DOCSLIB.ORG

POV June 11Th

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
POV June 11Th Point of View Point Of View Marketing the subtle, underestimated & credibility-building power of articulating why you do, what you do, the way you do it. marketingforhippies.com !1 Point of View “Tad shows you how magical and powerful a good point of view can be for marketing your business and for attracting customers and clients that are made for you, and you for them. (And really, that’s what marketing is all about.) His book is full of practical ‘how to’ advice and examples, as well as beautiful stories that help you understand how points of view fit into the bigger context of word-of-mouth marketing. Want to feel good about marketing your business? Read this book.” — Lois Kelly, author, Beyond Buzz and Rebels at Work, foghound.com “What I loved about the book and this work is, it finally gave me a place to put things that have been rolling around in my head for a really long time. At first I was frustrated because there was just too much, too many thoughts. I didn't know where they went. But then I just started writing everything down and then checking it against what your definitions of the pieces were. So I came up with a metaphor and a map to help assist me in coming up with my Point of View based on your metaphor.” — Natalie Forrest marketingforhippies.com !2 Point of View “How can the soul or the world be re-enchanted once it has lost the enchantment? Only by returning to the story of the soul and retelling it up to the point of fracture; only by placing our story within the context of the greater song. When Merlin is exposed to the terrible carnage of the battle of Arfderwydd he becomes mad and runs into the depths of the forest. Within the forest's embrace, he becomes one with the trees and seasons and puts aside the terrible sights he has seen to focus upon the gifts of the wild world, becoming rusticated and ‘uncivilized.’ Ever pertinent and prophetic, he sees through the pretexts and pretensions of those who come to lure him back to civilization with the sure instinct of an animal. He does not respond to anyone except his friend, the Welsh poet, Taliesin who comes to sit with him. Only then does Merlin respond, asking the odd question, ‘Why do we have weather?’ This seemingly trivial query is all that Taliesin needs to help his friend. He begins to recite the creation of the world. At the end of Taliesin's recital, Merlin is restored as the sacred context of his story is given back to them.” — The Celtic Spirit, Caitlin Matthews marketingforhippies.com !3 Point of View Contents Introduction 8 Nine Reasons Why Point of View Matters 13 Reason #1: Your Point of View Will Attract You More and Better Clients 14 Reason #2: Your Point of View is Gold for Any Business Coaches, Copywriters and Designers You Ever Hire 16 Reason #3: Your Point of View Makes You Trustworthy to Your Ideal Clients 17 Reason #4: Your Point of View Makes It Easy to Find New Clients 20 Reason #5: Your Point of View Gives Your Work a Coherent Voice 22 Reason #6: Your Point of View is the Source of All Your New Content 24 Reason #7: Your Point of View Allows You to Be Yourself 25 Reason #8: Your point of view will make people talk about you. 26 Reason #9: Your point of view allows you to engage in Educational Marketing 27 Real Life Examples of Point of View in the Five Major Areas of Life 30 Major Area #1: Physical Health 31 Major Area #2: Money, Business, Livelihood 34 Major Area #3: Relationships, Sex, Dating 35 Major Area #4: Inner Peace, God, Spirituality 36 Major Area #5: Contribution, Social Change, Activism 38 Our Core Story: The Young Woman on The Island 41 Overview: The Three Elements of Your Point of View 49 The Point of View Pyramid 53 The Map 56 The Four Kinds of Maps People Need Most When They’re Lost 64 The Story of My Gallbladder 66 The Empathy Map 67 The Context Map 69 The Options Map 73 The Guidance Map 76 Tying The Four Maps Together 78 marketingforhippies.com !4 Point of View Your Compass 81 Your Route 82 Real-World Examples of Maps, Compass, and Route in Point of View 86 Examples of Maps in Point of View 88 Example: The Eight Soul-centric/Eco-centric Stages of Human Development 90 Example: The Seven Chakras 91 Example: The Chinese Meridian System 92 Example: The Celtic Medicine Wheel 93 Example: The Hero's Journey 94 Example: The Addiction Tree 95 Example: Vicious Circle Thinking 96 Example: Benign Circle Thinking 97 Example: The Male Emotional Suppression Cycle 98 Example: George Lakoff on Liberals vs. Conservatives 99 Example: The Sun Food Triangle 101 Example: Political Spectrums 102 Example: Sexuality and Gender 103 Examples of The Compass in Point of View 109 Example: The Principles of Kind Business 111 Example: The Principles of Visionary Activism 113 Example: The 10 Principles of Erica Ross’ Dance Our Way Home 114 Example: Christina Morassi on The Principle of Pleasure in Business 115 Example: Judy Wicks on the Principles of the Local Living Economies Movement 118 Example: Racheal Cook 119 Example: Midwifery for the Soul 120 Example: 12 Principles of Permaculture by David Holmgren 121 Example: Five Premises for Living from Non Violent Communication 123 Example: Commitments and Assumptions for Community 124 Example: Lynn Serafinn’s 7 Graces of Marketing 125 Example: Sole Bike 129 marketingforhippies.com !5 Point of View Example: OMGYes.com 130 Example: Secrets of The Millionaire Mind 131 Example: From Invisible to Invincible: A Manifesto for Professional Women 132 Examples of Route in Point of View 137 Example: The Niching Spiral 139 Example: Nancy Juetten 140 Example: Jennifer Summerfeldt 141 Example: Anthony Robbins, The Six Steps of Neuro Associative Conditioning 143 Example: The Four Part Non Violent Communication Process 144 Example: Loving What Is and Finding the Truth with Only 4 Questions — The Work of Byron Katie 145 Example: The Original Twelve Steps of Alcoholics Anonymous 149 Example: Benevon 150 Example: The Cycle of Change by Prochaska & DiClemente 151 Example: Jay Abraham, Claude Hopkins, Schlitz Beer, and Preeminence 152 Example: Origami Accounting 154 Example: The Authentic Man Program Holarchy 155 Example: Meditation 156 What Your Point of View Is Not . 158 #1: Your point of view is not something you can discover on your own 159 #2: Your point of view is not necessarily quick or easy to uncover 160 #3: Your point of view will never be complete 161 #4: Your point of view is not objective 162 #5: Your point of view is not an opportunity to try to change minds 163 Candid Reflections on Approaching Your Point of View . 166 Thought #1: Apprentice To Someone 167 Thought #2: Choose an aligned community 168 Thought #3: Be curious 169 Thought #4: Get some space 170 Caveats on Approaching Your Point of View 172 Caveat #1: Beware of Dogma 173 marketingforhippies.com !6 Point of View Caveat #2: Crafting your Point of View is Like Tidying 174 Caveat #3: Learn the Difference Between Your Symptoms and Their Diagnosis 176 Simplistic. Complicated. Simple: The Three Stages of Articulating Your Point of View 179 Stage One: Identify (Simplistic) 189 Stage Two: Articulated (Complicated) 193 Stage Three: Embody (Simple) 195 Final Thoughts: Where to now? 204 Frequently Asked Questions 206 How Does This Work for Artists? 207 Do I Share My Political and Religious Point of View? 208 Appendix 210 Eleven Criteria of a Solid Point of View: 211 The Rant Experiment: Let Off Some Steam, Catalyze Social Change and Grow Your Business 212 What is a Rant? 216 Eleven Reasons Why Rants Get Such a Strong Response 217 The Three Places A Rant Can Come From: 223 So, How Do You Participate in the Rant Experiment? 224 Acknowledgements 227 Why is niching so hard? 228 About the Author: Tad Hargrave 229 More Point of View Resources 230 marketingforhippies.com !7 Point of View Introduction I struggled, for years, to articulate how I saw marketing. I travelled all around this continent teaching marketing and found myself sometimes lucid and other times fuzzy. Some workshops went well and others didn’t. It was frustrating. I wanted to create products but didn’t have any sense of what they would be. I got interviewed on radio shows and tele-summits and found myself struggling to answer questions. I worked with clients one on one and found myself feeling disappointed with myself after the call. I was free-styling in helping clients. I was improving but my results were inconsistent. Over the years, things came into focus and all of those programs began to move towards resolution. I don’t really have any of them anymore. I feel solid about my workshops and don’t need much of a script. I have an abundance of ideas for products that excite me. When I’m interviewed I feel clear and solid. My work with clients increasingly feels well structured and helpful. Much of this shift has come from the work of articulating my point of view. That’s my hope for what this eBook and the accompanying workbook might do for you. I’ve seen it in my clients too. 90% of the time, their challenges have to do with having no clear niche. For that, I created NichingSpiral.com. But, even those who could articulate a clear target market, problem they were solving and result they were offering, struggled.
Load more

Recommended publications
  • Student's Worksheets
    Student’s worksheets Jazz Cristina CLIL Fuertes Music activities for optional subject High School Level IES Obert de Catalunya Cristina Fuertes. Institut Obert de Catalunya course 2007-08 CLIL – Student’s Worksheet Jazz Unit 1 What’s jazz? Contents CONTENTS................................................................................................................2 UNIT 1 WHAT’S JAZZ?..............................................................................................4 1. Starting point. What do you know about jazz? ..................................................5 2. Jazz...................................................................................................................9 3. Feelings about jazz ......................................................................................... 10 4. What do you know now about jazz? ................................................................ 11 5. What’s jazz for you?........................................................................................ 12 6. Homework: search on the web ........................................................................ 13 UNIT 2 ELEMENTS OF JAZZ .................................................................................... 14 1.What’s jazz and what’s not .............................................................................. 15 2. Who or what am I? Jazz elements................................................................... 17 3. What does each instrument sound like? .........................................................
    [Show full text]
  • Examining the Magazine Industry Standard
    POINT OF VIEW: EXAMINING THE MAGAZINE INDUSTRY STANDARD A Thesis presented to the Faculty of the Graduate School at the University of Missouri In Partial Fulfillment of the Requirements for the Degree Master of Arts by CRISTINA DAGLAS John Fennell, Thesis Supervisor MAY 2009 © Copyright by Cristina Daglas 2009 All Rights Reserved The undersigned, appointed by the dean of the Graduate School, have examined the thesis entitled POINT OF VIEW : EXAMINING THE MAGAZINE INDUSTRY STANDARD presented by Cristina Daglas, a candidate for the degree of master of arts, and hereby certify that, in their opinion, it is worthy of acceptance. Professor John Fennell Professor Jennifer Rowe Professor Amanda Hinnant Professor Maureen Stanton ACKNOWLEDGEMENTS I am immensely grateful to my thesis chair, John Fennell, who believed in both the necessity for and the feasibility of this research. When many doubted the ability to interview prominent magazine professionals, John provided support and guidance while always keeping setbacks and successes in perspective. John has been a mentor from first semester of graduate school when I enrolled in his writing course, and I am so pleased that I could pursue a topic I am incredibly passionate about with his guidance. However, this research would naturally not be what it is without the rest of my fabulous committee. Jennifer Rowe, my other mentor, adviser and friend, was an invaluable resource, as she provided big-picture edits, line edits and, most importantly, support. Amanda Hinnant provided advice in the earliest days of thesis conception as well as the scholarly perspective necessary in any academic work. Maureen Stanton was also a wonderful resource, imparting an outside, nonfiction mindset that added another dimension to this journalistic thesis.
    [Show full text]
  • The “Second Quintet”: Miles Davis, the Jazz Avant-Garde, and Change, 1959-68
    THE “SECOND QUINTET”: MILES DAVIS, THE JAZZ AVANT-GARDE, AND CHANGE, 1959-68 A DISSERTATION SUBMITTED TO THE DEPARTMENT OF MUSIC AND THE COMMITTEE ON GRADUATE STUDIES OF STANFORD UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY Kwami Taín Coleman August 2014 © 2014 by Kwami T Coleman. All Rights Reserved. Re-distributed by Stanford University under license with the author. This work is licensed under a Creative Commons Attribution- Noncommercial 3.0 United States License. http://creativecommons.org/licenses/by-nc/3.0/us/ This dissertation is online at: http://purl.stanford.edu/vw492fh1838 ii I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Karol Berger, Co-Adviser I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. MichaelE Veal, Co-Adviser I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Heather Hadlock I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Charles Kronengold Approved for the Stanford University Committee on Graduate Studies. Patricia J. Gumport, Vice Provost for Graduate Education This signature page was generated electronically upon submission of this dissertation in electronic format.
    [Show full text]
  • No Pain, No Gain? Motivation and Self-Regulation in Music Learning
    International Journal of Education & the Arts Editors Liora Bresler University of Illinois at Urbana-Champaign, U.S.A. Margaret Macintyre Latta University of Nebraska-Lincoln, U.S.A. http://www.ijea.org/ ISSN 1529-8094 Volume 10 Number 16 May 13, 2009 No Pain, No Gain? Motivation and Self-Regulation in Music Learning Christophe de Bézenac Leeds College of Music, United Kingdom Rachel Swindells Independent Scholar, United Kingdom Citation: de Bézenac, C., & Swindells, R. (2009). No pain, no gain? Motivation and self-regulation in music learning. International Journal of Education & the Arts, 10(16). Retrieved [date] from http://www.ijea.org/v10n16/. Abstract This paper explores the issue of motivation in music learning in higher education by contextualising data collected as part of the Investigating-Musical-Performance research project (Welch, et al., 2006-2008). The discussion begins with findings which suggest that popular, jazz and folk musicians experience more pleasure in musical activities than their classical counterparts. Also significant are results indicating that the latter are more influenced by parents and teachers, with the former primarily motivated by intrinsic factors. In examining these findings, three interrelated themes are considered: the quality of musicians’ motivation, genre-specific learning practices, and the competencies demanded by particular music systems. Critiquing the socio- cultural assumptions inherent in Western music pedagogy, and the role of external regulation in formal education systems, a case is made for the importance of autonomy. Questions are raised about the purpose of music education and consequences of formalising musics traditionally learnt through direct engagement with communities of practice. IJEA Vol.
    [Show full text]
  • And It Leads Directly to a Russian Oligarch
    State of future power Supreme Court Trump says he will bills if voters approve strikes down law meet Kim on June 12 Energy Choice Initiative banning sports betting in Singapore PAGE 2 PAGE 3 PAGE 6 Volume 20, Issue 12 May 16-22, 2018 lasvegastribune.com Mueller may have a conflict — and it leads directly to a Russian oligarch By John Solomon millions of his own dollars funding Some aspects of Deripaska’s The Hill contributor an FBI-supervised operation to help were chronicled in a 2016 Special counsel Robert Mueller rescue a retired FBI agent, Robert book by reporter Barry Meier, but has withstood relentless political at- Levinson, captured in Iran while sources provide extensive new tacks, many distorting his record of working for the CIA in 2007. information about his role. distinguished government service. Yes, that’s the same Deripaska They said FBI agents courted But there’s one episode even who has surfaced in Mueller’s Deripaska in 2009 in a series of Mueller’s former law enforcement current investigation and who was secret hotel meetings in Paris; comrades — and independent recently sanctioned by the Trump Vienna; Budapest, Hungary, and ethicists — acknowledge raises le- administration. Washington. Agents persuaded gitimate legal issues and a possible The Levinson mission is con- the aluminum industry magnate conflict of interest in his overseeing firmed by more than a dozen par- to underwrite the mission. The the Russia election probe. ticipants inside and outside the FBI, Russian billionaire insisted the In 2009, when Mueller ran the including Deripaska, his lawyer, the operation neither involve nor harm FBI, the bureau asked Russian Levinson family and a retired agent his homeland.
    [Show full text]
  • On Being a Photographer, 3Rd Edition
    Photography/Photojournalism $12.95 USD Revised – Third Edition! “A photographer might forget his camera and live to tell the ON BEING A PHOTOGRAPHER tale. But no photographer who survives has ever forgotten the lessons in this book. It is not just essential reading, it’s compulsory.” DAVID HURN/Magnum Daniel Meadows Head of Photojournalism, Center for Journalism Studies, in conversation with University of Wales “A very useful book. It discusses issues which will benefit all BILL JAY photographers irrespective of type, age or experience – and it does so in a clear and interesting manner. I recommend it.” Van Deren Coke past Director of the International Museum of Photography and author of The Painter and the Photograph “I read On Being a Photographer in one sitting. This is an invaluable book for its historical and aesthetic references as well as David’s words, which go to the heart of every committed David Hurn/ on being photographer – from the heart of a great photographer. It is inspiring.” Frank Hoy Associate Professor, Visual Journalism, The Walter Cronkite School Magnum a of Journalism and Telecommunication, Arizona State University “We all take photographs but few of us are photographers. On Being a Photographer talks clearly and cogently about the difference … and Bill Jay photog- the book is rich in practical detail about how to practice as a photographer and to create worthwhile pictures.” Barry Lane past-Director of Photography at the Arts Council of Great Britain and presently Secretary-General rapher of The Royal Photographic
    [Show full text]
  • As a New Generation Discovers Leonard Cohen's Dark Humour Kris Kirk Ruffles the Great Man's Back Pages by Kris Kirk
    I stumbled out of bed. I got ready for the struggle. I smoked a cigarette, and I tightened up my gut. I said, This can't be me, must be my double. And I can't forget I can't forget I can't forget but I don't remember what. I Can't Forget I'm Your Man The following article is from Poetry Commotion, June 18, 1988. As a New Generation Discovers Leonard Cohen's Dark Humour Kris Kirk Ruffles the Great Man's Back Pages By Kris Kirk "The American attitude to Leonard Cohen is that I don't know how to sing -- 'These are great songs, sure is sad somebody else ain't singing 'em' - and that I'm marginal, totally outside the mainstream. It may finally be changing with this album, who knows? But I'm lucky I've always had a modest audience in Europe, otherwise I'd really be out of luck." Leonard Cohen chuckles. He chuckles a lot. Like his latest I'm Your Man album - with its famed "Lenny eats a banana" cover and its declaration (in "Tower of Song") that "I was born with the gift of a golden voice" - the so-called master of gloom is dead droll, particularly when he's sending himself up. "I agree this album's probably my best so far," he growls, lighting up yet another fag. "I think maybe I'm beginning to get the hang of it now." After how long? "Oh, after 20-odd years..." With a sell-out European tour culminating in a packed-to-the-gills additional third gig at the Royal Albert Hall, the rehabilitation -- resurrection from the dead -- of Cohen proceeds apace.
    [Show full text]
  • Pdf, 377.40 KB
    00:00:00 Music Transition “Crown Ones” off the album Stepfather by People Under The Stairs 00:00:05 Oliver Host Hello, I’m Oliver Wang. We will be joined by Morgan Rhodes, my co-host, in the second half. She is stuck in traffic right now. But anyways, you are listening to Heat Rocks. We’re in the middle of our Music and Popcorn mini-series, where we invite a guest to join us to talk about a cinematic-slash-musical heat rock; and today we are rolling to Trip’s Pool Hall to play some Street Fighter and revisit Ernest Dickerson’s debut film from 1992, Juice. 00:00:29 Music Music “‘Nuff Respect” off the album Juice by Big Daddy Kane. Fast-paced, frenetic hip hop. Enter the dragon... [Music fades out as Oliver speaks] 00:00:48 Oliver Host Juice opens on a Harlem morning, with an introduction to GQ, Raheem, Bishop, and Steel, four teens who spend most of their days ditching high school and jumping fences to get away from the cops. What we think begins as an ensemble piece coming of age story takes a darker turn as Bishop, played by Tupac in his first starring role, descends into madness. It’s perhaps fitting that this psychological thriller would be directed by Ernest Dickerson, who had cut his teeth as a cinematographer for not just Spike Lee’s early films, but also the 1980s Tales from the Darkside horror anthology series and then later helmed horror comedies such as Demon Knight and Bones, when he wasn’t putting in lauded television work, directing episodes of The Wire, The Walking Dead, and Dexter.
    [Show full text]
  • The Hard Bop Trombone: an Exploration of the Improvisational Styles of the Four Trombonist Who Defined the Genre (1955-1964)
    The Hard Bop Trombone: An exploration of the improvisational styles of the four trombonist who defined the genre (1955-1964) Emmett C. Goods Dissertation submitted to the School of Music at West Virginia University in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Trombone Performance H. Keith Jackson, DMA, Committee Chair Constinia Charbonnette, EDD David Taddie, Ph.D. Michael Vercelli, DMA Mitchell Arnold, DMA Music Morgantown, West Virginia 2019 Keywords: Hard Bop, Trombone, Jazz, Jazz Improvisation Copyright 2019 Emmett C. Goods The Hard Bop Trombone: An exploration of the improvisational styles of the four trombonist who defined the genre (1955-1964). Emmett C. Goods This dissertation examines the improvisational stylings of Curtis Fuller, Locksley “Slide” Hampton, Julian Priester and Grachan Moncur III from 1955 through 1964. In part one of this study, each musician is presented through their improvisational connections to J.J. Johnson, the leading trombonist of the Bebop era. His improvisational signatures are then traced through to the musical innovations of the Hard-Bop Trombone Era. Source material for this part of the study includes published books, dissertations, articles, online sources, discographies and personal interviews. Part two of this paper analyzes selected solos from each of the four subjects to identify the defining characteristics of the Hard-Bop Trombone Era. Evidence for these claims is bolstered by interviews conducted with the four men and their protégés. In a third and final part, a discography has been compiled for each artists during the defined era. Through historical analysis of these four artists’ music and recording of first-hand accounts from the artists themselves, this document attempts to properly contextualize the Hard-Bop Trombone Era as unique and important to the further development of the jazz trombone.
    [Show full text]
  • Geographic Perspectives on Contemporary / Smooth Jazz
    GEOGRAPHIC PERSPECTIVES ON CONTEMPORARY / SMOOTH JAZZ By WILLIAM ROBERT FLYNN Bachelor of Music in Classical Guitar Performance California State University, Fullerton Fullerton, California 2000 Master of Applied Geography Texas State University San Marcos, Texas 2001 Submitted to the Faculty of the Graduate College of the Oklahoma State University in partial fulfillment of the requirements for the Degree of DOCTOR OF PHILOSOPHY December, 2014 GEOGRAPHIC PERSPECTIVES ON CONTEMPORARY / SMOOTH JAZZ Dissertation Approved: Dr. G. Allen Finchum Dissertation Adviser Dr. Brad A. Bays Dr. Jonathan C. Comer Dr. Thomas Lanners Outside Committee Member ii ACKNOWLEDGEMENTS Completing this dissertation and my doctoral program at Oklahoma State University would not have been possible without the support of many people over the past ten years. I would like to start with my advisor and chair, Dr. Allen Finchum, who not only happens to share my interest in smooth jazz, but has always been there for me. One could not ask for a better mentor, as he was always so giving of his time, whether we were discussing my research, talking about my experiences as a graduate instructor, or him just taking an interest in my personal life. I feel blessed to have been able to work with such a special graduate committee, comprised of Dr. Jon Comer, Dr. Brad Bays, and Dr. Tom Lanners. Dr. Comer sparked my passion for quantitative methods and spatial analysis, and Dr. Bays taught my very first course at OSU, a wonderful and stimulating seminar in historical geography. With Dr. Lanners, I could not have asked for a better fit for my outside committee member, and I feel privileged to have been able to work with a musician of his caliber.
    [Show full text]
  • Main Artist (Group) Album Title Other Artists Date Cannonball Adderley
    Julian Andrews Collection (LPs) at the Pendlebury Library of Music, Cambridge list compiled by Rachel Ambrose Evans, August 2010 Main Artist (Group) Album Title Other Artists Date Cannonball Adderley Coast to Coast Adderley Quintet 1959/62 and Sextet (Nat Adderley, Bobby Timmons, Sam Jones, Louis Hayes, Yusef Lateef, Joe Zawinul) Cannonball Adderley The Cannonball Wes Montgomery, 1960 Adderley Victor Feldman, Collection: Ray Brown, Louis Volume 4 Hayes Nat Adderley Work Songs Wes Montgomery, 1978 Cannonball Adderley, Yusef Lateef Larry Adler Extracts from the film 'Genevieve' Monty Alexander Monty Strikes Ernest Ranglin, 1974 Again. (Live in Eberhard Weber, Germany) Kenny Clare Monty Alexander, Ray Brown, Herb Triple Treat 1982 Ellis The Monty Alexander Quintet Ivory and Steel Monty Alexander, 1980 Othello Molineux, Robert Thomas Jr., Frank Gant, Gerald Wiggins Monty Alexander Ivory and Steel (2) Othello Molineux, 1988 Len Sharpe, Marshall Wood, Bernard Montgomery, Robert Thomas Jr., Marvin Smith Henry Allen Henry “Red” 1929 Allen and his New York Orchestra. Volume 1 (1929) Henry Allen The College Steve Kuhn, 1967 Concert of Pee Charlie Haden, Wee Russell and Marty Morell, Henry Red Allen Whitney Balliett Mose Allison Local Color Mose Allison Trio 1957 (Addison Farmer, Nick Stabulas) Mose Allison The Prestige Various 1957-9 Collection: Greatest Hits Mose Allison Mose Allison Addison Farmer, 1963 Sings Frank Isola, Ronnie Free, Nick Stabulas Mose Allison Middle Class Joe Farrell, Phil 1982 White Boy Upchurch, Putter Smith, John Dentz, Ron Powell Mose Allison Lessons in Living Jack Bruce, Billy 1982 Cobham, Lou Donaldson, Eric Gale Mose Allison Ever Since the Denis Irwin, Tom 1987 World Ended Whaley Laurindo Almeida Laurindo Almeida Bud Shank, Harry quartet featuring Babasin, Roy Bud Shank Harte Bert Ambrose Ambrose and his Various 1983 Orchestra: Swing is in the air Albert Ammons, Pete Johnson Boogie Woogie 1939 Classics Albert Ammons, Pete Johnson, Jimmy Boogie Woogie James F.
    [Show full text]
  • Rock Album Discography Last Up-Date: September 27Th, 2021
    Rock Album Discography Last up-date: September 27th, 2021 Rock Album Discography “Music was my first love, and it will be my last” was the first line of the virteous song “Music” on the album “Rebel”, which was produced by Alan Parson, sung by John Miles, and released I n 1976. From my point of view, there is no other citation, which more properly expresses the emotional impact of music to human beings. People come and go, but music remains forever, since acoustic waves are not bound to matter like monuments, paintings, or sculptures. In contrast, music as sound in general is transmitted by matter vibrations and can be reproduced independent of space and time. In this way, music is able to connect humans from the earliest high cultures to people of our present societies all over the world. Music is indeed a universal language and likely not restricted to our planetary society. The importance of music to the human society is also underlined by the Voyager mission: Both Voyager spacecrafts, which were launched at August 20th and September 05th, 1977, are bound for the stars, now, after their visits to the outer planets of our solar system (mission status: https://voyager.jpl.nasa.gov/mission/status/). They carry a gold- plated copper phonograph record, which comprises 90 minutes of music selected from all cultures next to sounds, spoken messages, and images from our planet Earth. There is rather little hope that any extraterrestrial form of life will ever come along the Voyager spacecrafts. But if this is yet going to happen they are likely able to understand the sound of music from these records at least.
    [Show full text]