DOCSLIB.ORG

Sidebar: Populuxe

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Sidebar: Populuxe Sidebar: Populuxe Pop historian Thomas Hine has coined the term populuxe to describe the period between 1955 to 1964. Also called the Atomic Age and the Push-button age, it was not only important that products were convenient; they also had to be modern and automatic. Cars had push-button transmissions and the atom logo was ubiquitous. Everything had to be new and disposable. Googie architecture style with its boomerang and tail fins motives are typical of the period. It has been pointed out that Disneyland is a good example of the aesthetics of the period. The division into four kingdoms; Frontierland, Adventureland, Fantasyland and Tomorrow-land, approximated the attitudes of the period. For instance, the neo-pioneer spirit translated to fads such as coon-skin caps, and interest in Daniel Boone and increased sales of early American furniture. Each of the kingdoms represented an aspect of the 1950's American dream; prosperity and affluence, hope for a better future, and Camelot. The effect on teenagers was that they treasured everything that was new; new records, new transistor radios, new dances, new and disposable music. The populuxe vision begins to fade in the early 1960's. The assassination of John F. Kennedy in 1963 was a sure sign that the optimism of populuxe had vanished. 1 Billboard US Chart August 1960 Title Performer Style It's Now or Never Elvis Presley Pop Itsy Bitsy Teenie Weenie Yellow Polka Dot Bikini Brian Hyland (16) Teen Idol I'm Sorry Brenda Lee (15) Pop Only The Lonely Roy Orbison Pop Ballad Walk-Don't Run Ventures Proto-Surf The Twist re-charts 1962 Chubby Checker (19) Dance Walkin' To New Orleans Fats Domino R &B cross-over Tell Laura I Love Her Ray Peterson Pop Volare Bobby Rydell Pop Alley-Oop Hollywood Argyles Pop novelty Everybody's Somebody's Fool Connie Francis Pop Billboard US Chart September 1963 Title Performer Style Blue Velvet Bobby Vinton Teen Idol My Boyfriend's Back Angels Girl Group Brill If I Had a Hammer Trini Lopez Folk Heat Wave Martha and the Vandellas Girl Group Motown Hello Mudduh, Hello Fadduh Allan Sherman Pop novelty Then He Kissed Me Crystals Girl Group Spector Sally, Go 'Round the Roses Jayettes Girl Group Surfer Girl Beach Boys Surf-Rock Be My Baby Ronettes Girl Group Spector Candy Girl Four Seasons Pop Brill Blowin' In The Wind Peter, Paul and Mary Folk 2 The 1960’s Dance Craze In 1944, the U.S, levied a 30% federal excise tax on "dancing" night clubs. The Jitterbug was a popular dance with early rock and rollers and prominent on American Bandstand. The Jitterbug (1944) The Loco-Motion (1962) The Madison (1959) The Frug 1963) The Twist (1960) The Hitchhike (1963) The Peppermint Twist (1961) The Monkey (1963) The Hully Gully (1960) The Swim (1964) The Pony (1961) The Jerk (1966) The Watusi (1962) Mashed Potato (1962) Early 1960’s Rock Centers n h ecrsar r n op a an anc ecrs Fae s r ck sce has aaa 3 The Chantels, “Maybe”, 1958 The hielles “Dedicated to the One I Love” 1959 The ill ildin 1958 through 1970’s) e rll Builn s locate at 1619 roaay n e York n te 1940’s it had housed composers from what was then known as Tin Pan lley Tn Pan lley coosers rote or fil roaay scals an te oe seet sc trae er rtn style ecae otate n the mid 1950’s. The changing music market brought difficult times for these songsmiths. Brill became more irrelevant as the 1950’s came to an en cross te street ro te rll Builn at 160 roaay as lon Msc Pulsers one y l ens an on Krsner ey ere eterne tat tey col retrn rll to a center or rtn an rocn ne o sc Wt ter ance rll ean collectn sonrters arraners an artsts an ean rocn sc or te eern rock an roll arket It as te srt o coetton an tn alls tat ele rll coosers an artsts roce lterally thousands of hits during this period. In the early 1960’s there were over 160 sc snesses locate n te rll ln rters lsers sc rnters an rooters. 4 The “Brill Building Sound” is an extension of the Tin an lle Songriting tradition Brill Building Song-riters err eier and ihael Stoller Hound Dog, Jailhouse Rock, Yakety Yak, Love Potion #9, Kansas City Stand By Me err offin and arole King Will You Still Love Me Tomorrow Take Good Care Of My Baby Up On The Roof Barr ann and nthia Weil You’ve Lost That Lovin’ Feeling, On Broadway ore Brill Building oosers llie reenih and eff Barr e ay hael Love o ah i iy, Leae o the a eil Sedaa alena il eaing s a To o Burt Baharah and al avid These agic oments Wishin and opin’, Blue on Blue 5 Song For B Optional introdution A=Verse usuall ars soeties ars A=Verse sae usial idea different lris BBridgehorusefrainiddle 8: ontrasting usial idea A=Verse first usial idea different lris nding fade endings oon Typial Stle Features: • Song for erseVerse-horus-Verse rather than the lues • aneale • Short songs inutes seonds • Wellrodued olished studio sound • Violins and other orhestral instruents • Sile rhing lris • Bau oals • nsignifiant a-eat • o lues or rhth and lues influene • o tang guitar sla ass or honing horns • o strong regional aents 6 hil Setor 1939 The “Tycoon of Teen,” Phil Spector is something of an enigma. At nineteen, e ace Bll Buln oue thirty, e ei-ee elue n eeen oe e e non one o e o ee, nnoative oue n e hiso o o uic e stae ol Stuo n o nele whee e oe, ne, n oue o u ou e l, e Blosso, Bo o n e Blueen, lene oe, n e Ronee e lo oue u o e eou Boe, ene Pney, e n Tn Tune, n onne Fran Phil Spector is best known for his “Wall of Sound” concept: doubling and ln nuen o e ene, oeate oun e euenl e addionl nuen u timn e lo mae e ue o eo n oe ouon enue The 1970’s found him working with the Beatles on the Let t e lu lo, Spector worked on George Harrison’s ll Things ust ass, John Lennon’s agine, n e Ramone En o the entu lu The Wrecking Crew ira otale eers inluded arole ae ass To Tedeso guitar al Blaine drus eon ussell iano and len aell guitar 7 Phil Spector: “Wall of Sound” oublin, and triplin instruents for a heay, saturated sound rchestrated, rittenout arraneents Beatles release Rubber Soul lbu (Dec 65 he albu is ore introspectie and uses non-roc instruents Brian Wilson, influenced by Spector’s production style, coposes Pet Sounds (1966) t ars the beinnin of lbu riented ock he Beatles: Sgt Pepper’s onely earts lub Band An eclectic concept albu t redefined the boundaries of Pop usic he Beatles: Let It Be (1970) he Beatles “swan song” produced by Phil Spector 8 Motown (1961 through Late ‘60’s) After establishing himself as a prominent etroit songwriter in the late 1950’s, Berry Gordy, Jr. borrowed eight hundred dollars from his sister to start his own recording studio in etroit which he named Hitsille .S.A. Gordy capitalied on the fact that etroit had a huge untapped black music market without a iable black recording label or record production facility. Aided by a great studio band, the unk Brothers, the studio released its recordings under the otown, Tamla, Soul, and Gordy record labels. Motown songs were mass-produced and designed to be hits. Motown groups deeloped highly polished stage routines and elaborate ocal harmony. Professional, in-house songwriting teams and choreographers produced groups in a start-to-finish product. By 197, otown was the largest black-owned business in America. err ordy r orrowe 00 ro hs sster to start a reorng stuo nae Hitse .S.A. By the late 1960’s it was the argest a owne usness n era he stuo was oen 22 hours a a etrot ha the ourth argest a ouaton n era wthout a ae ae to gaane the aret. Motown was the raa ntegraton o Po us n the 1960’s 9 Holland Dozier Holland’s Greatest Hits e We ee It s ein e You) Baby ee r Loving I Can’t Help Myself Reach Out, I’ll Be There Standin e Shadow e This er e ere Di Our e Bab e e ee e p e e e Bac s rs Again er A py You Can’t Hurry Love You eep e Hangin’ On tax Reords emhis, 1959-19 ta Reords, also alled oulsille, ..., was the birthlae of soul music in the 1960’s. Founded by brother and sister Jim STewart and arge Axton, tax atured the southern soul maret. nlie Motown’s writtendown arrangements, the ta house band, Booer T and the MG’s used head arrangements (seletal outlines with only hords and melody. eay use of the delayed ba-beat and honing horns beame a ST signature. 10 tis eddin a and Dae e ta Hose and as Booker T and the MG’s e reorded an instrentals Here’s one that we’ve all heard: reen Onons ta onwites 11 How s the Motown rodton stle derent ro ta? 1.Motown ses wrtten sored arraneents 2.Motown akes se o orhestral nstrents strns ltes et. 3.The Motown beat pattern often uses “straight-four” rhth 4.Motown ses horeorahed and hhl olshed stae ats ow is the Motown proution ste ifferent fro ta ta uses “head arrangements” or lead sheets There is er itte use of orhestra instruents The songs hae an iproise feel The rhth setion ephasies the eae ba-beat soun ig horn setions 12 It doesn’t look like much, but some of the biggest soul hits of the e cme out of this studio tists included Wilson Pickett, eth nklin, tis Redding, nd he llmn othes nd me elesed much of its ok unde the tlntic bel Fame tudos n usle hoals laama ur-Rock (Early ‘60’s) Poulied b the 1959 ilm idget, the lifoni sufing ce in the el 1960’s produced its own subculture: more surfing films, California surfboard manufacturers, “woodies,”(wood paneled cars) Pendleton shirts, and its own music Suf-rock became the first “life style” rock.
Load more

Recommended publications
  • Rise and Fall of Tin Pan Alley (Subotnik, Spr
    Music 133: Rise and Fall of Tin Pan Alley (Subotnik, Spr. 2003)—p. 1 MUSIC 133: SEMINAR IN AMERICAN MUSIC: THE RISE AND FALL OF TIN PAN ALLEY Spring Semester, 2003 Rose Rosengard Subotnik COURSE DESCRIPTION: Focusing on the decades between the 1880s and the 1950s, this course examines social, musical and commercial forces behind the emergence and decline of Tin Pan Alley as well as changes in the substance, treatment, and significance of its songs during their years of popularity. Topics addressed include national identity and race relations as well as the difficulties of analyzing popular music. GOALS OF COURSE: The goal of this course is to give you a sound musical, historical, and critical sense of the Tin Pan Alley type of song, of the changes in style and role that characterized such songs over several generations, and of the various kinds of responses they have generated. Questions we will consider include 1) musical ones (e.g. What repertories does the term “Tin Pan Alley song” designate? In what ways is it useful to discuss the musical characteristics of such songs [their history? their structure? the various styles and mediums that made use of such songs? the identity of the artists who presented them?]] How might we assign musical value to this general category of song, and how might we evaluate individual songs within this category? Why is the Tin Pan Alley song typically denigrated in contrast to jazz, blues, and rock music? What happened to this type of song in the late 1940s and the 1950s, both before and during the transition to rock and roll?); and 2) cultural ones (e.g.
    [Show full text]
  • Directory Download Our App for the Most Up-To-Date Directory Info
    DIRECTORY DOWNLOAD OUR APP FOR THE MOST UP-TO-DATE DIRECTORY INFO. E = East Broadway N = North Garden C = Central Parkway S = South Avenue W = West Market m = Men’s w = Women’s c = Children’s NICKELODEON UNIVERSE = Theme Park The first number in the address indicates the floor level. ACCESSORIES Almost Famous Body Piercing E350 854-8000 Chapel of Love E318 854-4656 Claire’s E179 854-5504 Claire’s N394 851-0050 Claire’s E292 858-9903 GwiYoMi HAIR Level 3, North 544-0799 Icing E247 854-8851 Soho Fashions Level 1, West 854-5411 Sox Appeal W391 858-9141 APPAREL A|X Armani Exchange m w S141 854-9400 abercrombie c W209 854-2671 Abercrombie & Fitch m w N200 851-0911 aerie w E200 854-4178 Aéropostale m w N267 854-9446 A’GACI w E246 854-1649 Alpaca Connection m w c E367 883-0828 Altar’d State w N105 763-489-0037 American Eagle Outfitters m w S120 851-9011 American Eagle Outfitters m w N248 854-4788 Ann Taylor w S218 854-9220 Anthropologie w C128 953-9900 Athleta w S145 854-9387 babyGap c S210 854-1011 Banana Republic m w W100 854-1818 Boot Barn m w c N386 854-1063 BOSS HUGO BOSS m S176 854-4403 Buckle m w c E203 854-4388 Burberry m w S178 854-7000 Calvin Klein Performance w S130 854-1318 Carhartt m w c N144 612-318-6422 Carter’s baby c S254 854-4522 Champs Sports m w c W358 858-9215 Champs Sports m w c E202 854-4980 Chapel Hats m w c N170 854-6707 Charlotte Russe w E141 854-6862 Chico’s w S160 851-0882 Christopher & Banks | c.j.
    [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]
  • Top 100 Most Requested Songs of the 1960'S
    Top 100 Most Requested Songs of the 1960's RANK ARTIST SONG 1 Diamond, Neil Sweet Caroline (Good Times Never Seemed So Good) 2 Morrison, Van Brown Eyed Girl 3 Beatles Twist And Shout 4 Sinatra, Frank The Way You Look Tonight 5 James, Etta At Last 6 Foundations Build Me Up Buttercup 7 Presley, Elvis Can't Help Falling In Love 8 Temptations My Girl 9 Armstrong, Louis What A Wonderful World 10 Righteous Brothers Unchained Melody 11 Four Tops I Can't Help Myself (Sugar Pie, Honey Bunch) 12 Checker, Chubby The Twist 13 Sinatra, Frank Fly Me To The Moon 14 Beatles All You Need Is Love 15 Franklin, Aretha Respect 16 Cash, Johnny Ring Of Fire 17 Checker, Chubby Let's Twist Again 18 Sledge, Percy When A Man Loves A Woman 19 Orbison, Roy Oh, Pretty Woman 20 Dion Runaround Sue 21 King, Ben E. Stand By Me 22 Temptations Ain't Too Proud To Beg 23 Beatles I Saw Her Standing There 24 Cole, Nat King L-O-V-E 25 Gaye, Marvin & Tammi Terrell Ain't No Mountain High Enough 26 Archies Sugar, Sugar 27 Beatles In My Life 28 Rolling Stones (I Can't Get No) Satisfaction 29 Contours Do You Love Me 30 Beatles I Want To Hold Your Hand 31 Redding, Otis (Sittin' On) The Dock Of The Bay 32 Valli, Frankie Can't Take My Eyes Off You 33 Brown, James & The Famous Flames I Got You (I Feel Good) 34 Gaye, Marvin How Sweet It Is (To Be Loved By You) 35 Sinatra, Frank I've Got You Under My Skin 36 Pickett, Wilson Mustang Sally 37 Presley, Elvis A Little Less Conversation 38 Beach Boys God Only Knows 39 Beatles Can't Buy Me Love 40 Beach Boys Wouldn't It Be Nice 41 Beatles When
    [Show full text]
  • The Tin Pan Alley Pop Era (1885-Mid 1950'S)
    OVERVIEW: The Foundation of Rock And Roll During the Great Migration more than 100,000 African-American laborers moved from the agricultural South to the urban North bringing with them their music and memories. Also, during the 1920’s the phonograph and the rise of commercial radio began to spread Hillbilly music and the Blues. This gave rise to an appreciating of American vernacular music, both white and black. Ultimately, the homogenizing effect of blending several regional musical styles and cultural practices gave birth to 1950’s rock and roll. The Tin Pan Alley Po ra 15-mid 1950’s) “The Great American Songbook” 1940’s Big Bands 1950’s Polar sic New York: “Tin Pan Alley” 14th St. and 2nd Ave. 1 Tin Pan Alley - New York 15-thogh 1940’s) The msic was distribted throgh sheet msic Proessional songwriters dominated the eriod George Gershwin and ole Porter omosers wrote or o msic Broadway and ilm ventally Tin Pan Alley tradition was relaced by the ock and oll tradition Tin Pan Alle – Ke oints 1. Written b a proessional oten non-peroring song-riters 2. ophisticated arrangeent 3. ncopated rhth accents on unepected, eak beats) 4. lever, ell-crated lrics 5. triving or upper-class sensibilities 6. Priar audience Adults 2 “Roots Music” - K oits 1. Riona ou o music 2. tu usicis 3. ot o tut 4. tou o titio 5. o maistream ican ists 6. o t i co cois “Roots Music” = he Blues D Country music he Blues Country Music 1920’s: Mississippi Delta Blues 1920’s: Cowboy Songs 1930’s: rban Blues 1930’s: Hillbilly Music 1940’s: ump Blues 1940’s: Country Swing
    [Show full text]
  • CODE BLEU Thank You for Joining Us at Our Showcase This Evening
    PRESENTS… CODE BLEU Thank you for joining us at our showcase this evening. Tonight, we are featuring Code Bleu, led by Sean and Faith Gillen. Performing together for over twenty years, Code Bleu has become one of the most sought – after orchestras in New York. Code Bleu possesses a unique blend of fun, excitement and elegance that will leave your guests endlessly raving about your wedding. Featuring eight powerful lead vocalists, horns, keyboards, guitar, bass, drums and percussion, they can reproduce virtually any musical style. Code Bleu Members: • ELECTRIC, ACOUSTIC GUITARS, VOCALS………………………..………SEAN GILLEN • VOCALS AND MASTER OF CEREMONIES……..………………………….FAITH GILLEN • VOCALS AND KEYBOARDS..…………………………….……………………..RICH RIZZO • VOCALS AND PERCUSSION…………………………………......................SHELL LYNCH • KEYBOARDS AND VOCALS………………………………………..………….…DREW HILL • BASS……………………………………………………………………….….......DAVE ANTON • DRUMS AND SEQUENCING………………………………………………..JIM MANSFIELD • SAXOPHONE, VOCALS, FLUTE, AND GUITAR….……………ANTHONY POLICASTRO • VOCALS………………………………………………………………….…….PAMELA LEWIS • TRUMPET AND VOCALS……………….…………….………………….ALYSON GORDON www.skylineorchestras.com (631) 277 – 7777 #Skylineorchestras DANCE : BURNING DOWN THE HOUSE – Talking Heads BUST A MOVE – Young MC A GOOD NIGHT – John Legend CAKE BY THE OCEAN – DNCE A LITTLE LESS CONVERSATION – Elvis CALL ME MAYBE – Carly Rae Jepsen A LITTLE PARTY NEVER KILLED NOBODY – Fergie CAN’T FEEL MY FACE – The Weekend A LITTLE RESPECT – Erasure CAN’T GET ENOUGH OF YOUR LOVE – Barry White A PIRATE LOOKS AT 40 – Jimmy Buffet CAN’T GET YOU OUT OF MY HEAD – Kylie Minogue ABC – Jackson Five CAN’T HOLD US – Macklemore & Ryan Lewis ACCIDENTALLY IN LOVE – Counting Crows CAN’T HURRY LOVE – Supremes ACHY BREAKY HEART – Billy Ray Cyrus CAN’T STOP THE FEELING – Justin Timberlake ADDICTED TO YOU – Avicii CAR WASH – Rose Royce AEROPLANE – Red Hot Chili Peppers CASTLES IN THE SKY – Ian Van Dahl AIN’T IT FUN – Paramore CHEAP THRILLS – Sia feat.
    [Show full text]
  • Pdf, 235.60 KB
    00:00:00 Music Transition “Switchblade Comb” by Mobius VanChocStraw. A jaunty, jazzy tune reminiscent of the opening theme of a movie. Music continues at a lower volume as April introduces herself and her guest, and then it fades out. 00:00:08 April Wolfe Host Welcome to Switchblade Sisters, where women get together to slice and dice our favorite action and genre films. I’m April Wolfe. Every week, I invite a new female filmmaker on. A writer, director, actor, or producer, and we talk—in depth—about one of their fave genre films. Perhaps one that’s influenced their own work in some small way. And you may already know, but a reminder that we are remote recording now, and I’m recording from my bedroom. So I’m going to warn you right now that you will hear trash trucks, birds, um, a menagerie of cats. It’s all going to be going on in the background. The audio will be a little bit different than the studio’s, but everything else is going to be the same. The only thing different today, however, is our guest, because I’m very excited to have writer-actor Hannah Bos here. Hannah, how are you today? 00:00:51 Hannah Bos Guest I’m okay. I’m a little tired. Pretty good, but pretty pooped. 00:00:54 April Host Oh, hanging in there. 00:00:55 Hannah Guest I’m on uh—got a toddler, so it’s keeping me very busy. 00:01:01 April Host Yeah, as it turns out, toddlers do toddle.
    [Show full text]
  • BEACH BOYS Vs BEATLEMANIA: Rediscovering Sixties Music
    The final word on the Beach Boys versus Beatles debate, neglect of American acts under the British Invasion, and more controversial critique on your favorite Sixties acts, with a Foreword by Fred Vail, legendary Beach Boys advance man and co-manager. BEACH BOYS vs BEATLEMANIA: Rediscovering Sixties Music Buy The Complete Version of This Book at Booklocker.com: http://www.booklocker.com/p/books/3210.html?s=pdf BEACH BOYS vs Beatlemania: Rediscovering Sixties Music by G A De Forest Copyright © 2007 G A De Forest ISBN-13 978-1-60145-317-4 ISBN-10 1-60145-317-5 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, recording or otherwise, without the prior written permission of the author. Printed in the United States of America. Booklocker.com, Inc. 2007 CONTENTS FOREWORD BY FRED VAIL ............................................... XI PREFACE..............................................................................XVII AUTHOR'S NOTE ................................................................ XIX 1. THIS WHOLE WORLD 1 2. CATCHING A WAVE 14 3. TWIST’N’SURF! FOLK’N’SOUL! 98 4: “WE LOVE YOU BEATLES, OH YES WE DO!” 134 5. ENGLAND SWINGS 215 6. SURFIN' US/K 260 7: PET SOUNDS rebounds from RUBBER SOUL — gunned down by REVOLVER 313 8: SGT PEPPERS & THE LOST SMILE 338 9: OLD SURFERS NEVER DIE, THEY JUST FADE AWAY 360 10: IF WE SING IN A VACUUM CAN YOU HEAR US? 378 AFTERWORD .........................................................................405 APPENDIX: BEACH BOYS HIT ALBUMS (1962-1970) ...411 BIBLIOGRAPHY....................................................................419 ix 1. THIS WHOLE WORLD Rock is a fickle mistress.
    [Show full text]
  • Disability and Music
    th nd 19 November to 22 December UKDHM 2018 will focus on Disability and Music. We want to explore the links between the experience of disablement in a world where the barriers faced by people with impairments can be overwhelming. Yet the creative impulse, urge for self expression and the need to connect to our fellow human beings often ‘trumps’ the oppression we as disabled people have faced, do face and will face in the future. Each culture and sub-culture creates identity and defines itself by its music. ‘Music is the language of the soul. To express ourselves we have to be vibrating, radiating human beings!’ Alasdair Fraser. Born in Salford in 1952, polio survivor Alan Holdsworth goes by the stage name ‘Johnny Crescendo’. His music addresses civil rights, disability pride and social injustices, making him a crucial voice of the movement and one of the best-loved performers on the disability arts circuit. In 1990 and 1992, Alan co- organised Block Telethon, a high-profile media and community campaign which culminated in the demise of the televised fundraiser. His albums included Easy Money, Pride and Not Dead Yet, all of which celebrate disabled identity and critique disabling barriers and attitudes. He is best known for his song Choices and Rights, which became the anthem for the disabled people’s movement in Britain in the late 1980s and includes the powerful lyrics: Choices and Right That’s what we gotta fight for Choices and rights in our lives I don’t want your benefit I want dignity from where I sit I want choices and rights in our lives I don’t want you to speak for me I got my own autonomy I want choices and rights in our lives https://youtu.be/yU8344cQy5g?t=14 The polio virus attacked the nerves.
    [Show full text]
  • Popular Music, Stars and Stardom
    POPULAR MUSIC, STARS AND STARDOM POPULAR MUSIC, STARS AND STARDOM EDITED BY STEPHEN LOY, JULIE RICKWOOD AND SAMANTHA BENNETT Published by ANU Press The Australian National University Acton ACT 2601, Australia Email: [email protected] Available to download for free at press.anu.edu.au A catalogue record for this book is available from the National Library of Australia ISBN (print): 9781760462123 ISBN (online): 9781760462130 WorldCat (print): 1039732304 WorldCat (online): 1039731982 DOI: 10.22459/PMSS.06.2018 This title is published under a Creative Commons Attribution-NonCommercial- NoDerivatives 4.0 International (CC BY-NC-ND 4.0). The full licence terms are available at creativecommons.org/licenses/by-nc-nd/4.0/legalcode Cover design by Fiona Edge and layout by ANU Press This edition © 2018 ANU Press All chapters in this collection have been subjected to a double-blind peer-review process, as well as further reviewing at manuscript stage. Contents Acknowledgements . vii Contributors . ix 1 . Popular Music, Stars and Stardom: Definitions, Discourses, Interpretations . 1 Stephen Loy, Julie Rickwood and Samantha Bennett 2 . Interstellar Songwriting: What Propels a Song Beyond Escape Velocity? . 21 Clive Harrison 3 . A Good Black Music Story? Black American Stars in Australian Musical Entertainment Before ‘Jazz’ . 37 John Whiteoak 4 . ‘You’re Messin’ Up My Mind’: Why Judy Jacques Avoided the Path of the Pop Diva . 55 Robin Ryan 5 . Wendy Saddington: Beyond an ‘Underground Icon’ . 73 Julie Rickwood 6 . Unsung Heroes: Recreating the Ensemble Dynamic of Motown’s Funk Brothers . 95 Vincent Perry 7 . When Divas and Rock Stars Collide: Interpreting Freddie Mercury and Montserrat Caballé’s Barcelona .
    [Show full text]
  • Music 3500: American Music This Final Exam Is Comprehensive —It Covers the Entire Course (Monday December Starting at 5PM In
    FINAL EXAM STUDY GUIDE Music 3500: American Music This final exam is comprehensive —it covers the entire course (Monday December starting at 5PM in Knauss Hall 2452) Exam Format: 70 questions (each question is worth 4 points), plus a 40-point "fill-in-the-chart" (described below) (these two things total a maximum of 320 possible points toward your final course grade total). The format of the 70-question computer-graded section of the final exam will be: ...Matching ...Multiple Choice ...True/False (from text readings, class lectures, YouTube video links) General study recommendations: - Do the online quiz assignments for Chapters 1-9 (these must be completed by Monday April 24) ---------- For the Computer-Graded part of the final exam: 1. Know the definitions of Important Terms at the ends of Chapters 2-8 - Chapter 1 (textbook, page 5) -- know "popular music," "roots music," "Classical art- music" - Chapter 2 (textbook, page 19) -- know "old-time music," "hot jazz," "race music" - Chapter 3 (textbook, page 31) -- know "bebop," "big-band," "boogie-woogie" - Chapter 4 (textbook, page 42) -- know "backbeat," "chance music," "cool jazz," "multi- serialism," "rhythm & blues," "soul" - Chapter 5 (textbook, page 52) -- know "soundtrack," "free jazz" - Chapter 6 (textbook, pages 58-59) -- know "fusion," minimalism," - Chapter 7 (textbook, pages 69-70) -- know "techno," "smooth jazz," "hip-hop" - Chapter 8 (textbook, page 81) -- know "sound art" 2. Know which decade the following music technologies came from: (Review the chronological order of
    [Show full text]
  • Most Requested Songs of 2019
    Top 200 Most Requested Songs Based on millions of requests made through the DJ Intelligence music request system at weddings & parties in 2019 RANK ARTIST SONG 1 Whitney Houston I Wanna Dance With Somebody (Who Loves Me) 2 Mark Ronson Feat. Bruno Mars Uptown Funk 3 Journey Don't Stop Believin' 4 Cupid Cupid Shuffle 5 Neil Diamond Sweet Caroline (Good Times Never Seemed So Good) 6 Walk The Moon Shut Up And Dance 7 Justin Timberlake Can't Stop The Feeling! 8 Earth, Wind & Fire September 9 Usher Feat. Ludacris & Lil' Jon Yeah 10 V.I.C. Wobble 11 DJ Casper Cha Cha Slide 12 Outkast Hey Ya! 13 Black Eyed Peas I Gotta Feeling 14 Bon Jovi Livin' On A Prayer 15 ABBA Dancing Queen 16 Bruno Mars 24k Magic 17 Garth Brooks Friends In Low Places 18 Spice Girls Wannabe 19 AC/DC You Shook Me All Night Long 20 Kenny Loggins Footloose 21 Backstreet Boys Everybody (Backstreet's Back) 22 Isley Brothers Shout 23 B-52's Love Shack 24 Van Morrison Brown Eyed Girl 25 Bruno Mars Marry You 26 Miley Cyrus Party In The U.S.A. 27 Taylor Swift Shake It Off 28 Luis Fonsi & Daddy Yankee Feat. Justin Bieber Despacito 29 Montell Jordan This Is How We Do It 30 Beatles Twist And Shout 31 Ed Sheeran Thinking Out Loud 32 Sir Mix-A-Lot Baby Got Back 33 Maroon 5 Sugar 34 Ed Sheeran Perfect 35 Def Leppard Pour Some Sugar On Me 36 Killers Mr. Brightside 37 Pharrell Williams Happy 38 Toto Africa 39 Chris Stapleton Tennessee Whiskey 40 Flo Rida Feat.
    [Show full text]