Pink Floyd's the Wall
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Some Bros. & a Blonde
page 16 BLUE Joni Mitchell ; Reprise MS2038 ? -How does it sound? ; --Well, you can really see where James Taylor, uhh... you've really got to listen to the background.. .you know so much of the guitar playing sounds just like him.. the electric parts, I guess. -Does she have a lot of piano in it? . ; --Not really. Not so distinctive. But she's got practically * everything else on it , everything else that you might ex-;.. I pect from her, that is, a lot of different instruments. * -Do you think it's prettier than Ladies of the Canyon? . .. f --Technically better. ': ''Technically better?What do you mean? --The music is better. She's doing a lot of more compli cated arrangements. Musically it's almost perfect, you know. -I don't even know who else is playing with her on that album. --It doesn't say. It's very plain. On the inside are all the words. And on the back it has all die titles of the songs. .... ; . .. the front has Blue Joni Mitchell and you open it up .,.'!. and there are her words. Oh wait a minute... down here t I see something... Stephen Stills bass guitar on "Carey",| James Taylor on " California", and "All I Want", "A Case ! Of You". Sneaky pete, pedal steel guitar. ! - Yeah, he's from the Flying Burritfc Brothers. « --Uhh.. engineer.. Henry Lewey. Lewey? \ -Lewey, yeah. f (long pause) '. -How long have you had it? ••• t. --Just this afternoon. , . jj -How many times have you heard it? :- | --Once. I'm on my second now. -
John Lennon from ‘Imagine’ to Martyrdom Paul Mccartney Wings – Band on the Run George Harrison All Things Must Pass Ringo Starr the Boogaloo Beatle
THE YEARS 1970 -19 8 0 John Lennon From ‘Imagine’ to martyrdom Paul McCartney Wings – band on the run George Harrison All things must pass Ringo Starr The boogaloo Beatle The genuine article VOLUME 2 ISSUE 3 UK £5.99 Packed with classic interviews, reviews and photos from the archives of NME and Melody Maker www.jackdaniels.com ©2005 Jack Daniel’s. All Rights Reserved. JACK DANIEL’S and OLD NO. 7 are registered trademarks. A fine sippin’ whiskey is best enjoyed responsibly. by Billy Preston t’s hard to believe it’s been over sent word for me to come by, we got to – all I remember was we had a groove going and 40 years since I fi rst met The jamming and one thing led to another and someone said “take a solo”, then when the album Beatles in Hamburg in 1962. I ended up recording in the studio with came out my name was there on the song. Plenty I arrived to do a two-week them. The press called me the Fifth Beatle of other musicians worked with them at that time, residency at the Star Club with but I was just really happy to be there. people like Eric Clapton, but they chose to give me Little Richard. He was a hero of theirs Things were hard for them then, Brian a credit for which I’m very grateful. so they were in awe and I think they had died and there was a lot of politics I ended up signing to Apple and making were impressed with me too because and money hassles with Apple, but we a couple of albums with them and in turn had I was only 16 and holding down a job got on personality-wise and they grew to the opportunity to work on their solo albums. -
What Shall We Do Now? Pdf Free Download
WHAT SHALL WE DO NOW? PDF, EPUB, EBOOK Dorothy Canfield Fisher | 304 pages | 02 Sep 2017 | Createspace Independent Publishing Platform | 9781975854263 | English | none What Shall We Do Now? PDF Book Contributed by T. What shall we do for wives for those who are left, since we have sworn by the LORD that we will not give them any of our daughters for wives? David Gagne. Shall we get into fights? Related 0. From the election to the pandemic, all atop systemic injustice continuing to manifest itself in many areas of our society. Message calling all believers to action; to move forward in servitude and stop delaying. It's not something that we need to take it without we taking likely you may have lost your finances. Don't Leave Me Now 6. Sixteenth, A man of God said, do not be afraid and that is what I'm coming to share with us this afternoon. The World's Greatest Pi…. That's a great promise. Vera SmartHumanism: it's all about making sure your tense matches what you are trying to say. Leave a Reply Want to join the discussion? We shall never still any of your glory will give them completely back to you for you deserve them all in the name of Jesus Christ, our Lord, Amen and Amen and Amen. Fathers Against Irrational Reasoning. Yes No. Hey You Two flowers — one phallic, the other yonic — timidly dance around each other before copulating for lack of a more discrete word , morphing from humanistic figures to animalistic creatures. Speak out, speak louder. -
Prof. M. J. Koncen's Quadrille Call Book and Ball-Room Guide
Library of Congress Prof. M. J. Koncen's quadrille call book and ball-room guide ... PROF. M. J. KONCEN'S QUADRILLE CALL BOOK AND BALL ROOM GUIDE. Prof. M. J. KONCEN'S QUADRILLE CALL BOOK AND Ball Room Guide. TO WHICH IS ADDED A SENSIBLE GUIDE TO ETIQUETTE AND DEPORTMENT. IN THE BALL AND ASSEMBLY ROOM. LADIES TOILET, GENTLEMAN'S, DRESS, ETC. ETC. AND GENERAL INFORMATION FOR DANCERS. 15 9550 Containing all the Latest Novelties, together with old fashioned and Contra Dances, giving plain directions for Calling and Dancing all kinds of Square and Round Dances, including the most Popular Figures of the “GERMAN.” LIBRARY OF CONGRESS COPYRIGHT. 20 1883 No 12047-0 CITY OF WASHINGTON. ST. LOUIS: PRESS OF S. F. BREARLEY & CO., 309 Locust Street. (1883). Entered according to Act of Congress, in the year of 1883, by MATHIAS J. KONCEN. in the Office of the Librarian of Congress, at Washington, D. C CONTENTS. Preface 5–6 Etiquette of the Ball Room 7–10 Prof. M. J. Koncen's quadrille call book and ball-room guide ... http://www.loc.gov/resource/musdi.109 Library of Congress Etiquette of Private Parties 10–12 Etiquette of Introduction 12–13 Ball Room Toilets 13–14 Grand March 15–17 On Calling 17 Explanation of Quadrille Steps 17–20 Formation of Square Dances 21–22 Plain Quadrille 22–23 The Quadrille 23–25 Fancy Quadrille Figures 25–29 Ladies Own Quadrille 29–30 National Guard Quadrille 30–32 Prof. Koncen's New Caledonia Quadrille 32–33 Prairie Queen Quadrille 33–35 Prince Imperial 35–38 Irish Quadrille 39–40 London Polka Quadrille 40–42 Prof. -
SFBAPCC July-Sept 2017 Postcard Newsletter
See newsletters in color at www.postcard.org — Our name reflects our location, not our only area of interest. 1 : Journal of the San Francisco Bay Area Post Card Club July-September 2017 Meeting: Saturday, July 22, 11 am to 3 pm Vol. XXXIII, No. 3 Browsing and Trading, 11AM to 1PM – Meeting begins at 1 o’clock Fort Mason Center, C-210 San Francisco • Shanghai and Peking Books • Midwinter Fair Lantern Slides Visitors and dealers always welcome. In • Great White Fleet Sailor’s Story Meeting Schedule on back cover. This • Mitchell Pre-Quake Nevada Cards Issue • Westpex 2017 • Palm Garden } • SF Patriographics • Galloping Goose PROGRAM: Dan Saks invites us to Paris for a postcard rendezvous at Gustave Eiffel’s tower. Since its creation for the 1889 Exposition Universelle the Eiffel Tower has been France’s global symbol. It has stood out in three more World’s Fairs, two world wars, numerous avia- tion contests and triumphs, advertisements and countless souvenirs. It is one of the world’s most recognized and photographed structures, and Dan will illustrate the timeline of the Eiffel Tower over its 128 year history. PARKING: Can be tough. Come early; there are pleasant diversions at Fort Mason Center— especially the library booksale and its coffee area. Park inside the gates, $10 or more—or free, on-street or through the upper gate off Bay Street at Franklin. Always best to take the Muni, walk or carpool. Friends of the SF Public Library will be having their BIG book sale this weekend. Might impact our parking. COVER CARD On Jun 12, a message came to www.postcard.org: — Hello. -
The-Clown.Pdf
The Clown 1 It was dark by the time I reached Bonn, and I forced myself not to succumb to the series of mechanical actions which had taken hold of me in five years of traveling back and forth: down the station steps, up the station steps, put down my suitcase, take my ticket out of my coat pocket, pick up my suitcase, hand in my ticket, cross over to the newsstand, buy the evening papers, go outside, and signal for a taxi. Almost every day for five years I had left for somewhere and arrived somwhere; in the morning I had gone up station steps and down again, in the afternoon down the steps and up again, signaled for a taxi, felt in my pockets for money to pay for my ticket, bought evening papers at kiosks, and savored in a corner of my mind the studied casualness of these mechanical actions. Ever since Marie left me to marry Züpfner, that Catholic, these actions have become more mechanical than ever, but without losing any of their casualness. There is a way of calculating the distance from station to hotel, from hotel to station—by the taxi meter. Two marks, three marks, four marks fifty from the station. Since Marie has been gone I have sometimes slipped out of the rhythm and confused the hotel with the station, I would start looking for my ticket as I approached the hotel porter or ask the ticket collector at the station for my room number, something—fate perhaps—must have made me remember my profession and my situation. -
SINGING GAMES in the UPPER ELEMENTARY Aug
SINGING GAMES IN THE UPPER ELEMENTARY Aug. 19, 2015: Eastern Washington Education Conference Christopher Roberts – [email protected] Children + play + music = singing games! There is perhaps nothing more playful in music class than singing games. Yet students in the upper elementary grades are going through social and emotional transitions that can make them hard for music teachers to reach: indeed, they are becoming “too cool for school.” Because of this, not all games are successful. What makes a good game for upper elementary students? Where can they be found? And most importantly, can we play some? Why play singing games in the elementary classroom? Potential challenges: n get students singing n overwhelming rambunctiousness! n allow time in class for students to re-focus n elimination games: what happens to students n create community in the classroom who get out? n use songs to extract elements for literacy n getting students to sing n sing multicultural music(s) n bad sportsmanship n have fun! n hand-holding What do students in upper elementary like? How to teach: n games with movement n step by step n games with competition n layer challenges n tunes with syncopation n differentiate instruction n tunes with minor/modal/blues-y melodies n decide: game before song, song before game, or n games that pose a challenge both at the same time Aquaqua Israel # 2 j Œ & 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ A- qua - qua del- a omar- qua, qua, qua, Del si- ma tri- co 7 # ‰ j j j Œ & œ œ œ œ œ œ ™ œ ™ œ œ œ œ œ œ tri- co, tri- co, tra Va lo,œ va lo,œ va lo,œ va laœ va la, va lo, Source: First grade students of Givat Mordecai, in Jerusalem, Israel; September, 1979. -
“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. -
Scarfe the Wall Live Tour Group.Pages
THE ART OF FROM PINK FLOYD THE WALL PRESENTED BY ROGER WATERS THE WALL LIVE TOUR ARTWORK CATALOGUE THE ART OF GERALD SCARFE - FROM PINK FLOYD THE WALL SAN FRANCISCO ART EXCHANGE LLC Image © Gerald Scarfe Image © Gerald Scarfe Roger Waters, c.2010 The Mother, c.2010 Pen, Ink & Watercolour on Paper Pen, Ink & Watercolour on Paper 33” x 23 ¼” sheet size 32” x 22 ¾” sheet size This illustration of Roger Waters on his The Wall Live A recent concept design, done for Roger Water’s tour (2010-2013) appeared on the front cover of The Wall Live tour (2010-2013) that was based on a Billboard Magazine 24 July, 2012. similar scene in the flm shown during the song The Trial where The Mother morphs into a giant protective wall surrounding a baby Pink. 458 GEARY STREET • SAN FRANCISCO CA 94102 • sfae.com • 415.441.8840 main THE ART OF GERALD SCARFE - FROM PINK FLOYD THE WALL SAN FRANCISCO ART EXCHANGE LLC Image © Gerald Scarfe Crazy Toys in the Attic, c.2010 Watercolor, Pen & Ink Collage on Paper 23 ¼” x 33” sheet size Image © Gerald Scarfe Go On Judge, Shit on Him! c.2010 This drawing is based on a segment of the animated scene of The Trial in The Wall flm. As the line “Crazy…Toys in the Pen, Ink & Watercolour on Paper Attic, I am crazy” is sung, the viewer sees a terrifed Pink 32 ½” x 22 ½” sheet size fade to grey as the camera zooms in on his eye until the scene fades into the next animation sequence. -
HEMP VS. MARIJUANA: the FEDERAL BATTLE to CONTROL the MEANING of CANNABIS Carrie Lynn Torrella Submitted to the Faculty of the U
HEMP VS. MARIJUANA: THE FEDERAL BATTLE TO CONTROL THE MEANING OF CANNABIS Carrie Lynn Torrella Submitted to the faculty of the University Graduate School in partial fulfillment of the requirements for the degree Master of Arts in the Department of History, Indiana University December 2011 Accepted by the Faculty of Indiana University, in partial fulfillment of the requirements for the degree of Master of Arts. ________________________________ Michael David Snodgrass, Ph.D., Chair Master’s Thesis Committee ______________________________ Robert G. Barrows, Ph.D. ______________________________ Nancy Marie Robertson, Ph.D. ii ACKNOWLEDGMENTS I would like to express my thanks to all the people who helped me complete this project. The staff at both the Advertising Council Archives at the University of Illinois at Urbana-Champaign and the Harry J. Anslinger Papers at Penn State Special Collections Library assisted my research. My thesis committee members, Dr. Nancy Robertson and Dr. Robert Barrows, offered me valuable insight and suggestions for improvements. My thesis chair, Dr. Michael Snodgrass, has patiently read chapter drafts and given me thoughtful comments and suggestions. My parents, Marlene and Renè Torrella, have given me unconditional love and limitless support and prodded me to complete this project. I would also like to thank my sisters Tracy and Abigail, my brother Andrew and my dear friends Jesica, Anne, Veda, and Will for their support. Most of all, I would like to thank my daughters Claudia and Natasha for giving me the motivation -
The Carroll News
John Carroll University Carroll Collected The aC rroll News Student 2-22-1977 The aC rroll News- Vol. 59, No. 14 John Carroll University Follow this and additional works at: http://collected.jcu.edu/carrollnews Recommended Citation John Carroll University, "The aC rroll News- Vol. 59, No. 14" (1977). The Carroll News. 566. http://collected.jcu.edu/carrollnews/566 This Newspaper is brought to you for free and open access by the Student at Carroll Collected. It has been accepted for inclusion in The aC rroll News by an authorized administrator of Carroll Collected. For more information, please contact [email protected]. VOL. liO. NO. 15 APR. 22. 1977 The Carroll Nevvs John Carroll University University Heights, Ohio 441 18 Freeman speaks on Union By J ohn F. Kostyo as a means of improving that ~oing agam while trying to get News Editor situation his administration organized. Student Union President. Freeman hopes to get some Committees. such as. Review. Tim Freeman, cites three Student Union committees continued on page 8 major goals for h1s new administration: to initiate new 1 programs: maintain the strong Junior S Noah areas of the present student wins government: and revitalize weaker areas. Stunt Night award Freeman sees the newly organized S.O.C as one of the By P ATRICE AYLWAIN> tion of the Blue Streak March main areas where potential mgBand changes may come "They can Thts past Saturday night The begtnning of the have a lot of power." Freeman Kulas Auditorium resound(>d program was marked by the says about campus organiza· with laughter. -
Uma Análise Do Álbum the Wall, Da Banda Pink Floyd, Como Mediação Da Sociedade
CENTRO UNIVERSITÁRIO UNIVATES CURSO DE COMUNICAÇÃO SOCIAL HABILITAÇÃO EM PUBLICIDADE E PROPAGANDA SOMOS MAIS UM TIJOLO NO MURO: UMA ANÁLISE DO ÁLBUM THE WALL, DA BANDA PINK FLOYD, COMO MEDIAÇÃO DA SOCIEDADE Cecília Regina Marcolin Lajeado, junho de 2017 Cecília Regina Marcolin SOMOS MAIS UM TIJOLO NO MURO: UMA ANÁLISE DO ÁLBUM THE WALL, DA BANDA PINK FLOYD, COMO MEDIAÇÃO DA SOCIEDADE Monografia apresentada na disciplina Trabalho de Conclusão de Curso II, do curso de Comunicação Social com Habilitação em Publicidade e Propaganda, do Centro Universitário UNIVATES, para obtenção do título de bacharela em Comunicação Social. Orientador: Prof. Dr. Flávio Roberto Meurer Lajeado, junho de 2017 AGRADECIMENTO Agradeço e dedico este trabalho para todas as pessoas que de certa forma me incentivaram e colaboraram para que essa pesquisa se realizasse. À minha família por apoiar e acreditar na minha escolha. Por todos os auxílios, amor e carinho. Por respeitar meu tempo e compreender minha ausência em alguns momentos no decorrer desses cinco anos de faculdade, principalmente na reta final. Eu não teria conseguido sem vocês. Ao meu orientador, Flávio Roberto Meurer, por todo suporte e dedicação neste um ano de pesquisa. Por fazer eu me apaixonar cada dia mais com o tema escolhido, pela assistência nos dias bons e ruins, pela tranquilidade para encarar todas as orientações e desafios desta pesquisa, por sempre me incentivar e me ensinar a caminhar com minhas próprias pernas. À professora Jane Mazzarino, por apoiar a escolha do meu tema quando elaboramos o projeto de pesquisa na disciplina “Projetos de Pesquisa em Comunicação”. Pelo suporte e bom humor no decorrer das aulas, aliviando a tensão para encarar a próxima etapa, o TCC, nos preparando para isso e fazendo com que eu escolhesse um tema que me desse prazer, mesmo que para isso eu tivesse que encarar um grande desafio.