YEAR (52 ISSUES) $125.00 AIRMAIL SI 95.00 6 MONTHS (26 ISSUES) $75.00 I I YEAR FIRST CLASS/AIRMAIL $ 1 80.00 C4SHBCK (Including Canada & Mexico) 330 WEST 58TH STREET • NEW YORK, NEW YORK 10019 212 • 586-2640 C4SH BOX HE INTERNATIONAL MUSIC / COIN MACHINE / HOME ENTERTAINMENT WEEKLY VOLUME XLIX — NUMBER 27 — December 14, 1985 C4SHBCX EDITORIAL GEORGE ALBERT “Keep The Risk In Radio” President and Publisher MARK ALBERT By Ben Hoberman Vice President and General Manager The radio industry, like other sectors of the economy, has experiment. We’ll go for a proven track record. We can’t afford SPENCE BERLAND become part of the acquisitions merry-go-round. Radio to fail.” Vice President properties are being bought and sold at record prices, and If the element of risk leaves radio, then the entire radio J.B. CARMICLE many entrepreneurs have climbed aboard hoping to catch the industry will suffer. Change is a constant in radio, and creativity Vice President brass ring of high cash flow and high is the cutting edge of the future. Creative DAVID ADELSON profits. programming must be nurtured. We must Managing Editor should be willing to take a chance. If we don’t risk ROBERT LONG Although the radio industry failing, will Director Black/Urban Marketing welcome the record values placed on their then we never succeed. “ stations, acquisition fever may have a Ironically, the boundaries of radio may JIMI FOX Director Media Communications debilitating side effect. Owners may not be be extended by a very unlikely source: AM KEITH ALBERT willing to take risks with their programs and radio. As the AM band fights for recognition Manager, Charts And Research formats. and survival, sheer desperation may force Research After all, commercial stations are busi- AM owners to explore new programming DARRYL LINDSEY nesses, and their primary need is to be forms. If so, all radio will benefit. RON ROSENTHAL STEVEN ZAP profitable. Most of radio’s entrepreneurs The new radio entrepreneurs must not JEFFERY PLATT have received financial backing from banks forget that the heart of our industry is Los Angeies Editorial and/or venture capitalists who have to be programming, programming, program- PETER HOLDEN GREGORY DOBRIN repaid with interest in a relatively short ming. Good programming cannot be de- PETER BERK period of time. Even larger owners, like ABC veloped in two weeks or two months. It STEPHEN PADGETT Ben Hoberman is president of the NADEEN TOOMEY or CBS, want a good return on investment. takes a much longer time to fine-tune a ABC Radio Division. In today’s acquisitions market, the financial format. It takes time to allow a station to New York Editorial LEE JESKE, Bureau Chief pressures have never been greater. Cost effectiveness and develop a special bond with listeners. PAUL IORIO efficiency are key factors in survival. Those entrepreneurs who have planned carefully and are “TOM McENTEE For the programmer this means the heat is on to find even willing to give their programmers creative freedom will triumph. Director Nashville Operations more successful formats and personalities. Taking a risk and Those who look at the short term alone and have saddled Nashville Editorial/Research venturing into uncharted programming waters have never been themselves with a huge debt that will be difficult to repay will MARY KUJAWA RICHARD F. D’ANTONIO more difficult. With owners facing a huge debt, programmers find themselves selling their stations in a few years. PUBLICATION OFFICES may not have the freedom, to develop and hone new creative Creativity and daring are what really counts in radio. Let’s NEW YORK fare. The cry of station owners may be, “Let the other station keep the risk in radio. Our future depends on it. 330 W. 58th Street, (Suite 5D) New York NY 10019 Phone: (212) 586=2640 Cable Address: Cash Box NY Circulation DEPARTMENTS The Beat 15 NINA TREGUB. Manager Black Contemporary 15 Filmusic 21 HOLLYWOOD Classifieds 40 Coin Machine 41 CHARTS 6363 Sunset Blvd. (Suite 930) 25 Top 100 Singles 4 Hollywood CA 90028 Compact Disc 31 Top 200 Albums 26 Phone: 464=8241 Country (213) Dance 19 Black Contemporary Albums 15 TELEX: 6711051 CASBX UW International 37 Black Contemporary Singles 16 NASHVILLE Jazz 20 Country Albums 30 21 Music Circle East, Nashville TN 37203 Merchandising 25 Country Singles 31 Phone: (615) 244-2898 Radio 12 Gospel Albums 34 Retail.. 24 Jazz Albums 20 CHICAGO Video 28 Top 40 Compact Discs 25 CAMILLE COMPASIO, Coin Machine, Mgr. Top 75 12" Singles 19 1442 S. 62st Ave., Cicero IL 60650 FEATURES Top 15 Music Videos 29 Behind 5 Phone: (312) 863-7440 The Bullets Top 40 Videocassettes 28 East Coastings 11 WASHINGTON, D.C. Executives On The Move 6 REVIEWS EARL B. ABRAMS Gospel 34 Albums 8 3518 N. Utah St., Points West 10 Singles 9 Arlington VA 22207 Phone: (703) 243-5664 GENERAL COUNSEL GITTLER & WEXLER GREGG J. GITTLER TOP POP DEBUTS GARY A. WEXLER ARGENTINA - MIGUEL SMIRNOFF 80 DIGITAL DISPLAY — Ready For The World — MCA Lavalle 1569, Pico 4, Of. 405 SINGLES 1048 Buenos Aires, Argentina Phone: 45-6948 AUSTRALIA — ALLAN WEBSTER 63 SO RED THE ROSE — Arcadia — Capitol 37 Shelley Street ALBUMS Elwood, Australia Phone: 0305315026 BRAZIL — CHRISTOPHER p’lCKARD' Av. Borges de Mederios, 2475 POP SINGLE POP /4LBUM Apt. 503, Lagoa Rio de Janiero, Brazil Phone: 294-8197 BROKEN WINGS WINNER’S MIAMI VICE CANADA — GRANT LAWRENCE Mr. Mister Original Soundtrack 173 Alfred St. #1L RCA CIRCLE #1L MCA Kingston, Ontario Canada K7L 3R8 research (613) 549-2119 Cash Box from ITALY MARIO DE LUIGI B/C SINGLE both radio and retail activity E5/C/4LBUM "Musica e Dischi" Via De Amicis.47 indicates the following 201233 Milan, Italy DON’T SAY TONIGHT IN SQUARE CIRCLE Phone: (902) 839-18-37/832-79-37 NO „ Eugene Wilde record exhibits » Stevie Wonder ~JAPAN — Adv. Mgr., SACHIO SAlTo #1- Philly World/Atlantic Ten potential. L Tamla/Motown Editorial Mgr., KOZO OTSUKA Top #: 3rd Floor of Chuo-Tatemono bldg. 2-chome. 11-1, Shinbashi, Minato-ku, Tokyo Japan, 105 Phone:504-1651 COUNTRY SINGLE COUNTRY ALBUM | - UNITED KINGDOM — CHRISSY I LEY • 54A Cambridge Gardens THE CHAIR RHYTHM AND ROMANCE t I London W10 England George Strait Rosanne Cash Phone: 01-960-2736 | HILARY BRIGHT #1L MCA #] L Columbia Flat 3, 162 Bethune Road London N16 5DS England Phone: 01-809-1067 JAZZ MUSIC VIDEO CASH BOX (ISSN 0008-7289) is published weekly FABLES YOU BELONG TO THE CITY .by Box. 58th Street, New York, N.Y. Cash 330 W. Glenn Frey 10019 for per year. Second class postage Jean Luc Ponty $125.00 L paid at New York. N.Y. and additional mailing #1 Atlantic #1L MCA | offices. ©Copyright 1984 by the Cash Box Publish- ing Co., Inc. All rights reserved. Copyright under Universal Copyright Convention. POSTMASTER: 4 Send address changes to Cash Box. 330 W. 58th DISC 2” SINGLE Street, 10019. COMPACT New York, N.Y. BROTHERS IN ARMS BABY TALK Dire Straits #1 Alisha #1 - Warner Bros. Vanguard ) 36 EVERYBODY DANCE 69 TAKE ON ME 1 TA MARA & THE SEEN (A&M AM-2768) 40 8 A-HA Bros. 7-29011) BROKEN WINGS „ „ 0 (Warner 57 21 MR. MISTER (RCA PB-14136) 1 13 37 SEX AS A WEAPON SAVING ALL MY LOVE FOR PAT BENATAR (Chrysalis VS4 42927) 42 4 2 SEPARATE LIVES (LOVE YOU THEME FROM WHITE WHITNEY HOUSTON (Arista AS1-9381) 59 18 38 TO LIVE AND DIE IN L.A. 71 CAN YOU FEEL THE BEAT NIGHTS) WANG (Geffen/Warner Bros. 7- CHUNG LISA LISA AND CULT JAM WITH FULL PHIL COLLINS AND MARILYN MARTIN 28891) 38 10 FORCE (Columbia 38-05669) (Atlantic 7-89498) 2 11 78 3 39 WHEN THE GOING GETS 3 SAY YOU, SAY ME ONE VISION TOUGH, THE TOUGH GET QUEEN (Capitol B 9547) 85 2 LIONEL RICHIE (Motown 1819MF) 5 6 GOING 73 SILENT RUNNING 4 WE BUILT THIS CITY BILLY OCEAN (Jive/Arista JS1-9432) 45 3 STARSHIP (Grunt/RCA FB-14170) 3 15 MIKE & THE MECHANICS (Atlantic 7-89488) 81 3 40 GOODBYE 74 MONEY FOR NOTHING 5 ALIVE & KICKING NIGHT RANGER (MCA 52729) 43 6 SIMPLE MINDS (A&M/Virgin AM-2738) 7 9 DIRE STRAITS (Warner Bros. 7-28950) 60 23 41 CONGA SO IN LOVE 6 NEVER MIAMI SOUND MACHINE (Epic 34-05457) 44 9 HEART (Capitol B-5512) 6 14 ORCHESTRAL MANOEUVRES IN THE DARK (A&M/Virgin AM-2746) 61 15 7 PARTY ALL THE TIME WINNER’S CIRCLE EDDIE MURPHY (Columbia 38-05609) 14 11 GIRLS ARE MORE FUN 42 MY HOMETOWN RAY PARKER JR. (Arista AS1-9352) 69 11 8 ELECTION DAY BRUCE SPRINGSTEEN (Columbia ARCADIA (Capitol B-5501) 11 8 38-05782) 49 2 GO ASIA (Geffen/Warner Bros. 7-28872) 87 2 9 SLEEPING BAG 43 FACE THE FACE ZZ TOP (Warner Bros. 7-28884) 10 9 I’M GONNA TEAR YOUR PETE TOWNSHEND (Atco/Atlantic 7-99590) 47 6 PLAYHOUSE DOWN 10 CITY YOU BELONG TO THE 44 SUN CITY PAUL YOUNG (Columbia 36-05577) 71 15 GLENN FREY (MCA 52651) 4 1 4 ARTISTS UNITED AGAINST APARTHEID AND SHE WAS 11 (Manhattan/Capitol B 50017) 46 7 SMALLTOWN TALKING HEADS (Sire 7-28917) 74 12 JOHN COUGAR MELLENCAMP 45 EVERYTHING IN MY HEART (Riva/PolyGram 884 202-7) 16 7 COREY HART (EMI America B-8300) 50 3 12 WHO’S ZOOMIN’ WHO 46 SOUL KISS CHARTBREAKER ARETHA FRANKLIN (Arista AS1-9410) 8 12 OLIVIA NEWTON-JOHN (MCA 52685) 20 11 DIGITAL DISPLAY 13 PERFECT WAY READY FOR THE WORLD (MCA 52734) DEBUT 47 HOW WILL 1 KNOW SCRITTI POLITTI (Warner Bros.
Recommended publications
  • MCA-700 Midline/Reissue Series
    MCA 700 Discography by David Edwards, Mike Callahan & Patrice Eyries © 2018 by Mike Callahan MCA-700 Midline/Reissue Series: By the time the reissue series reached MCA-700, most of the ABC reissues had been accomplished in the MCA 500-600s. MCA decided that when full price albums were converted to midline prices, the albums needed a new number altogether rather than just making the administrative change. In this series, we get reissues of many MCA albums that were only one to three years old, as well as a lot of Decca reissues. Rather than pay the price for new covers and labels, most of these were just stamped with the new numbers in gold ink on the front covers, with the same jackets and labels with the old catalog numbers. MCA 700 - We All Have a Star - Wilton Felder [1981] Reissue of ABC AA 1009. We All Have A Star/I Know Who I Am/Why Believe/The Cycles Of Time//Let's Dance Together/My Name Is Love/You And Me And Ecstasy/Ride On MCA 701 - Original Voice Tracks from His Greatest Movies - W.C. Fields [1981] Reissue of MCA 2073. The Philosophy Of W.C. Fields/The "Sound" Of W.C. Fields/The Rascality Of W.C. Fields/The Chicanery Of W.C. Fields//W.C. Fields - The Braggart And Teller Of Tall Tales/The Spirit Of W.C. Fields/W.C. Fields - A Man Against Children, Motherhood, Fatherhood And Brotherhood/W.C. Fields - Creator Of Weird Names MCA 702 - Conway - Conway Twitty [1981] Reissue of MCA 3063.
    [Show full text]
  • My Life and Death by Alexandra Canarsie Deathalexandra Life by My and My Life and Death by Alexandra Canarsie Deathalexandra Life by My and by Alexandra Canarsie
    Young adult fiction www.peachtree-online.com O’KEEFE ISBN 1-56145-387-0 / $7.95 My Life and Death My Life andMy by Life AlexandraDeath Canarsie My Life andMy by Life AlexandraDeath Canarsie by Alexandra Canarsie None of this would have happened, I suppose, if I had a normal hobby like skateboarding or hanging out at malls. But I don’t do things like that. A NOVEL I go to the funerals of strangers. Weird, huh? BY SUSAN HEYBOER O’KEEFE Praise for MY LIFE AND DEATH BY ALEXANDRA CANARSIE: The unexpected twists and turns of the plotmake this coming-of-age novel a strong first offering for young adults. —School Library Journal Allie?s great voice and smart characters are a winning combination—The Horn Book Guide The most remarkable aspect of this novel is Allie?s voice. Her character rings clear as a teenager who covers up her hurt and bewilderment with sarcasm and a stony faade of disinterest. —VOYA My Life and Death by Alexandra Canarsie With a wit as sharp as barbed wire and a mouth light-years faster than her good sense, Allie’s not at all surprised she hasn’t been made homecoming queen. So what? She’s way too smart for the pack mentality. Besides, she’s barely SUSAN HEYBOER O’KEEFE is the author emptied her suitcase and her mother of more than a dozen books for children, is already itching to move again. including ONE HUNGRY MONSTER and DEATH BY EGGPLANT. MY LIFE AND DEATH But when Allie stumbles onto the BY ALEXANDRA CANARSIE is Susan’s first novel funeral of a boy her own age, she is for young adults.
    [Show full text]
  • 2008-2009 Bill Witt
    2008-2009 Title 1 Schools Required to Offer Supplemental Educational Services (SES) Title I schools that have not made Adequate Yearly Progress (AYP) for three or more consecutive years are required by the No Child Left Behind Act of 2001 (NCLB) to offer free tutoring to eligible students. District Name School Name Phase Academy for Business and Technology Academy for Business and Technology High 4 School Academy of Oak Park Academy of Oak Park - High School 5 Aisha Shule/WEB Dubois Prep. Academy Aisha Shule/WEB Dubois Prep. Academy 2 School School Benton Harbor Area Schools Hull Middle School 6 Buena Vista School District Buena Vista High School 4 Ricker Middle School 5 Casa Richard Academy Casa Richard Academy 4 Casman Alternative Academy Casman Alternative Academy 3 Center for Literacy and Creativity Center for Literacy and Creativity 2 Cesar Chavez Academy Cesar Chavez High School 2 Detroit Academy of Arts and Sciences Detroit Academy of Arts and Sciences High 2 School Detroit City School District Barbara Jordan Elementary 5 Barbour Magnet Middle School 8 Beckham, William Academy 6 Boykin Continuing Ed. Center 5 Boynton Elementary-Middle School 2 Central High School 5 Chadsey High School 5 Cleveland Middle School 8 Cody High School 5 Columbus Middle School 6 Communication and Media Arts HS 3 Cooley High School 5 Cooley North Wing 2 Courtis Elementary School 5 Crockett High School 4 Crosman Alternative High School 5 Denby High School 5 Detroit High School for Technology 2 Douglass Academy 4 Drew Middle School 8 Page 1 of 3 District
    [Show full text]
  • Why Jazz Still Matters Jazz Still Matters Why Journal of the American Academy of Arts & Sciences Journal of the American Academy
    Dædalus Spring 2019 Why Jazz Still Matters Spring 2019 Why Dædalus Journal of the American Academy of Arts & Sciences Spring 2019 Why Jazz Still Matters Gerald Early & Ingrid Monson, guest editors with Farah Jasmine Griffin Gabriel Solis · Christopher J. Wells Kelsey A. K. Klotz · Judith Tick Krin Gabbard · Carol A. Muller Dædalus Journal of the American Academy of Arts & Sciences “Why Jazz Still Matters” Volume 148, Number 2; Spring 2019 Gerald Early & Ingrid Monson, Guest Editors Phyllis S. Bendell, Managing Editor and Director of Publications Peter Walton, Associate Editor Heather M. Struntz, Assistant Editor Committee on Studies and Publications John Mark Hansen, Chair; Rosina Bierbaum, Johanna Drucker, Gerald Early, Carol Gluck, Linda Greenhouse, John Hildebrand, Philip Khoury, Arthur Kleinman, Sara Lawrence-Lightfoot, Alan I. Leshner, Rose McDermott, Michael S. McPherson, Frances McCall Rosenbluth, Scott D. Sagan, Nancy C. Andrews (ex officio), David W. Oxtoby (ex officio), Diane P. Wood (ex officio) Inside front cover: Pianist Geri Allen. Photograph by Arne Reimer, provided by Ora Harris. © by Ross Clayton Productions. Contents 5 Why Jazz Still Matters Gerald Early & Ingrid Monson 13 Following Geri’s Lead Farah Jasmine Griffin 23 Soul, Afrofuturism & the Timeliness of Contemporary Jazz Fusions Gabriel Solis 36 “You Can’t Dance to It”: Jazz Music and Its Choreographies of Listening Christopher J. Wells 52 Dave Brubeck’s Southern Strategy Kelsey A. K. Klotz 67 Keith Jarrett, Miscegenation & the Rise of the European Sensibility in Jazz in the 1970s Gerald Early 83 Ella Fitzgerald & “I Can’t Stop Loving You,” Berlin 1968: Paying Homage to & Signifying on Soul Music Judith Tick 92 La La Land Is a Hit, but Is It Good for Jazz? Krin Gabbard 104 Yusef Lateef’s Autophysiopsychic Quest Ingrid Monson 115 Why Jazz? South Africa 2019 Carol A.
    [Show full text]
  • 2XHDST1094.Pdf
    here is no more challenging role in music than that of the solo performer. To succeed in this field of creative endeavour requires a high level of confidence, prodigious technical expertise and, where jazz is concerned, a rare continuity of inspiration. TEarl Hines had all of these qualities, and more. As in the case of the other jazz masters, when you listen to the extemporisations of “Fatha” Hines, you are not simply hearing music of a most elevated order – you are listening to a virtuoso who shaped the course of jazz history, a man who single-handedly (a highly inappropri- ate metaphor in one sense) changed the role of the piano in jazz and brought his unique influence to bear on a multitude of musicians. When Stanley Dance produced these sides in New York, Hines was in his 69th year and had more than half a century of music—making behind him. He was in ebullient form, attacking the music with all the weapons in his pianistic armoury. As the basis for his free-ranging, sometimes quixotic, improvisations, he chose six songs whose music was composed by Harold Arlen, a most gifted writer who was responsible for some of the more sophisticated popular songs of the thirties and forties. But, in truth, the real composer here is Hines himself. Where Teddy Wilson or a Tommy Flanagan would play songs like this and tailor their improvisations accord- ing to the cloth of the original composition, Hines takes up the Arlen jacket, turns it inside out, and gives it a brilliantly patterned lining, brass buttons, a velvet collar, gold braid and a florid buttonhole.
    [Show full text]
  • Cashbox Subscription: Please Check Classification;
    July 13, 1985 NEWSPAPER $3.00 v.'r '-I -.-^1 ;3i:v l‘••: • •'i *. •- i-s .{' *. » NE RIAA CERTIFICATIONS ANNOUNCED R.E.M. AFFILIATES LIVE-AID Crass Roots Audience Blossoms TWORK, GEAR FOR Story on Page 13 WEHIND THE BULLETS: TEARS FOR FEARS #1 MTV AWARDS ENTER NEXT PHASE GUEST EDITORIAL: AL KOOPER SUBSCRIPTION ORDER: PLEASE ENTER MY CASHBOX SUBSCRIPTION: PLEASE CHECK CLASSIFICATION; RETAILER ARTIST I NAME VIDEO JUKEBOXES DEALER AMUSEMENT GAMES COMPANY TITLE ONE-STOP VENDING MACHINES DISTRIBUTOR RADIO SYNDICATOR ADDRESS BUSINESS HOME APT. NO. RACK JOBBER RADIO CONSULTANT PUBLISHER INDEPENDENT PROMOTION CITY STATE/PROVINCE/COUNTRY ZIP RECORD COMPANY INDEPENDENT MARKETING RADIO OTHER: NATURE OF BUSINESS PAYMENT ENCLOSED SIGNATURE DATE USA OUTSIDE USA FOR 1 YEAR I YEAR (52 ISSUES) $125.00 AIRMAIL $195.00 6 MONTHS (26 ISSUES) S75.00 1 YEAR FIRST CLASS/AIRMAIL SI 80.00 01SHBCK (Including Canada & Mexico) 330 WEST 58TH STREET • NEW YORK, NEW YORK 10019 ' 01SH BOX HE INTERNATIONAL MUSIC / COIN MACHINE / HOME ENTERTAINMENT WEEKLY VOLUME XLIX — NUMBER 5 — July 13, 1985 C4SHBO( Guest Editorial : T Taking Care Of Our Own ^ GEORGE ALBERT i. President and Publisher By A I Kooper MARK ALBERT 1 The recent and upcoming gargantuan Ethiopian benefits once In a very true sense. Bob Geldof has helped reawaken our social Vice President and General Manager “ again raise an issue that has troubled me for as long as I’ve been conscience; now we must use it to address problems much closer i SPENCE BERLAND a part of this industry. We, in the American music business do to home.
    [Show full text]
  • American Music Review the H
    American Music Review The H. Wiley Hitchcock Institute for Studies in American Music Conservatory of Music, Brooklyn College of the City University of New York Volume XLII, Number 2 Spring 2013 Invisible Woman: Vi Redd’s Contributions as a Jazz Saxophonist By Yoko Suzuki, University of Pittsburgh The story of alto saxophonist Vi Redd illustrates yet another way in which women jazz instrumentalists have been excluded from the dominant discourse on jazz history. Although she performed with such jazz greats as Count Basie, Max Roach, Dizzy Gillespie, and Earl Hines, she is rarely discussed in jazz history books except for those focusing specifically on female jazz musicians. One reason for her omission is that jazz historiography has heavily relied on commercially produced recordings. Despite her active and successful career in the 1960s, Redd released only two recordings as a bandleader, in 1962 and 1964. Reviews of these recordings, along with published accounts of her live performances and memories of her fellow musicians illuminate how Redd’s career as a jazz instrumentalist was greatly shaped by the established gender norms of the jazz world. Elvira “Vi” Redd was born in Los Angeles in 1928. Her father, New Orleans drummer Alton Redd, worked with such jazz greats as Kid Ory, Dexter Gordon, and Wardell Gray. Redd began singing in church when she was five, and started on alto saxophone around the age of twelve, when her great aunt gave her a horn and taught her how to play. Around 1948 she formed a band with her first husband, trumpeter Nathaniel Meeks. She played the saxophone and sang, and began performing professionally.
    [Show full text]
  • Put Your Money Where Your Heart Is
    PUT YOUR MONEY WHERE YOUR HEART IS. We know giving back is an important piece of your financial plan because it’s an important part of our business plan, too. Associated Bank colleagues have volunteered more than 73,000 hours, and 1% of all our profits go back to local charities. So whatever your goals are for giving back to the place you love, our wealth management team will help you fulfill them. AssociatedBank.com/Wealth-Management Associated Bank, N.A. Member FDIC. (9/20) P02003 #MFF2021 #MFF2021 Annual Fund Milwaukee Film began in 2009 as primarily a film festival that occurred for Hello Film Fans! 11 days. Today, we operate 365 days a year as one of the nation’s leading nonprofit institutions dedicated to film, culture, and community. It’s appropriate that, for our first-ever spring Milwaukee We are committed to enriching, educating, and entertaining our community through film Film Festival, the significance of the season is stronger presentations, signature events, and year-round education programs for all ages. Our incredibly than it’s ever been. generous Annual Fund supporters provide us the visionary support we need to fulfill our mission Our world is opening up, and our thoughts are once again wandering and continue to thrive. beyond the confines of anxiety and isolation that have defined the past 14 months. Though we’re not yet to the point of safely welcoming crowds to a packed house at the Oriental Theatre, we can envision a time in the not-too-distant future when that will be happening again.
    [Show full text]
  • Jazz and Radio in the United States: Mediation, Genre, and Patronage
    Jazz and Radio in the United States: Mediation, Genre, and Patronage Aaron Joseph Johnson Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2014 © 2014 Aaron Joseph Johnson All rights reserved ABSTRACT Jazz and Radio in the United States: Mediation, Genre, and Patronage Aaron Joseph Johnson This dissertation is a study of jazz on American radio. The dissertation's meta-subjects are mediation, classification, and patronage in the presentation of music via distribution channels capable of reaching widespread audiences. The dissertation also addresses questions of race in the representation of jazz on radio. A central claim of the dissertation is that a given direction in jazz radio programming reflects the ideological, aesthetic, and political imperatives of a given broadcasting entity. I further argue that this ideological deployment of jazz can appear as conservative or progressive programming philosophies, and that these tendencies reflect discursive struggles over the identity of jazz. The first chapter, "Jazz on Noncommercial Radio," describes in some detail the current (circa 2013) taxonomy of American jazz radio. The remaining chapters are case studies of different aspects of jazz radio in the United States. Chapter 2, "Jazz is on the Left End of the Dial," presents considerable detail to the way the music is positioned on specific noncommercial stations. Chapter 3, "Duke Ellington and Radio," uses Ellington's multifaceted radio career (1925-1953) as radio bandleader, radio celebrity, and celebrity DJ to examine the medium's shifting relationship with jazz and black American creative ambition.
    [Show full text]
  • Central Florida Future, Vol. 24 No. 68, July 29, 1992
    University of Central Florida STARS Central Florida Future University Archives 7-29-1992 Central Florida Future, Vol. 24 No. 68, July 29, 1992 Part of the Mass Communication Commons, Organizational Communication Commons, Publishing Commons, and the Social Influence and oliticalP Communication Commons Find similar works at: https://stars.library.ucf.edu/centralfloridafuture University of Central Florida Libraries http://library.ucf.edu This Newsletter is brought to you for free and open access by the University Archives at STARS. It has been accepted for inclusion in Central Florida Future by an authorized administrator of STARS. For more information, please contact [email protected]. Recommended Citation "Central Florida Future, Vol. 24 No. 68, July 29, 1992" (1992). Central Florida Future. 1144. https://stars.library.ucf.edu/centralfloridafuture/1144 OPINIONp. 4 FEATURES p. 7 SPORTSp. 8 Looking for investment Uve thrills Orlando with Fonner UCF hurler Jon advice? See G.G. Allin gift of 'Mental Jewelry' Henry plays for Rays .. entra uture Serving The University of Central Florida Since 1968 • Vol. 24, No. 68 WEDNESDAY July 29, ·1992 _ · . ,· 8 p~ges · Early registration good for sOme, bad for others , by Rosibel Monserrate He also noted that, outside ofa tempo- "Registration is a good system," Bush smoothly, in part because of the new rary computer shutdown on the first day said. "It works but it won't work without classes," said Dr. Stuart Lilie, dean of CENTRAL FLORIDA FUTURE ofearlyregistrationbecause ~======~~ classes." undergraduate studies. "Ifnecessary we of changes made in the soft- More than 100 new may add a few more when we see where • ware, no major problems "It sucks." classes have been added the demand is." surfaced during the regis- to facilitate students' A great portion of the new classes tration period.
    [Show full text]
  • Through the Iris TH Wasteland SC Because the Night MM PS SC
    10 Years 18 Days Through The Iris TH Saving Abel CB Wasteland SC 1910 Fruitgum Co. 10,000 Maniacs 1,2,3 Redlight SC Because The Night MM PS Simon Says DK SF SC 1975 Candy Everybody Wants DK Chocolate SF Like The Weather MM City MR More Than This MM PH Robbers SF SC 1975, The These Are The Days PI Chocolate MR Trouble Me SC 2 Chainz And Drake 100 Proof Aged In Soul No Lie (Clean) SB Somebody's Been Sleeping SC 2 Evisa 10CC Oh La La La SF Don't Turn Me Away G0 2 Live Crew Dreadlock Holiday KD SF ZM Do Wah Diddy SC Feel The Love G0 Me So Horny SC Food For Thought G0 We Want Some Pussy SC Good Morning Judge G0 2 Pac And Eminem I'm Mandy SF One Day At A Time PH I'm Not In Love DK EK 2 Pac And Eric Will MM SC Do For Love MM SF 2 Play, Thomas Jules And Jucxi D Life Is A Minestrone G0 Careless Whisper MR One Two Five G0 2 Unlimited People In Love G0 No Limits SF Rubber Bullets SF 20 Fingers Silly Love G0 Short Dick Man SC TU Things We Do For Love SC 21St Century Girls Things We Do For Love, The SF ZM 21St Century Girls SF Woman In Love G0 2Pac 112 California Love MM SF Come See Me SC California Love (Original Version) SC Cupid DI Changes SC Dance With Me CB SC Dear Mama DK SF It's Over Now DI SC How Do You Want It MM Only You SC I Get Around AX Peaches And Cream PH SC So Many Tears SB SG Thugz Mansion PH SC Right Here For You PH Until The End Of Time SC U Already Know SC Until The End Of Time (Radio Version) SC 112 And Ludacris 2PAC And Notorious B.I.G.
    [Show full text]
  • Snapshot of U.S. Department of Education Office of Safe And
    Snapshot of U.S. Department of Education Office of Safe and Healthy Students (OSHS) Safe and Supportive Schools (S3) Grant to Michigan Department of Education TOTAL AMOUNT AWARDED TO MICHIGAN (2010-2014): $5,997,018 MI S3 PROGRAM SUMMARY The Michigan Safe and Supportive Schools (MI S3) grant primarily sought to improve staff and student wellness and reduce high rates of drug- and violence-related behavior in 22 schools across 21 school districts. MI S3 worked with participating districts and schools to help them collect and interpret annual survey, discipline, incident, and administrative data to choose and implement interventions for each school’s specific population and need. The MI S3 grant placed a unique focus on staff and student wellness efforts to improve school climate and student outcomes. Grant activities also paid special attention to improving school safety in Michigan’s high-need schools, particularly through empowering “meaningful student involvement” at youth engagement conferences and promoting restorative justice practices that yielded increased instructional contact time. MI S3 also successfully engaged other State education offices in efforts to make school climate and culture a priority for school improvement. GOAL OF THE SAFE AND SUPPORTIVE SCHOOLS PROGRAM S3 grantees reported annually on the number of participating schools with: • A decreased percentage of students who reported alcohol use in the past 30 days; • A decreased percentage of students who reported harassment or bullying on school property; • Improvement of school safety scores (as defined by each grantee); and • A decrease in the number of suspensions for violence without injury. These measures were defined by the Department of Education to fulfill the Government Performance and Results Act (GPRA) which requires federal grantees to track and report their progress.
    [Show full text]