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THE ORCHESTRA in BILBAO by Victor Barba Gomez
THE ORCHESTRA IN BILBAO by Victor Barba Gomez Last August 27th, the band played in Bilbao City situated in the North of Spain. It was the Festivities of the city, called ASTE NAGUSIA, and every day of the week were concerts in the city, in different stages and THE ORCHESTRA played in the main stage, in front of almost 8.000 people. This show was the main of the week, closing the Festivities. After the Fireworks, people were arriving to enjoy the wonderful sound of the guys that began at 12.00 in the night in a big stage with two screens. In charge of the sound was Dennis with the local crew. It was the first time that the band was playing in Bilbao, but not for Mik, who played in 1975 with ELO in his first tour in Spain. Before the sound check, the three vocalists Eric, Hux and Glen, were rehearsing together. While the band was in the rehearsals, some fans and public were approaching the stage to see the band, as a prelude of the massive attendance that later came to the show. There were press, TV cameras photographs, waiting the magic moment Opening the show with the intro and Twilight, soon the audience was handed over to the band’s songs. Glen, in Basque language, said hello to the attendance. The audience thanked this gesture. After Twilight, came All Over the World, R&R is King, Evil Woman, Sweet Talking Woman, Hold on Tight, Mama Belle, Showdown and Rockaria. Then was moment for the Intros, and Hux presented the members of the band. -
Entertain Ent 'Gatsby' a Spectacular Disappointment and a Case of Mistaken Identity Premonition Was Correct
Pa.ge 14, The Retriever, April 22, 1974 Entertain_ent 'Gatsby' a spectacular disappointment and a case of mistaken identity premonition was correct. Mia. For those planning to see the new Sam Waterston delivered a good (Gatsby for Tom), at the time of her Farrow, an appreciably better Daisy,' performance as Nick, but the ly released film version of The Great' death. was good, but Mia Farrow is Mia Gatsby, having been taken by' the . Robert Redford portraying the Farrow and a star actress she is not. novel, several words of caution: character appears to be so pathetic desperate Jay Gatsby is as credible Managing to convey Daisy that he is almost repulsive by the end prepare to be disappointed. The as John Wayne attempting the role of fairly well, there is still enough Paramount film, despite a $6.4 million of the movie. Bruce Dern as Tom-is Father Carras (Exorcist). Redford 'lacking in her "money-voiced another major example of poor budget and a reputable cast of himself realized the possibility of elegance" to make one feel that she casting; Tom Buchanan is supposedly character.s, falls short of portrayingi criticism of his part ;unfortunately his ,short-changes the role. a big, athletic, aggressive individual, the of the most widely ~yshque but Dern appears for' the most part ac~lalmed F. Scott Fitzgerald work., SImply e~ough the film's main ."Tartuffe" opens passive and beaten. pr?blem is following too closely to the novel. Much of the dialogue is lifted Without a doubt, the finest act verbatum from the novel, whict next at theater ing should be credited to Karen Black and Scott Wilson. -
Mark Summers Sunblock Sunburst Sundance
Key - $ = US Number One (1959-date), ✮ UK Million Seller, ➜ Still in Top 75 at this time. A line in red Total Hits : 1 Total Weeks : 11 indicates a Number 1, a line in blue indicate a Top 10 hit. SUNFREAKZ Belgian male producer (Tim Janssens) MARK SUMMERS 28 Jul 07 Counting Down The Days (Sunfreakz featuring Andrea Britton) 37 3 British male producer and record label executive. Formerly half of JT Playaz, he also had a hit a Souvlaki and recorded under numerous other pseudonyms Total Hits : 1 Total Weeks : 3 26 Jan 91 Summers Magic 27 6 SUNKIDS FEATURING CHANCE 15 Feb 97 Inferno (Souvlaki) 24 3 13 Nov 99 Rescue Me 50 2 08 Aug 98 My Time (Souvlaki) 63 1 Total Hits : 1 Total Weeks : 2 Total Hits : 3 Total Weeks : 10 SUNNY SUNBLOCK 30 Mar 74 Doctor's Orders 7 10 21 Jan 06 I'll Be Ready 4 11 Total Hits : 1 Total Weeks : 10 20 May 06 The First Time (Sunblock featuring Robin Beck) 9 9 28 Apr 07 Baby Baby (Sunblock featuring Sandy) 16 6 SUNSCREEM Total Hits : 3 Total Weeks : 26 29 Feb 92 Pressure 60 2 18 Jul 92 Love U More 23 6 SUNBURST See Matt Darey 17 Oct 92 Perfect Motion 18 5 09 Jan 93 Broken English 13 5 SUNDANCE 27 Mar 93 Pressure US 19 5 08 Nov 97 Sundance 33 2 A remake of "Pressure" 10 Jan 98 Welcome To The Future (Shimmon & Woolfson) 69 1 02 Sep 95 When 47 2 03 Oct 98 Sundance '98 37 2 18 Nov 95 Exodus 40 2 27 Feb 99 The Living Dream 56 1 20 Jan 96 White Skies 25 3 05 Feb 00 Won't Let This Feeling Go 40 2 23 Mar 96 Secrets 36 2 Total Hits : 5 Total Weeks : 8 06 Sep 97 Catch Me (I'm Falling) 55 1 20 Oct 01 Pleaase Save Me (Sunscreem -
Jeff Lynne’S Elo Signs with Columbia...”
Jeff Lynne Jeffrey “Jeff” Lynne (born 30 December 1947) is an 1.2 1970–86: ELO English songwriter, composer, arranger, singer, multi- instrumentalist and record producer who gained fame in the 1970s as the leader and sole constant member of Main article: Electric Light Orchestra Electric Light Orchestra. In 1988, under the pseudonyms Otis Wilbury and Clayton Wilbury, he co-founded the Lynne contributed many songs to the Move's last two al- supergroup Traveling Wilburys with George Harrison, bums while formulating, with Roy Wood and Bev Be- Bob Dylan, Roy Orbison and Tom Petty. van, a band built around a fusion of rock and classi- After ELO’s original disbandment in 1986, Lynne re- cal music, with the original idea of both bands existing [5] leased two solo albums: Armchair Theatre (1990) and in tandem. This project would eventually become the Long Wave (2012). In addition, he began producing var- highly successful Electric Light Orchestra (ELO). Prob- ious artists, with his songwriting and production collab- lems led to Wood’s departure in 1972, after the band’s orations with ex-Beatles leading him to co-produce their eponymous first album, leaving Lynne as the band’s domi- [5] mid 1990s reunion singles "Free as a Bird" (1995) and nant creative force. Thereafter followed a succession of "Real Love" (1996). band personnel changes and increasingly popular albums: 1973’s ELO 2 and On the Third Day, 1974’s Eldorado and 1975’s Face the Music. By 1976’s A New World Record, Lynne had almost developed the roots of the group into 1 Musical career a more complex and unique pop-rock sound mixed with studio strings, layered vocals, and tight, catchy pop sin- gles. -
At All) Retrospective by GREG SHAW Leftto Right: Bev Bevan, Jeff Lynne, and Roy Wood
IN my more than eighteen years as a rock mous publicity which followed succeeded in duplicate the sound of anybody they want to fan, I have never encountered a musical making the Move heroes of the emerging (as they proved in California Man, a dead group with a history more confused, more London underground. ringer for a Jerry Lee Lewis song), but pre- singular, than that of the Move. They are During the ensuing months they were to fer to synthesize their own in songs that, for unique. Their sound is the essence of the be seen as one of the resident house bands at alltheir eclectic influences, can only be, Seventies -a dense, molten mixture, burst- the Marquee Club, dressed to the hilt in unmistakably and unforgettably, products of ing with trace elements of every stylistic paisleys and Day-Glo. They were one of the the Move. ingredient in popular music's lastfifteen first groups to be signed to the Decca label's But in 1968 the trend was to wear torn years, the whole poured over a foundation new psychedelic subsidiary Deram (the first Levis and play the blues for FM radio con- of timeless rock archetypes. They are the was Cat Stevens), but by the time their first sumption. By then the Move had almost two ultimate synthesis of commercial pop, heavy album appeared, in early 1968, they were years of solid accomplishment behind them, metal, underground rock, and experimental working for another new label, Regal-Zono- but they didn'tfitthis new image; they engineering technology, the perfect setting phone. -
Sample Chapter
BUSINESS ENTREPRENEURS/ MEDIA frican Americans have a long and rich his- Virginia, is believed to be the first person of tory of entrepreneurship in America; African descent to have become an entrepreneur AAfrican Americans have been in business in America. Jean Baptist DuSable, a wholesaler since before the Civil War and continue their en- and merchant who established the first settle- trepreneurial tradition today. Segments of the ment in Chicago in the early 1770s, was another African American population have exhibited the pre-Civil War era entrepreneur. same entrepreneurial spirit as segments of other ethnic groups who have migrated to this coun- Prior to the Civil War, however, slavery de- try. Very often, however, the history of black en- fined the existence of most African Americans. trepreneurship has been either overlooked or Thus, two categories of business persons were misconstrued. able to develop and sustain business enterprises. The first group was composed of free African Americans, numbering approximately sixty thou- ENTREPRENEURS sand, who could accumulate the capital to gen- erate business activity. They developed ntrepreneurship for African Americans has enterprises in almost every area of the business incorporated ownership as a means to man- community, including merchandising, real estate, age and disseminate information for the E manufacturing, construction, transportation, and betterment of the community as well as a means extractive industries. to gain economic opportunities. African Ameri- can religious publishers were the first entrepre- The second group consisted of slaves who— neurs to represent African American interests as a result of thrift, ingenuity, industry, and/or the using print media. -
JACK Dejohnette NEA Jazz Master (2112)
Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. JACK DeJOHNETTE NEA Jazz Master (2112) Interviewee: Jack DeJohnette (August 9, 1942 - ) Interviewer: Dr. Anthony Brown with sound engineer Ken Kimery Date: November, 10-11th, 2011 Repository: Archives Center, National Museum of American History Description: Transcript, pp. 107 Brown: Today is November 10th, 2011, and this is The Smithsonian Oral History Interview with NEA Jazz Master, percussionist, pianist, bandleader, composer, arranger, educator, and my hero, Jack DeJohnette, in his house in Silver Hollow, Upstate New York. How are you doing today, Mr. DeJohnette? DeJohnette: I'm doing great! Brown: Great, great. DeJohnette: Great. Brown: If we could start the interview by you stating your full name, full birth name, birthplace and birth date? DeJohnette: Okay. Jack DeJohnette…born in Chicago, Illinois in the county of Cook, August 9th, 1942. Brown: And if you could tell us the names of your parents. For additional information contact the Archives Center at 202.633.3270 or [email protected] 1 DeJohnette: Yeah, my mother's name was Eva Jeanette Wood and my father's name is Jack DeJohnette Sr. in that case. Brown: Oh, so you're a Jr.? DeJohnette: Yeah, I'm a Jr. Brown: No middle name? DeJohnette: No. Brown: And do you know where your parents are originally from? DeJohnette: Yeah, my mother was from Lionel, Georgia. My father was from Oak Ridge, Louisiana. Brown: And did they meet and marry in Chicago, do you know anything about that? DeJohnette: Mm-hmm. -
Jeff Lynne, Bev Bevan, Roy Wood, and Richard Tandy (Clockwise from Top Left), 1972
Jeff Lynne, Bev Bevan, Roy Wood, and Richard Tandy (clockwise from top left), 1972 2828 PERFORMERS THEY ASSIMILATE DIVERSE MUSICAL ELEMENTS AND EPOCHS ELOINTO A SEAMLESS POP WHOLE. BY PARKE PUTERBAUGH Imagine a marriage of tuneful, rocking pop songs with instruments from the symphonic realm, and you’ve got the blueprint for what made ELO one of the most popular groups of the 1970s and beyond. Jeff Lynne, ELO’s vocalist, guitarist, songwriter, co founder, and frontman, conceived of a rarefied musical sphere in which cellos coexisted with guitars, and where classically tinged progressive rock intersected with hook-filled, radio-friendly pop. The result: ELO’s boundary-breaking approach to rock that resonated with a global audience, both as a pop singles act and as album-oriented rockers with deep-track appeal. ELO can variously be described as a Beatles-esque pop band, a classic rock band, a classical- rock band, and an act whose sprightliest hits filled dance floors. 29 Bevan, Lynne, and Wood (from left) during ELO’s performance on the U.K.’s Top of the Pops, 1972 It takes a rare talent to achieve the success Lynne pool and London, but a few of the local “Brum Beat” has had with a band that included two cellos and a bands – notably the Moody Blues and the Spencer Davis violin along with a conventional array of guitar, key- Group – made significant impact beyond the city’s bor- boards, bass, and drums: ELO landed twenty songs in ders. In 1966, after stints in the Andicaps and the Chads, the U.S. -
Smash Hits Volume 12
'f m r ll y S^HGIMG 1^ BOVSVCEEPbo-i. ^^^"^.ords inside) jlJJSSS ! i ; it »dont*" ;;i.> '. ,i * ' twice j C?o^us '•"*''' -il''' ^^ ••"» . .- t * .d UP 1 w \\l\ ) all revveo :; ' ' ,•' 1 f words p^'roducedbVP , ;:^ Mus'C- oval :: v*an*^° :. don't -;- I 1' » "" - - «P - revved - ,tt :" :: . 1 ' i'! -. you" ; ; ^ :_, ] j 1 - _ 1 '"- 1- ' 1 1 ^ \:\ : V ' ' 1. 2 SMASH HITS pages i\3ve VS^OV pages Ae/^'^ ceo^^' ^^ ?ag®S Ops.xarts page . ' \ 1 •^\ :0^0! ^o^ ^ _; \ le'^J}^ w/ ;vo^ ^ > ; -- / (->'' ^^ifi^^^kx.!-,v--^.4^.w SMASH HITS 3 >^\'>x-,?V:T'Vc?7'.'>i ^'^ll ll//.UV/> V>^^ i'/« '//: C-^v- r. /. A ai-/ '''"^''.^1^^^:?;^V X X 7=?- ',i^-/ '/Avx-^ 3. t^-o*' >v^- ^"4 7 ,,rf»'' t'(r ..nvv'^xN//;.-^ 'V' = ^v':-?i\\«^^ •'Ill "•:$\\ ^ ^'i/<: ^ ^' :;:.»»- -^ ,.-^] 'w <**^ \\=>~-l >»'xii >^ '^/, \y//^ i\y, ''^m-' ^MMi#?^#^fv]'f/^ :*.\\; mmmmmm^Mmm// 1-<> ^ \'ll^<< \V=:,;\'t^^^ifi^is:^M»fi^-i|\>,VC-iS (<'/^/X=>>V:^\\V>' ==//»rrr^v//- iW^ii^ miy. »s^'^i]\xm^^'^"•//iK „ By David Bowie onw\RCA Records Heaven loves ya The clouds part for ya Nothing stands In your way Wt/S^ ^IhhH^^^H^H^ When you're a boy HH^^ ^..^—^^^^ 1^ Clothes always fit ya Life is a pop of the c^erry ^^^ JmM^^Hl^ jsfsf SH^^^k When.you're a ' '^^^adi^H boy „ ;'''i -'p: ^^^^^^^k ' ERST ^ ""''' A < "''^ ^HffiBilJBH^BB^^M When you're a boy • ;SMk You can wear a uniform 4P sH ° When you're a boy ^^^H Other ^^I^HB boys check you out You get a girl These are your favourite things When you're a boy "^ ^n^^^^^^^^^l^^^^S^^^S Chorus Roys ^^ Boys ' „ Boys keep swinging H^^Bp ^if ^i^fl , Boys always work it out ' ^HkH '" Uncage the colours Unfurl the flag Luck just kissed you hello B|;.:'.L When you're a boy They'll never clone ya You're always first on the line When you're a boy When you're a boy You can buy a home of your own When you're a boy Learn to drive and everything You'll get your share When you're a boy Repeat chorus Words 3nd music by David Bowie and Brian Eno. -
The ELO Story
The ELO Story Jeff Lynne was born in industrial Birmingham, England, on December 30, 1947. He grew up in the then- new Shard End City Council housing estate, a high-density residential development built on the eastern edge of the city right after the Second World War, with his parents Philip and Nancy.1 He had a brother and two sisters.2 Lynne’s grandparents in his father’s side were vaudevillian performers.3 More than thirty years later, Lynne would pay tribute to his birthplace in the ELO song “All Over the World,” which mentions Shard End alongside other cities like London, Paris, Amsterdam, Rio de Janiero, and Tokyo. Lynne was a Brummie, a nickname for those blessed with the notoriously thick local Birmingham accent.4 Brummie is shorthand for Brummagem, the popular West Midlands way of pronouncing Birmingham.5 Brummie also has an unfortunate alternative dictionary definition: “counterfeit, cheap, and showy.”6 The accent, which not everyone in the city shares, has even been described as representing the least intelligent dialect in the British Isles.7 Lynne grew up listening to Del Shannon, Roy Orbison,8 Chuck Berry, and The Shadows records.9 His parents did not always approve. About Roy Orbison’s “Only the Lonely” playing on the radio, Jeff said “[t]hey were complaining that it was too sexy, or something, but that voice just made the hairs go up on my neck.”10 At age thirteen, Lynne attended a concert by Del Shannon at Birmingham Town Hall, and from that point on dedicated his life to music.11 He noticed immediately that live performances -
Ad Jeff Lynne Been Merely a Great Bandleader, Singer/Songwriter, Multi-Instrumentalist, Or Producer, His Place in the Pop Pantheon Would Be Secure
40 Years Str angeof MagıBc ad Jeff Lynne been merely a great bandleader, singer/songwriter, multi-instrumentalist, or producer, his place in the pop pantheon would be secure. But Lynne has excelled in all those areas, crafting four decades of great rock music Hdistinguished by irrepressible hooks, manic energy, and glorious production. Lynne grew up in Birmingham, England, where he made a splash as guitarist/vocalist and producer/songwriter for the Idle Race in the late ‘60s. In 1970, he joined the great British cult band Move, where he co-produced, wrote songs, sang, played guitar and keyboards. The same year, he co-founded the Electric Light Orchestra with Move bandleader Roy Wood. When Wood left to form a new group, Lynne assumed control of E.L.O., writing, producing, and singing hit after hit throughout the decade. Even today, it’s hard not to be bowled over by the impact and innovation of “Evil Woman,” “Mr. Blue Sky,” or “Strange Magic,” a song whose title perfectly summarizes the Lynne mystique. As E.L.O. wound down in the ’80s, Lynne was contacted by George Harrison to work with him on his album Cloud Nine . “We became great friends, and I had the greatest of times doing that album”, says Lynne. “It was while we were mak - ing the album that George suggested we should form a group. And to this day, George and me are the founding mem - bers of the Traveling Wilburys. A group I’m very proud to be in.” In 1990, Lynne unveiled his only solo album, Armchair Theatre , which was critically acclaimed. -
The Shakin' Street Gazette, Volume 5
State University of New York College at Buffalo - Buffalo State College Digital Commons at Buffalo State Shakin Street Gazette, Student Music Magazine Buffalo State Archives: History of the College 12-15-1973 The Shakin' Street Gazette, Volume 5 The Shakin' Street Gazette Follow this and additional works at: https://digitalcommons.buffalostate.edu/shakinstreet Part of the History Commons Recommended Citation The Shakin' Street Gazette, "The Shakin' Street Gazette, Volume 5" (1973). Shakin Street Gazette, Student Music Magazine. 5. https://digitalcommons.buffalostate.edu/shakinstreet/5 This Book is brought to you for free and open access by the Buffalo State Archives: History of the College at Digital Commons at Buffalo State. It has been accepted for inclusion in Shakin Street Gazette, Student Music Magazine by an authorized administrator of Digital Commons at Buffalo State. For more information, please contact [email protected]. \. MICHAEL SAJECKI; / ALBUMS: 1) Tubular Bells-Mick Oldfield (Virgin/Atlantic) , 2) Quadr~phenia-The Who (MCA) 3) Berlin-Lou Reed (RCA) _ 4) Six Wives of Henry.VIII-Rick Wakeman (A & M) 5) Dark Side of the Moon-Pink Floyd (Harvest/Capital) 6) Tyranny and Mutation-Blue Oyster Cult (Columbia) . -·-··· ·-------· bye-bye ' Volume One· Number Five 7) Mott-Mott the Hoople (Columbia) · 8) Stealer's Wheel-Stealer's Wheel (A & M) 9) Grand Hotel-Procul Harum (Chrysal1s/Warners) Shakin Street Self·Indulgence Issue 10) TIE Larks Tongue in Aspic:King Crimson SELF-INDULGENCE Probably the worst example of self-indulgence is right here. Desperado-The. Eagles ~owie did it. Bryan Ferry did it. Elton John did it. Climax The Shakin' St.