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The History of Rock, a Monthly Magazine That Reaps the Benefits of Their Extraordinary Journalism for the Reader Decades Later, One Year at a Time
L 1 A MONTHLY TRIP THROUGH MUSIC'S GOLDEN YEARS THIS ISSUE:1969 STARRING... THE ROLLING STONES "It's going to blow your mind!" CROSBY, STILLS & NASH SIMON & GARFUNKEL THE BEATLES LED ZEPPELIN FRANK ZAPPA DAVID BOWIE THE WHO BOB DYLAN eo.ft - ink L, PLUS! LEE PERRY I B H CREE CE BEEFHE RT+NINA SIMONE 1969 No H NgWOMI WI PIK IM Melody Maker S BLAST ..'.7...,=1SUPUNIAN ION JONES ;. , ter_ Bard PUN FIRS1tintFaBil FROM 111111 TY SNOW Welcome to i AWORD MUCH in use this year is "heavy". It might apply to the weight of your take on the blues, as with Fleetwood Mac or Led Zeppelin. It might mean the originality of Jethro Tull or King Crimson. It might equally apply to an individual- to Eric Clapton, for example, The Beatles are the saints of the 1960s, and George Harrison an especially "heavy person". This year, heavy people flock together. Clapton and Steve Winwood join up in Blind Faith. Steve Marriott and Pete Frampton meet in Humble Pie. Crosby, Stills and Nash admit a new member, Neil Young. Supergroups, or more informal supersessions, serve as musical summit meetings for those who are reluctant to have theirwork tied down by the now antiquated notion of the "group". Trouble of one kind or another this year awaits the leading examples of this classic formation. Our cover stars The Rolling Stones this year part company with founder member Brian Jones. The Beatles, too, are changing - how, John Lennon wonders, can the group hope to contain three contributing writers? The Beatles diversification has become problematic. -
North Carolina Obituaries Courier Tribune Name Date of Paper Page # Date of Death Abbott, Blannie Allen 7-Aug-84 7A 6-Aug-84
North Carolina Obituaries Courier Tribune Name Date of Paper Page # Date of Death Abbott, Blannie Allen 7-Aug-84 7A 6-Aug-84 Abbott, Douglas L. 1-Sep-82 12A 30-Aug-82 Abbott, Helen Hartsook 3-Dec-82 9A 2-Dec-82 Abbott, Molly Jeane 3-Nov-81 8A 31-Oct-81 Abbott, Nora Johnson Mitchell 14-Oct-83 12A 13-Oct-83 Abbott, Roger 1-Aug-84 6A 31-Jul-84 Abercrombie, Dodd 5-Oct-80 6A 3-Oct-80 Abernathy, Ray Paul 29-Jun-80 8A 28-Jun-80 Abernathy, Shaun Travis 24-May-83 8A 24-May-83 Abrams, Reagan Vincent 28-Sep-80 6A 26-Sep-80 Abston, Thomas Earl 30-Dec-82 10A 29-Dec-82 Ackerman, Elsie K. 20-Apr-82 8A 19-Apr-82 Acree, Una Mae Phillips 6-Jul-81 6A 5-Jul-81 Adams, Anna Threadgill 9-Dec-85 9A 8-Dec-85 Adams, Annie Vaughn 12-Mar-85 6A 11-Mar-85 Adams, Bernice Hooper 6-Jul-82 8A 5-Jul-82 Adams, Dora Carrick 13-Jun-80 10A 12-Jun-80 Adams, Edward Vance 23-May-83 6A 23-May-83 Adams, Herman Hugh Sr. 29-Oct-81 8A 27-Oct-81 Adams, James Clifton 18-Sep-84 9A 17-Sep-84 Adams, John Edwin 1-Mar-84 10A 29-Feb-84 Adams, T.B. 15-Oct-82 10A 14-Oct-82 Adams, Velma D. 11-Aug-81 8A 10-Aug-81 Adcock, Plackard C. 6-Jul-82 8A 5-Jul-82 Aderholt, Daniel H. 17-May-85 10A 13-May-85 Adkins, Clarence Odell 1-Jan-85 7A 1-Jan-85 Adkins, E.G. -
The Pentatonic Scale D
What (is) the Blues? Akram Najjar You can download this Presentation + the List of Clips to be played at karazwlaimoon.com All Clips are found on YouTube 2 / 49 Apologies – Time is the Constraint . If your favorite blues singer is not featured If some clips are not completed The talk should finish at 8:30 --- But I will go on till the last person leaves 3 / 49 Why “Blues” ? Both Sources “Unconvincing” Origin 1: 17th-century English expression “the blue devils” Intense visual hallucinations that can accompany alcohol withdrawal. The blues came to mean a state of agitation or depression. “Blue” was slang for “drunk” by the 1800s. Also “blue laws” still prohibit Sunday alcohol sales in some of the United States Origin 2: derived from mysticism involving “blue indigo” Used by West Africans in mourning ceremonies Mourners’ garments were dyed blue to indicate suffering Associated with indigo plant in southern US slave plantations and with West African slaves who sang of suffering 50s Blues and the Rhythm and Rock n’ Blues Roll Evolution of Early Soul / Pop / 30s Latin / Country Jazz and Pop Boogie Woogie Honky Brass Band Tonk Marches 20s Ragtime Stride Early Spirituals Jazz (Sacred) 20s African Music Blues So What Makes a Song a Blues Song? Four Major Features A. African Musical Practices B. Musical Practices developed by the “Slaves” in Southern USA (under European influence) C. The Blue Scale, Blue Notes and the Pentatonic Scale D. The 12 Bar Song Notice: we did not include the mood as a feature Not every sad song is blue And -
PATTO – the JOHN HALSEY INTERVIEW
PATTO – the JOHN HALSEY INTERVIEW Patto, apart from being one of the finest (purely subjective, of course) bands this country ever produced, were not blessed with good fortune. Forever on the verge of making it really big, they broke up after six years of knocking on the door and finding no-one home. Subsequently, two of their number died while the other two were involved in a terrible car smash which left one with severe physical injuries and the other with severe mental problems. Drummer John Halsey is now the only Patto member who could possible give us an interview. Mike Patto and Ollie Halsall are both gone, while bassist Clive Griffiths apparently doesn't even recall being in a band! Despite bearing the scars of the accident (Halsey walks with a pronounced limp), John was only too pleased to submit to a Terrascopic grilling - an interview which took place in the wonderful Suffolk pub he runs with his wife Elaine. Bancroft and I spent a lovely afternoon and evening with the Halseys, B & B'd in the shadow of a 12th Century church cupboard and returned to London the next morning with one of the most enjoyable interviews either of us has ever done. John Halsey: I started playing drums because two mates who lived in my road in North Finchley (N. London), where I'm from, wanted to form a group. This was years and years ago, 1958, 1959. Want to see the photo? PT: Oh, look at that! 1959! Me, with a microphone inside me guitar that used to go out through me Mum's tape recorder, and if you put 'Record' and 'Play' on together, it'd act like an amplifier. -
GILDART, KEITH. Images of England Through Popular Music. Class
336 Book Reviews GILDART,KEITH. Images of England through Popular Music. Class, Youth and Rock ’n’ Roll, 1955–1976. Palgrave MacMillan, Basingstoke [etc.] 2013. ix, 209 pp. £55.00; $85.00. doi:10.1017/S0020859014000273 Keith Gildart’s Images of England places popular music centre-stage in its exploration of class, youth, and social change between the mid-1950s and mid-1970s. Popular music is defined as American rock and roll and rhythm and blues because these soundscapes most profoundly influenced the collective and personal identities of young people. They per- meated the everyday lives of individuals like the ‘‘Lemon Drop Kid’’, a young Lancashire miner from Wigan, whose vivid memories as a performer and consumer of rock and roll preface the book and whose photograph, playing in a band in Bolton in the early 1960s, is on its front cover. Gildart evokes popular music as both a personal escape for the likes of the ‘‘Lemon Drop Kid’’ and a signpost of new social and cultural directions, which in affirming a sense of locality and class identity also contests the ‘‘myth’’ of classless youth and the notion that postwar affluence weakened class-consciousness. Popular and theoretical accounts tend to dominate studies of popular music in the postwar period and Images of England is a welcome addition to a small but growing literature by social historians. It aims to historicize theoretical approaches pioneered by the Birmingham Centre for Contemporary Cultural Studies (CCCS), whose emphases on culture and music as sites of working-class struggle and resistance inform the book’s detailed empirical studies. -
Het Beste Van Leo Derksen Gratis Epub, Ebook
HET BESTE VAN LEO DERKSEN GRATIS Auteur: Derksen Aantal pagina's: 320 pagina's Verschijningsdatum: none Uitgever: none EAN: 9789045302027 Taal: nl Link: Download hier Johan Derksen E-mailadres herhalen. Nieuwsbrief Stuur mij de Boekwinkeltjes nieuwsbrief. Een ogenblik geduld Ik bestel deze titel nu! Op het bezoeken van onze website, zo ook het plaatsen van een bestelling, zijn onze Algemene voorwaarden van toepassing. Uw vraag. Verstuur mijn vraag. Alle boeken zijn compleet en verkeren in normale antiquarische staat, tenzij anders beschreven. Kleine onvolkomenheden, zoals een ingeplakte ex-libris of een naam op het schutblad, zijn niet altijd vermeld U handelt deze order direct af met De Olde Jan Na uw bestelling ontvangen u en De Olde Jan een bevestiging per e-mail. In de e-mail staan de naam, adres, woonplaats en telefoonnummer van De Olde Jan vermeld De Koper betaalt de verzendkosten, tenzij anders overeen gekomen De Olde Jan kan betaling vooraf vragen Boekwinkeltjes. Als u een geschil hebt met één of meer gebruikers, dient u dit zelf op te lossen. U vrijwaart Boekwinkeltjes. Onthoud mijn gegevens. Besteld, hoe nu verder? Alle rechten voorbehouden. Switch language Algemene voorwaarden Privacy en cookies Contact. Wim Wal gvn te Uithoorn. Het Beste Van Leo Derksen.. Dit boek bevat een selectie van zijn columns die de afgelopen 15 jaar in De Telegraaf zijn verschenen. Bruce Springsteen, Patty Griffin en Them. Uiteraard komen hier ook allerlei kerst hits voorbij! Lekker uitbuiken na het diner en luisteren naar Kerst met Derksen. Album van de week is van The Who. Als rode draad loopt Bryan Lee door het programma. -
Rhaglen Programme
THE ENTERTAINMENT VENUE Y LLEOLIAD AR GYFER ADLONIANT RHAGLEN PROGRAMME GWANWYN 2016 SPRING 2016 SWYDDFA DOCYNNAU BOX OFFICE - 01686 614 555 Tickets £3 | #HafrenSpyMovie ARCHEBWCH AR-LEIN BOOK ONLINE - THEHAFREN.CO.UK CROESO WELCOME Cyflwynwn ddau lawnsiad newydd yn y flwyddyn newydd sef! Acoustica: gan cyflwyno i’r llwyfan thalentau lleol i’ch diddanu. Cyflwynir y noson gan y cerddor poblogaidd Dai Robs, dewch i ymuno yn yr awyrgylch yn ein bar galeri a chyfle i fwynhau thalentau lleol. Cewch fwy o fanylion ar dudalen 5. Yn dilyn llwyddiant y peilot yn 2015 bwriadwn gynnig lle parhaol iddo yn ein rhaglen. Prynhawn o ffilmiau: Yn ystod y flwyddyn ddiwethaf rydym wedi bod yn dangos ffilmiau clasurol a ffilmiau plant poblogaidd yn ein theatr, bydd rhain yn ymddangos yn fisol o hyn allan yn ein rhaglen newydd. Ewch i dudalen 6 am fwy o fanylion. Dewch draw am y prynhawn i fwynhau ffilm, paned a chacen am £4. Rydym wedi cynnwys mwy o fanylion am ein gwaith addysgiadol y buon ni yn ymgymryd â dros y dair blynedd ddiwethaf. Y llynedd buon ni’n gweithio gyda dros 2000 o blant a phobl ifanc gan ddarparu profiadau o ansawdd uchel iddyn nhw. Os hoffech fod yn rhan o’r rhaglen newydd yma ac eich bod rhwng 0 a 100+ hoffem glywed ganddoch chi. Edrychwch ar y manylion ar dudalen 34. Edrychwn ymlaen i’ch croesawu yn 2016. Two major launches this year! Acoustica: bringing the talent of our musicians to your ears – hosted by popular musician Dai Robs in our gallery bar, come and enjoy our local talent in a relaxed atmosphere. -
DICK RIVERS 5/5 Warner France ************ DOSSIER
Bio Dick Rivers est né le 24 avril 1946 à Nice. Il a commencé sa carrière adolescent à l’aube des sixties. Ses premiers miaulements twist ont retenti au sein d’un groupe venant de la french riviera n'ayant pas l’intention de se laisser apprivoiser par l’establishment parisien. Il devient aussitôt l'un des acteurs principal de cette déferlante de rythmes venue d’outre- Atlantique et de cette révolution sociale et culturelle appelée rock and roll à qui l'on prédisait un avenir aussi éphémère qu’incertain. Dick, c’est avant tout une voix de baryton agrémentée de volutes de fumée, qui tel un bon vin se bonifie avec le temps. Plus de 50 ans plus tard, le rock ’n’ roll se porte à merveille et lui aussi. Dick Rivers prêche toujours et inlassablement la bonne parole de la musique authentique et sincère, gorgée de feeling et de passion. Sa carrière est celle d'un puriste en perpétuelle recherche de nouveautés et jonchée d’heureuses et symboliques rencontres et autres complicités de haute lignée. Sa route musicale croisera des artistes exceptionnels comme Albert Lee, Steve Cropper, James Burton, Mick Taylor, Jimmy Page, Chris Spedding, Charlie Sexton mais aussi John Lennon et Paul McCartney, Elvis Presley, Gene Vincent, Brian Jones, Piaf, Brassens sans oublier Alain Bashung, Serge Koolenn, Christian Ravasco, Patrick Coutin, André Manoukian, Philippe Labro, M, Benjamin Biolay, Mickey 3D, Joseph d’Anvers, Jean Fauque et restera toujours fidèle à ses incontournables racines rock et blues. Aujourd’hui, après plus de 35 albums et des centaines d’enregistrements, Dick s'est entouré d'un guitariste Canadien exceptionnel qui l'accompagnera sur les routes de France en 2018 pour la Tournée des Idoles. -
Download Booklet
1 Sleep Walk Antonio Vivaldi / David Le Page (b.1971) 4.36 2 Morpheus Antonio Vivaldi / Susi Evans (b.1980) 4.53 3 Adrift in a Sea of Sleep Antonio Vivaldi / Philip Sheppard (b.1969) 7.45 4 Night Song Antonio Vivaldi / Jim Moray (b.1981) 2.47 5 Stasis Antonio Vivaldi / Aidan O’Rourke (b.1979) 3.10 6 REM Antonio Vivaldi / David Gordon (b.1965) 3.30 7 Slow Wave Antonio Vivaldi / Yumi Kurosawa (b.1975) 3.07 8 Polyphasic Antonio Vivaldi / Shahbaz Hussain (b.1979) 3.10 9 Night Shift Antonio Vivaldi / Trish Clowes (b.1984) 4.49 10 Nocturnal Transmissions Antonio Vivaldi / Eduardo Garcia (b.1964) 3.14 11 Circadian Clocks Antonio Vivaldi / Paul Sartin (b.1971) 3.56 total timings 45.03 BRUCE O’NEIL CONDUCTOR 2 The Vivaldi Sleep project was initiated by Orchestra of the Swan during the first national lockdown of 2020. Eleven artists from a broad range of genres – including klezmer, folk, electronica and jazz – were invited to add a solo part in response to the orchestra’s recording of the second movement of Autumn from Vivaldi’s Four Seasons. A sonnet, reputed to have been written by Vivaldi and placed by the publisher at the appropriate passage in the score, describes the movement as follows: All are made to leave off dancing and singing By the air which, now mild, gives pleasure And by the season, which invites many To find their pleasure in a sweet sleep Guest artists recorded their solo parts at home and were given free rein to start prior to the orchestra’s recording and continue after it had finished if they wished. -
Cover CW 470 June 2017
CONCERTINA WORLD Magazine of the International Concertina Association since 1952 CW 470 June 2017 Information/interviews/techniques/ events/music supplement Subscriptions run from 1 January each year Photos with the article “Music of Ireland” by Bill Crossla nd Concertina World Editor: 1 Index Pauline de Snoo, tel. 0031 73 54 79837 2 Editorial Goudenregenstraat 5, 5482 CW Schijndel, Netherlands 3 Internet Video Jukebox 11 Email: [email protected] 5 Virtual Folk Club 5 or [email protected] 12 John Holman Obituary Committee Chairman and Concertina World 13 Eighteen months in the life of the Correspondent: Yorkshire Concertina Club Paul Walker 17 The anglo concertina music of Ireland Email: [email protected] or [email protected] – a Rough Guide 25 Minutes of the AGM 22 April 2017 Membership Secretary: Martin Henshaw, tel. 01767 627 566 Oak End, 23A Bedford Road Northill, Biggleswade, Beds, SG18 9AH Contributors: Bill Crossland, Colin Dipper, Email: [email protected] Helen Graham, Pauline de Snoo, Paul Walker and Colin Whyles. Treasurer: Paul McCann Email: [email protected] Center magazine: removable A4 szie Librarian/Archivist: pages Music Supplement and article on Jeremy Hague Email: [email protected] ICA archive: contributions by Paul Walker (John Kirkpatrick) and John Wild Secretary: Colin Whyles Email: [email protected] Webmaster: Michel van der Meiren Photos cover see article page 27. Email: [email protected] Other committee members: Roger Gawley; Graham Heffernann; Jon McNamara; Gill Noppen-Spacie. Subscriptions run from 1 January to 31 December. Membership subscriptions are due on 1 January of each year. Membership UK 20 GBP, Europe 23 GBP, USA 26 GBP. -
Refrain, Again: the Return of the Villanelle
Refrain, Again: The Return of the Villanelle Amanda Lowry French Charlottesville, VA B.A., University of Colorado at Boulder, 1992, cum laude M.A., Concentration in Women's Studies, University of Virginia, 1995 A Dissertation presented to the Graduate Faculty of the University of Virginia in Candidacy for the Degree of Doctor of Philosophy Department of English University of Virginia August 2004 ___________________________________ ___________________________________ ___________________________________ ___________________________________ ABSTRACT Poets and scholars are all wrong about the villanelle. While most reference texts teach that the villanelle's nineteen-line alternating-refrain form was codified in the Renaissance, the scholar Julie Kane has conclusively shown that Jean Passerat's "Villanelle" ("J'ay perdu ma Tourterelle"), written in 1574 and first published in 1606, is the only Renaissance example of this form. My own research has discovered that the nineteenth-century "revival" of the villanelle stems from an 1844 treatise by a little- known French Romantic poet-critic named Wilhelm Ténint. My study traces the villanelle first from its highly mythologized origin in the humanism of Renaissance France to its deployment in French post-Romantic and English Parnassian and Decadent verse, then from its bare survival in the period of high modernism to its minor revival by mid-century modernists, concluding with its prominence in the polyvocal culture wars of Anglophone poetry ever since Elizabeth Bishop’s "One Art" (1976). The villanelle might justly be called the only fixed form of contemporary invention in English; contemporary poets may be attracted to the form because it connotes tradition without bearing the burden of tradition. Poets and scholars have neither wanted nor needed to know that the villanelle is not an archaic, foreign form. -
Bellowhead „Burlesque“ (Westpark Music 87132)
Bellowhead „Burlesque“ (Westpark Music 87132) “Astonishing. I mean, I’ve had a drink but this sounds to me like a landmark ... Bellowhead are taking the music forward with a flair and urgency rarely heard in these parts and I, for one, can’t wait for them to make a proper album.“ COLIN IRWIN – fRoots Magazine And - here it is. ‘Burlesque’ out via Westpark Music. Not so much a Big Band as a small independent country, Bellowhead is an 11 piece busy pushing the boundaries of English roots music into regions where few have previously dared to tread. Bellowhead’s debut gig took place at the first Oxford festival in April 2004, brought together by the acclaimed folk duo John Spiers & Jon Boden. They dreamt up the band while stuck in traffic somewhere on the M25. John & Jon phoned Paul Sartin, Benji Kirkpatrick and Giles Lewin who all agreed to form the core of the new band while the duo were still on said motorway. The idea was to have an English traditional folk band at the heart of the collective, also capable of switching between a big band sound, funk styles, and a string section. The first gig was an instant success de- spite the fact that Bellowhead had only managed to spend one afternoon, in a scout hut, rehearsing. Later that same summer, Bellowhead managed to inspire such enthusiasm, on a balmy night at Sidmouth Festival, that an invigorated crowd broke the dance floor. Interest in the band developed beyond the immediate fringes of the folk scene immediately after the independ- ent release of the ‘E.P.Onymous’, a 5 track demo which was initially produced to send to promoters and sell a few at gigs.