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Wilder Charakter Blackheart Sassafras Herbst-Ltds Blackwood 500Er Voll-Koa 300Er & GS Mini
Wilder Charakter Blackheart Sassafras Herbst-LTDs Blackwood 500er Voll-Koa 300er & GS Mini 40 Taylor-Innovationen Warum man mit Verstärker spielen sollte Zeit für einen Saitenwechsel 2 www.taylorguitars.com | Sommerausgabe]. Ich war von 1984 12 hatte ich mal Klavierunterricht gehabt, sofort, dass sich die Basswiedergabe AUSGABE 80 herbst 2014 bis 1988 der Fahrer von Prince. Auch aber als ich die Mädchen entdeckte, war der A- und E-Saite massiv verschlechtert Leserbriefe auf der Purple Rain-Tour war ich dabei. es mit meiner angehenden Musikkarriere hatte. Ich war niedergeschmettert. Die Mir wurde ein umgebauter schwarzer am Ende. Ein langjähriger Freund vom Gitarre klang nicht mehr wie eine Taylor. > IN DIESER AUSGABE < Besuchen Sie uns auf Facebook. Abonnieren Sie uns auf YouTube. Folgen Sie uns auf Twitter: @taylorguitars Transporter zugeteilt, um Prince zu Hot Licks Guitar Shop verkauft Taylor- Außerdem war nicht mehr viel vom Steg den klanglichen Verbesserungen, von fahren. Als ich mir den Wagen ansah, Gitarren. Er war überzeugt davon, dass übrig, und die Justierung hatte einen den strahlenden Höhen bis zu den stieß ich auf einen Gitarrenkoffer. Ich ich noch was lernen kann. Also kaufte dämpfenden Effekt auf das Sustain der tiefen, artikulierten Bässen, rockt es spiele selbst Gitarre, weshalb ich ich eine 518e, und ich liebe ihren Klang. tiefen E-Saite. Es fehlten die starken mit dieser Gitarre viel besser, und ich neugierig war. Ich sah an der Seite Inzwischen sieht mein Zuhause aus wie Bass-Schwingungen, die ich zu hören muss sie nicht missbrauchen, um die den Taylor-Schriftzug, aber ich muss eine Taylor-Ausstellung. Jedes Modell ist und fühlen gewöhnt war. -
Issue 412 CMA Remakes Remotes Calling Something “Unprecedented” Is, in Rare Instances, Actually Not Hyperbole
September 2, 2014, Issue 412 CMA Remakes Remotes Calling something “unprecedented” is, in rare instances, actually not hyperbole. And so it is with the new, all-inclusive model being adopted for the annual CMA Radio Remotes, long part of an exclusive audio rights deal held by Clear Channel-owned Premiere Radio Networks and now being brought in-house by CMA. The upshot? “It’s going to create probably the biggest coalition of companies, stations and reach ever assembled – all focused on driving tune-in to a live event on network television,” says Cumulus Co-COO/EVP John Dickey, a member of CMA’s Radio Committee. “It’s going to be huge.” Guardians Of The Galaxy: Reinventing the remotes started roughly a year ago. “We wanted to try to get greater representation from all the radio groups involved,” says Entercom Bryan’s Den: Industry folks gather in Chicago Sunday (8/31) VP/Country Mike Moore, who chairs the committee. “Premiere for Luke Bryan’s That’s My Kind Of Night Tour stop. Pictured (l-r) are Capitol’s Ashley Laws, UMGN’s Shane Allen, WUSN/ has done a wonderful job over the years, but that agreement was Chicago’s Liz Geerling, UMGN’s Katie Dean, WUSN’s Marci coming to an end, so it seemed logical to revisit how we do things Braun, Bryan, WUSN’s Jeff Kapugi and wife Laurie, Capitol’s and discuss how we should proceed going forward. Steve Hodges, WMIL/Milwaukee’s Kerry Wolfe, Capitol’s “You’ve got to deal with the fact that you’ve got some large Brent Jones, UMGN’s Royce Risser and Country Aircheck’s participants now,” Moore continues. -
April 20, 2015, Issue 444
April 20, 2015, Issue 444 Roam Team Advantage: B&R/New Revolution’s Big Kenny and John Rich congratulate 2015 ACM Broadcast Personalities of the Year at the off-camera awards reception Saturday afternoon at Globe Life Park’s Jack Daniel’s Club in Arlington, TX. Pictured (l-r) are: WUSY/ Chattanooga’s Gator Harrison, Cowboy Kyle and Styckman; KXKT/Omaha’s Steve Lundy and Gina Melton; Big D & Bubba’s Patrick Thomas, Big D and Bubba; WUSN/Chicago’s Lisa Dent and Ramblin’ Ray; and WUBE/Cincinnati’s Stattman, Chelsie and Big Dave. Below, Big & Rich hand hat awards for Station of the Year to WWKA/Orlando’s Drew Bland; KCLR/Columbia, MO’s Jamie Mac and Cara; WQMX/Akron’s Jody Wheatley and Sue Wilson; WWKA’s Ashley and AJ; and WUSN/Chicago’s Jeff Kapugi, Ramblin’ Ray and Lisa Dent. ©2015 Country Aircheck™ — All rights reserved. Sign up free at www.countryaircheck.com. Send news to [email protected] April 20, 2015 Page 4 ACMs Take Texas … & The Cake A good mix of country eras, a fast pace ... and could some- one please tell the winners where to look? Country Aircheck got the consensus on last night’s (4/19) 50th ACM Awards from some folks in radio. KFDI/Wichita APD Carol Hughes: I about fell off my sofa when they opened the show with “Pledge Allegiance To The Hag.” They included songs that would never be on an awards show. Jason Aldean’s medley was fantastic. I loved the Milestone Awards. Those artists were not just brought onstage as a courtesy but they were showcased in a wonderful way and given a huge spotlight to show just why they were Milestone winners. -
THE MUSICAL FEATURES of 2015'S TOP-RANKED COUNTRY SONGS
THE MUSICAL FEATURES OF 2015’s TOP-RANKED COUNTRY SONGS By Mason Taylor Allen Senior Honors Thesis Department of Music University of North Carolina at Chapel Hill April 22, 2016 Approved: Dr. Jocelyn R. Neal, Thesis Advisor Dr. Allen Anderson, Reader Dr. Andrea Bohlman, Reader © 2016 Mason Taylor Allen ALL RIGHTS RESERVED ii ABSTRACT Mason Taylor Allen: The Musical Features of 2015’s Top-Ranked Country Songs Under the direction of Dr. Jocelyn R. Neal The 2015 top-ten country songs analyzed in this study are characterized by the various formats of their song form, harmonies, and lyrics. This thesis presents a comprehensive study of the structure and narratives in sixty-seven songs that summarizes the distinctive features within those domains of contemporary commercial country music. A detailed description of the norm along with identifiable trends emerges. The song form that features most prominently in this repertory includes a verse-chorus-bridge form with three iterations of the chorus, an intro and outro section, and instrumental sections immediately following each chorus. The top-ten country songs have varying degrees of departure from this typical model. Primary features of the harmonies of these top songs include the frequent use of a double-tonic complex, the absence of a 5-1 authentic cadence, the same chord progression throughout the verse, chorus, and bridge, and the use of only two chords throughout the song. Lyrical analyses show that 2015 songs are continuing the traditional themes about romantic attraction, love, heartache, good times and partying, home, family, nostalgia, religion, and inspiration, within the context of small-town country life that this genre has used for years. -