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I Can Hear Music
5 I CAN HEAR MUSIC 1969–1970 “Aquarius,” “Let the Sunshine In” » The 5th Dimension “Crimson and Clover” » Tommy James and the Shondells “Get Back,” “Come Together” » The Beatles “Honky Tonk Women” » Rolling Stones “Everyday People” » Sly and the Family Stone “Proud Mary,” “Born on the Bayou,” “Bad Moon Rising,” “Green River,” “Traveling Band” » Creedence Clearwater Revival “In-a-Gadda-Da-Vida” » Iron Butterfly “Mama Told Me Not to Come” » Three Dog Night “All Right Now” » Free “Evil Ways” » Santanaproof “Ride Captain Ride” » Blues Image Songs! The entire Gainesville music scene was built around songs: Top Forty songs on the radio, songs on albums, original songs performed on stage by bands and other musical ensembles. The late sixties was a golden age of rock and pop music and the rise of the rock band as a musical entity. As the counterculture marched for equal rights and against the war in Vietnam, a sonic revolution was occurring in the recording studio and on the concert stage. New sounds were being created through multitrack recording techniques, and record producers such as Phil Spector and George Martin became integral parts of the creative process. Musicians expanded their sonic palette by experimenting with the sounds of sitar, and through sound-modifying electronic ef- fects such as the wah-wah pedal, fuzz tone, and the Echoplex tape-de- lay unit, as well as a variety of new electronic keyboard instruments and synthesizers. The sound of every musical instrument contributed toward the overall sound of a performance or recording, and bands were begin- ning to expand beyond the core of drums, bass, and a couple guitars. -
Alert Residents Help Police Apprehend Suspect
SATURDAY, AUGUST 22, 2015 VOLUME 9 NO. 34 ALERT RESIDENTS HELP POLICE APPREHEND SUSPECT AND STOP ATTEMPTED BURGLARY - “See Something, Say Something” Helps With fires raging throughout made as to why his probation/ From The Sierra Madre the state, the fear is very real parole has not been revoked Police Department: that the next fire might very with this arrest. well be right in our backyard. On Monday 8/17, Sierra Madre Officers were informed of two REMEMBERING In the last 30 days, there have residential burglaries that two attempts to set the hills both occurred during the CAPT. MORRISON above Sierra Madre ablaze. hours of 8 am and 3 pm, both The first attempt was a fire set Please join our community in being next door neighbors on as part of a suicide. The fire Monterey Ln. Both homes were a celebration of Captain Chris was controlled by the SMVFD Morrison’s life. ransacked and estimated total before it could spread. The loss of value over thousands of A celebration of Chris’s life second attempt was discovered dollars. A nearby neighbor was will be held @ the Memorial before any fire could be lit. informed by a housekeeper Park band shell Sat. Aug. 22nd that she noticed a DARK @ 5:30 pm (222 Sierra Madre On Saturday, the Arcadia colored SUV parked near one A Vehicle similar to this was spotted by alert neighbors Boulevard, Sierra Madre). Police Department issued the of the victim's homes. to locate the vehicle. Pasadena. following statement: “Arcadia Bring blankets, chairs, & Police responded to the call In response to recent events, Shortly after, Arcadia Police Sierra Madre PD would like a picnic supper. -
The Impressions, Circa 1960: Clockwise from Top: Fred Cash, Richard Brooks> Curtis Mayfield, Arthur Brooks, and Sam (Pooden
The Impressions, circa 1960: Clockwise from top: Fred Cash, Richard Brooks> Curtis Mayfield, Arthur Brooks, and Sam (Pooden. Inset: Original lead singer Jerry Butler. PERFORMERS Curtis Mayfield and the Impressions BY J O E M cE W E N from the union of two friends, Jerry Butler and Curtis Mayfield of Chicago, Illinois. The two had sung together in church as adolescents, and had traveled with the Northern Jubilee Gospel Singers and the Traveling Souls Spiritual Church. It was Butler who con vinced his friend Mayfield to leave his own struggling group, the Alfatones, and join him, Sam Gooden, and brothers Richard and Arthur Brooks— the remnants of another strug gling vocal group called the Roosters. According to legend, an impressive performance at Major Lance, Walter Jackson, and Jan Bradley; he also a Chicago fashion show brought the quintet to the at wrote music that seemed to speak for the entire civil tention of Falcon Records, and their debut single was rights movement. A succession of singles that began in recorded shortly thereafter. “For Your 1964 with “Keep On Pushing” and Precious Love” by “The Impressions SELECTED the moody masterpiece “People Get featuring Jerry Butler” (as the label DISCOGRAPHY Ready” stretched through such exu read) was dominated by Butler’s reso berant wellsprings of inspiration as nant baritone lead, while Mayfield’s For Your Precious Love.......................... Impressions “We’re A Winner” and Mayfield solo (July 1958, Falcon-Abner) fragile tenor wailed innocently in the recordings like “(Don’t Worry) If background. Several follow-ups He Will Break Your Heart......................Jerry Butler There’s A Hell Below We’re All Going (October 1960, Veejay) failed, Butler left to pursue a solo ca To Go” and “Move On Up,” placing reer, and the Impressions floundered. -
United States Patent (19) 11 Patent Number: 4,480,758 Hurt Et Al
United States Patent (19) 11 Patent Number: 4,480,758 Hurt et al. 45) Date of Patent: Nov. 6, 1984 (54) RAILWAY COUPLER ARRANGEMENT FOREIGN PATENT DOCUMENTS 75) Inventors: Alvin G. Hurt, Pittsburgh; Lynn K. 1066058 6/1954 France .................................... 213/7 Tilly, Allison Park, both of Pa. 1029368 5/1966 United Kingdom .................. 231/50 73 Assignee: McConway & Torley Corporation, Pittsburgh, Pa. Primary Examiner-Randolph Resse Attorney, Agent, or Firm-Thomas H. Murray; Clifford 21 Appl. No.: 438,581 A. Poff 22 Filed: Nov. 3, 1982 57 ABSTRACT 51 Int. Cl. ................................................ B61G 7/10 A railway coupler arrangement which eliminates the 52 U.S. Cl. .......................................... 213/54; 213/7; conventional yoke strap, thereby enabling a larger draft 213/59; 213/66 gear to be employed in the coupling without increasing 58 Field of Search ................... 213/7, 50, 51, 54,58, the overall size of the sill. The invention also provides a 213/59, 62 A, 64, 66, 8 novel assembly for facilitating a rotary coupler arrange (56) References Cited ment in which the diameter of the rotary shank can be U.S. PATENT DOCUMENTS increased over prior art rotary butt couplers. 3,559,818 - 2/1971 Knippel et al.................... 213/54 X 3,583,573 6/1971 Knippel et al.................... 213/54 X 5 Claims, 10 Drawing Figures 52 56 - 2 NNNNNNNNNNNNNNNanaYaNNNNNannaSSSNNNNNNNNNNNNNNNNNNNNNNNNNN z2.Ét N 214724 / N % Nitz, Z / t f 8 6 22 64 W 2 w is2ZZ2 N N al Sasa NaNN NaSNSSNYSSAYSSYNNYanaaaaSNYSSSSSSNYNEKYZZzzzzzzzzzzz 42 28 54 58 U.S. Patent Nov. 6, 1984 Sheet 2 of 3 4,480,758 Z ZZZZ 29 ----\• NØSSSSSSSSSSSSRSÈS <<<<<<<<<<<<<<<<<<<<<<<<<?<<?<<<<<<SSSSSSSSSSSSSSSSSSSSSSO?yZZZZZZZZZZZZZZZZZZZZ?íT?No.;22·~--~|(`` 99, 4,480,758 1. -
Biography and Film of His Life
Phil Upchurch 1 A prolific guitarist whose distinctively funky, blues-steeped jazz style has graced well over a thousand recordings across the popular music spectrum, the legendary Phil Upchurch has also recorded 27 albums of his own leadership, as well as movie soundtracks. Jazz enthusiasts love and respect Phil Upchurch for his singular approach to composition. In developing his sound, Phil demonstrates no allegiance to any of his contemporaries and is indisputably one of the best in his field. He goes from classical to jazz to contemporary funk as easy as walking from one room to another. He is also an amazing electric bassist. In honor of Upchurch’s instrumental mastery, D’Angelico Guitars is soon to release a Second Edition of his signature Phil Upchurch Guitar. Adding to his media profile is Phil’s newfound second career as a fresh face for television advertising. Phil's most recent on-camera commercials have been Secured Horizon, "AARP," Tropicana and Verizon Wireless. He also has had, Cameo filmappearances in, “His Eyes Are Watching God” and White Men Can’t Jump” to name a few. Phil Upchurch has been a prominent figure in the blues, soul, R&B and jazz circles for more than 50 years. In addition to his work with the legendary Jimmy Smith, Upchurch has performed and recorded, in the United States and internationally, with some of the music industry’s biggest names. His talents have teamed him with musical legends such as Quincy Jones, Bob Dylan, Julio Iglesias, Ray Charles, Ramsey Lewis, Carmen McRae, George Benson, Donny Hathaway, Chaka Khan, Michael Jackson, Carmen McRae, Marlena Shaw, Eddie Harris, Brother Jack McDuff, Joe Williams, Stan Getz, Cannonball Adderley, Herbie Hancock, Grover Washington, Jr. -
David Liebman Papers and Sound Recordings BCA-041 Finding Aid Prepared by Amanda Axel
David Liebman papers and sound recordings BCA-041 Finding aid prepared by Amanda Axel This finding aid was produced using the Archivists' Toolkit November 30, 2018 Describing Archives: A Content Standard Berklee Archives Berklee College of Music 1140 Boylston St Boston, MA, 02215 617-747-8001 David Liebman papers and sound recordings BCA-041 Table of Contents Summary Information ................................................................................................................................. 3 Biographical/Historical note.......................................................................................................................... 4 Scope and Contents note............................................................................................................................... 4 Arrangement note...........................................................................................................................................4 Administrative Information .........................................................................................................................5 Controlled Access Headings..........................................................................................................................6 Collection Inventory...................................................................................................................................... 7 Scores and Charts................................................................................................................................... -
John Lee Hooker 1991.Pdf
PERFORMERS John Lee Hooker BY JOHN M I L W A R D H E BLUES ACCORDING TO John Lee Hooker is a propulsive drone of a guitar tuned to open G, a foot stomping out a beat that wouldn’t know how to quit, and a bear of a voice that knows its way around the woods. He plays big-city, big-beat blues born in the Mississippi Delta. Blame it on the boogie, and you’re blaming it on John Lee Hooker. Without the music of John Lee Hooker, Jim Morrison two dozen labels, creating one of the most confusing wouldn’t have known of crawling kingsnakes, and George discographies in blues history. Hooker employed such Thorogood wouldn’t have ordered up “One Bourbon, One pseudonyms as Texas Slim, Birmingham Sam, Delta John, Scotch, One Beer.” Van Morrison would not have influenced John Lee Booker, and Boogie Man. Most of his rhythm & generations of rock singers by personalizing the idiosyncratic blues hits appeared on Vee jay Records, including “Crawlin’ emotional landscape of Hooker’s fevered blues. Kingsnake,” "No Shoes,” and “Boom Boom”—John Lee’s sole Hooker inspired these and countless other boogie chil entry on the pop singles chart, in 1962. dren with blues that don’t In the late ’50s, Hooker adhere to a strict 12-bar T H E BLUES ALONE found a whole new audience structure, but move in re Detroit businessman Bernard Besman (in partnership with club owner Lee among the white fans of the sponse to the singer’s singu Sensation) issued John Lee Hooker’s first records in 1948 on the Sensation la folk revival. -
Founder, Executive Director Emeritus Passes at 99
A-6 A-2 LASENTINEL.NETLOS ANGELES SENTINEL BUSINESSNEWS THURSDAY,THURSDAY,JANUARY OCTOBER 12, 9, 2017 2014 Robertson There is now an app that gives away items for free and lets you ‘Claim It!’. (courtesy photo) app users to promote their giveaway game, where restaurants. Claim It! has own business. Not only can someone can say, 'for the something for everyone, the app users claim free next five minutes, you can and best of all, it's free. items, but they can give enter for a chance for a free "We truly built a out free items to promote car.' It's very exciting." platform that benefits the their brand with just a few The companies on users and we made it fun clicks. Claim It! range from up- and social, from reaching "Anyone could give to and-coming brands to customers to just wanting share or to promote in a some really big names. to help someone," said very social media way. You There are giveaways from Abdullah. can even upload 15 second companies, including Foot Claim It! Is gearing up videos of what you want Locker, Home Depot, for a 11-city college tour to give away and make and Ford and there are this month that will go all it fun and exciting," said also event giveaways over the country. For more Abdullah. "We also have from World Wrestling information on the app and a new countdown feature Entertainment and free getting some free stuff, that changes the virtual appetizers at your favorite visit claimitapp.com PHOTO SHERYL HUGGINS Ali Abdullah, Inventor of Claim It! phone application. -
Pay for Play
Pay for play Why does radio suck? Because most stations play only the songs the record companies pay them to. And things are going to get worse. By Eric Boehlert March 14, 2001 | Does radio seem bad these days? Do all the hits sound the same, all the stars seem like cookie cutouts of one another? It's because they do, and they are. Why? Listeners may not realize it, but radio today is largely bought by the record companies. Most rock and Top 40 stations get paid to play the songs they spin by the companies that manufacture the records. But it's not payola -- exactly. Here's how it works. Standing between the record companies and the radio stations is a legendary team of industry players called independent record promoters, or "indies." The indies are the shadowy middlemen record companies will pay hundreds of millions of dollars to this year to get songs played on the radio. Indies align themselves with certain radio stations by promising the stations "promotional payments" in the six figures. Then, every time the radio station adds a Shaggy or Madonna or Janet Jackson song to its playlist, the indie gets paid by the record label. Indies are not the guys U2 or Destiny's Child thanked on Grammys night, but everyone in the business, artists included, understands that the indies make or break careers. "It's a big fucking mudball," complains one radio veteran. At first glance, the indies are just the people who grease the gears in a typical mechanism connecting wholesaler with retailer. -
DIRTY LITTLE SECRETS of the RECORD BUSINESS
DIRTY BUSINESS/MUSIC DIRTY $24.95 (CAN $33.95) “An accurate and well-researched exposé of the surreptitious, undisclosed, W hat happened to the record business? and covert activities of the music industry. Hank Bordowitz spares no It used to be wildly successful, selling LI one while exposing every aspect of the business.” LI outstanding music that showcased the T producer of Talking Heads, T performer’s creativity and individuality. TLE SE —Tony Bongiovi, TLE Aerosmith, and the Ramones Now it’s in rapid decline, and the best music lies buried under the swill. “This is the book that any one of us who once did time in the music SE business for more than fifteen minutes and are now out of the life wish This unprecedented book answers this CR we had written. We who lie awake at nights mentally washing our hands CR question with a detailed examination LITTLE of how the record business fouled its as assiduously yet with as much success as Lady Macbeth have a voice DIRTYLITTLE ET DIRTY in Hank Bordowitz. Now I have a big book that I can throw at the ET own livelihood—through shortsighted- S liars, the cheats, and the bastards who have fooled me twice.” S ness, stubbornness, power plays, sloth, and outright greed. Dirty Little Secrets o —Hugo Burnham, drummer for Gang of Four, o f of the Record Business takes you on a former manager and major-label A&R executive f the the hard-headed tour through the corridors ofof thethe of the major labels and rides the waves “Nobody should ever even think about signing any kind of music industry SECRSECRETSETS contract without reading this book. -
Racks in Price Confab;
I,Spotlighted in this issue 08120 AUGUST 26, 1972 $1.25 A BILLBOARD PUBLICATION SEVENTY -EIGHTH YEAR The International Music -Record Tape Newsweekly TAPE /AUDIO /VIDEO PAGE 38 HOT 100 PAGE 78 i O ® TOP LP'S PAGES 80, 82 Ist U.S. Anti - Racks In Price Confab; NATRA Calls Piracy Arrest For Expert WASHINGTON - The Justice Discuss RIAA Survey Department made a historic first arrest last week for anti -piracy By PAUL ACKERMAN and EARL PAIGE violation in connection with its own 'Job Bank' prosecution of record bootlegging NEW YORK-Key rackjobbers, pany), David Lieberman, Norman what, if anything, can be done by of post -Feb. 15, copyrighted rec- seeking an answer to narrower Hausfater, Milt Salstone, David the rackjobbers to counteract the By RADCLIFFE JOE ords (Billboard, Aug. 19). The ar- profit margins resulting from price Press, Jesse Selter and others, in- price schedules, it was revealed at increases imposed by manufactur- cluding Jules Malamud, NARM PHILADELPHIA-There is a rest, made in Marietta, Ga., in- that the Rec- movement among a fac- volved an order for stamper plates ers, convened for an exploratory executive director. Malamud re- the Chicago meeting growing ord r y Association of members for the Bill rap session Wednesday (9) at the cently issued a statement terming Indust tion of NATRA to master Withers' album hit, America a survey a job bank from "Still Bill," on Sussex label. Regency O'Hare Hyatt House in the manufacturers' moves a back- had completed establishment of Chicago. ward step. His comments followed of its membership's views with re- which personnel from various areas Justice spokesman said the al- what thought the industry could leged violator was Walter Ronald Present were the creme de la closely on the heels of statements gard to they of of the broadcast was creme of the rackjobber segment in Billboard by Heilicher, Norman NARM convention and manufac- be culled when employment op- Matthews, who apprehended therein. -
Guide to the Sue Cassidy Clark Collection
Columbia College Chicago Digital Commons @ Columbia College Chicago CBMR Collection Guides / Finding Aids Center for Black Music Research 2020 Guide to the Sue Cassidy Clark Collection Columbia College Chicago Follow this and additional works at: https://digitalcommons.colum.edu/cmbr_guides Part of the History Commons, and the Music Commons Columbia COL L EGE CHICAG, 0 CENTER FOR BLACK MUSIC RESEARCH COLLECTION The Sue Cassidy Clark Collection, 1948-1999 EXTENT Papers: 36 boxes, 25.5 linear feet COLLECTION SUMMARY Sue Cassidy Clark was a music journalist and photographer who specialized in soul, gospel, and rock music in the late 1960s and early 1970s. The Sue Cassidy Clark papers include Clark's recorded interviews, interview transcripts, photographs, published articles, correspondence, handwritten notes, clippings, promotional print material, and commercial sound recordings. PROCESSING INFORMATION Processed by CLIR funded Black Metropolis Research Consortium “Color Curtain Processing Project.” By T.J. Szafranski and Dominique Fuqua, September 26, 2012 BIOGRAPHICAL NOTE Sue Cassidy Clark was a music journalist and photographer who specialized in soul, gospel, and rock music in the late 1960s and early 1970s. She authored the books Rock: A World Bold as Love (Cowles, 1970) and The Superstars: In Their Own Words (Music Sales, 1972), and she contributed articles and record reviews to several periodicals, including Billboard, Black Stars, Creem, Hit Parader, Rolling Stone, Rock, Soul Illustrated, and Soul Sounds. SCOPE & CONTENT/COLLECTION DESCRIPTION The collection includes recorded interviews that Clark conducted with significant and influential African-American musicians, typed transcriptions of many of these interviews, copies of published articles, photographs, many of which were taken by Clark, correspondence, handwritten notes, research material (including clippings and promotional print material), and her collection of recordings.