Dedicalion Ceremony
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Neg(Oti)Ating Fusion: Steely Dan's Generic Irony by Ethan Krajewski A
Neg(oti)ating Fusion: Steely Dan’s Generic Irony by Ethan Krajewski A thesis presented for the B.A. degree with Honors in The Department of English University of Michigan Winter 2018 © 2018 Ethan Patrick Krajewski To my parents for music and language Acknowledgements My biggest thanks go to my advisor, Professor Julian Levinson, as a teacher, mentor, and friend, for helping me think, talk, write, and (most importantly, I think) laugh about seventies rock music. You’ve helped make this project fun in all of its rigor and relaxed despite all of the stress that it’s caused. I’d also like to thank Professor Gillian White for leading our cohort toward discipline, and for keeping us all grounded. Also for her spirited conversations and anecdotes, which proved invaluable in the early stages of my thinking. I wouldn’t be here writing this if it weren’t for Professor Supriya Nair, who pushed me to apply for the program and helped me develop the intellectual curiosity that led to this project. The same goes for Gina Brandolino, who I count among my most important teachers and role models. To the cohort: thank you for all of your help over the course of the year. You’re all so smart, and so kind, and I wish you all nothing but the best. To Ashley: if you aren’t the best non-professional line editor at large in the world, then you’re at least second or third. I mean it sincerely when I say that this project would be infinitely worse without your guidance. -
Steely Dan Greatest Hits Mp3, Flac, Wma
Steely Dan Greatest Hits mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock Album: Greatest Hits Country: Australia Style: Classic Rock MP3 version RAR size: 1672 mb FLAC version RAR size: 1746 mb WMA version RAR size: 1803 mb Rating: 4.7 Votes: 718 Other Formats: MP3 AAC AU MP4 AA AHX WMA Tracklist Hide Credits Do It Again A1 5:50 Written-By – Donald Fagen, Walter Becker Reeling In The Years A2 4:35 Written-By – Donald Fagen, Walter Becker My Old School A3 5:45 Written-By – Donald Fagen, Walter Becker Bodhisattva A4 5:18 Written-By – Donald Fagen, Walter Becker Show Biz Kids B1 5:21 Written-By – Donald Fagen, Walter Becker East St. Louis Toodle-Oo B2 2:46 Written-By – Bubber Miley, Duke Ellington Rikki Don't Lose That Number B3 4:34 Written-By – Donald Fagen, Walter Becker Pretzel Logic B4 4:30 Written-By – Donald Fagen, Walter Becker Any Major Dude B5 3:06 Written-By – Donald Fagen, Walter Becker Here At The Western World C1 4:00 Written-By – Donald Fagen, Walter Becker Black Friday C2 3:39 Written-By – Donald Fagen, Walter Becker Bad Sneakers C3 3:16 Written-By – Donald Fagen, Walter Becker Doctor Wu C4 3:53 Written-By – Donald Fagen, Walter Becker Haitian Divorce C5 5:48 Written-By – Donald Fagen, Walter Becker Kid Charlemagne D1 4:38 Written-By – Donald Fagen, Walter Becker The Fez D2 3:54 Written-By – Donald Fagen, Paul Griffin, Walter Becker Peg D3 3:54 Written-By – Donald Fagen, Walter Becker Josie D4 4:30 Written-By – Donald Fagen, Walter Becker Companies, etc. -
Negus MQ 3 FINAL For
Narrative, Interpretation and the Popular Song Keith Negus FINAL VERSION submitted to Musical Quarterly February 2012 (prior to editing for publication). This text includes a minor amendment to acknowledge the passing of Walter Becker. For the published version go here – https://academic.oup.com/mq/article-abstract/95/2- 3/368/1009964?redirectedFrom=fulltext The text includes lyrics from Kid Charlemagne Words and Music by Walter Becker and Donald Fagen Copyright © 1976 UNIVERSAL MUSIC CORP. Copyright Renewed. All Rights Reserved. Used by Permission. Narrative, Interpretation and the Popular Song The value of narratives in human understanding of the world is widely recognized. The importance of narrative is apparent in varieties of everyday storytelling as well is in written fiction, drama, spectacle and ritual, visual art and film, architecture, legal proceedings, scientific reports and political theory, to provide a only partial list indicative of the range. Yet, the popular song - one of the most pervasive narrative forms that people encounter in their daily lives - has been almost entirely ignored in the vast literature on narrative.1 Whilst narratological methods have often featured in the interpretation of western art music2 and film music3, and although literary approaches to lyrics have sometimes emphasized a poetics of storytelling4, theories of narrative have rarely been foregrounded in the study of popular songs.5 In this article I will focus on narrative to explore practices of interpretation in both scholarship and everyday discussion about popular songs. I will emphasize the intersubjective interpretation of song meanings and advocate an “intercontextual” approach to the understanding of song narratives, drawing from research which emphasizes how our knowledge of the world is cumulative and always in a process of becoming through time. -
STEELY DAN - from Page 2 Thursday, July 25 Sunday, July 28 and the Americans a Few Months Later
-------------------- Calendar • Karaoke & DJs ------------------- STEELY DAN - From Page 2 Thursday, July 25 Sunday, July 28 and the Americans a few months later. Jay Black, the Jay of Jay and the Americans, called Becker and Fagen Starkweather and Manson. ANGOL A FORT WA YNE Skip’s Party Place — Rock Star Karaoke, 8 p.m. After Dark — Dance videos & karaoke, 9:30 p.m. That was in 1971. Later in 1971 in New York Becker and Fagen met AUBURN Checkerz Bar & Grill — American Idol Karaoke w/TJ, 7 p.m. the producer Gary Katz. When Katz got a job at ABC Records in Los 4 Crowns — Shotgun Prod. Karaoke, 10 p.m. Crooners Karaoke Bar — House KJ, 9 p.m. Angeles, he invited the duo to come along as songwriters. Attempts to Mimi’s Retreat — Karaoke, 8 p.m. Tycoon’s Cabaret and Grill — Shooting Star Prod. w/Nacho, 9 find a suitable band to perform their increasingly complex tunes failed, so FORT WA YNE p.m. Arena Bar & Grill — American Idol Karaoke w/Jay, 8 p.m. they put together a group of studio musicians, including Denny Dias and Crooners Karaoke Bar — House KJ, 9 p.m. Jeff “Skunk” Baxter on guitar, Jim Hodder on drums and David Palmer Deer Park Irish Pub — Bucca Karaoke w/Bucca, 10 p.m. Monday, July 29 Latch String Bar & Grill — Ambitious Blondes Ent., 10 p.m. on vocals. Katz produced, Becker played bass and Fagen played keys FORT WA YNE North Star Bar & Grill — Karaoke w/Michael Campbell, 8 p.m. and sang, reluctantly. (On a few songs Fagen’s voice reminds me of Al- After Dark — Karaoke, 10:30 p.m. -
John Anthony Martinez CHARLES RAINEY Music Inc
RHYTHM INTENSIVE WORKSHOPS & SEMINARS DALLAS• NASHVILLE• LOS ANGELES• LONDON• ARGENTINA Rhythm Intensive is presented by Chuck Rainey & John Anthony Martinez CHARLES RAINEY Music Inc. (CRM) has been a long RhythmWho Intensive® has assembledWe a teamAre of prominent established ASCAP publishing professionals in the music industry. You won’t find more company. In 1980, CRM was passionate and inspired music educators anywhere. Our created to umbrella Chuck Rainey’s faculty includes Grammy Award winners, college professors, Co-Founders intellectual creative song rights. The legendary artists, and other gurus. company also directs and manages Chuck Rainey’s seminars and workshops throughout the global community of organized music. JOHN A. MARTINEZ Our missionWhat is to empower every localWe musician andDo music Founder and CEO of Fingerfoot Music maker. The skills developed in this program are invaluable for Productions (FMP), has been a member of musicians,producers, promoters and just about anyone else ASCAP since 1999 and is a voting member involved in music. of the National Association of Recording Arts and Sciences (the Grammys). FMP is a music production company based in the Dallas/ Fort Worth area of Texas (USA), providing A Program That’s Right for You! songwriting, music and audio services to the These clinics include all the topics from our syllabus. We will music and media industries. In 2004, FMP work together to develop a program tailored to suit the needs joined forces with Singapore based Electric of your organizations. Muse, consultants and developers of original music and multimedia. &Previous Guest Speakers Instructors John Anthony Martinez, Chuck Rainey, Thomas Dolby, Foley, Kevin Brandino, Jerry Jemmott, Vail Johnson, Rod Taylor, Victor Wooten, Bobby Vega, Ed Friedland, Chester Thompson, Dr. -
Steely Dan the Royal Scam Mp3, Flac, Wma
Steely Dan The Royal Scam mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz / Rock Album: The Royal Scam Country: Netherlands Style: Fusion, Pop Rock, Soft Rock MP3 version RAR size: 1851 mb FLAC version RAR size: 1362 mb WMA version RAR size: 1179 mb Rating: 4.5 Votes: 579 Other Formats: WAV MP2 MPC DXD MIDI AU RA Tracklist Hide Credits A1 Kid Charlemagne 4:38 A2 The Caves Of Altamira 3:33 A3 Don't Take Me Alive 4:19 A4 Sign In Stranger 4:22 The Fez A5 3:59 Songwriter – Donald Fagen, Paul Griffin, Walter Becker B1 Green Earrings 4:05 B2 Haitian Divorce 5:50 B3 Everything You Did 3:54 B4 The Royal Scam 6:31 Companies, etc. Phonographic Copyright (p) – MCA Records, Inc. Copyright (c) – MCA Records, Inc. Engineered At – ABC Recording Studios Engineered At – A&R Studios Published By – Duchess Music Corp. Mastered At – MCA Whitney Recording Studios Credits Arranged By [Horns] – Chuck Findley, Donald Fagen, Walter Becker Art Direction, Design – Ed Caraeff Artwork [Cover Art] – Charlie Ganse, Zox Backing Vocals – Clydie King, Donald Fagen, Michael McDonald, Sherlie Matthews, Timothy B. Schmit, Venetta Fields Bass – Chuck Rainey, Walter Becker Drums – Bernard Purdie, Rick Marotta Engineer [A&R Studios] – Elliot Shiner* Engineer [ABC Studios] – Roger Nichols Engineer [Mix Down] – Barney Perkins, Roger Nichols Guitar – Dean Parks, Dennis Dias*, Elliott Randall, Larry Carlton, Walter Becker Horns – Bob Findley, Chuck Findley, Jim Horn, John Klemmer, Plas Johnson, Slyde Hyde Keyboards – Don Grolnick, Donald Fagen, Paul Griffin, Victor Feldman Lead Vocals – Donald Fagen Mastered By – Steve Hall Percussion – Gary Coleman, Victor Feldman Producer – Gary Katz Songwriter – Donald Fagen (tracks: A1 to A4, B1 to B4), Walter Becker (tracks: A1 to A4, B1 to B4) Notes on sleeve: (P) (C) 1976, MCA Records, Inc. -
Class Ax: Grammy-Winning Guitarist Larry Carlton Got His Start in Lomita
Class ax: Grammy-winning guitarist Larry Carlton got his start in Lomita By Tony Tranfa JAZZ CRITIC Money was tight for Maebell and Orval Carlton when they were raising a family in Lomita back in the mid-1950s. They made things work and they eventually bought a home, but they had only about $5 extra in their budget each week. They could have spent it on the movies or a small treat for themselves. They decided instead to pay for guitar lessons for their 6½-year-old son, Larry, a student at Harbor City Christian School. He had shown an interest in an old acoustic guitar in his grandmother's closet and needed only to wait until he was big enough to hold it to start taking lessons. When the time finally arrived, once a week for 30 minutes Larry would sit in a small cubbyhole in a Torrance guitar shop with a man named Slim Edwards. Slim would smoke cigarettes and teach Larry to play the guitar, usually spending the first 10 minutes jamming and the rest on a structured lesson. The lessons paid off. Larry Carlton is now one of the most recorded pop and jazz guitarists in history. He has worked on more than 3,000 studio sessions, released more than 20 solo albums, won Grammy Awards and appeared on dozens of million-sellers. Along the way, he has anchored some of the most famous and critically acclaimed albums of the rock generation. Carlton, now a member of the popular smooth-jazz group Fourplay, will be back home in a sense, Sunday, when Fourplay appears at the Hollywood Bowl. -
Steely Dane Contract Rider 2018
CONTRACT RIDER CONTACTS Dave Adler, MD (310) 403-5475 [email protected] Clay Konnor (414) 828-2529 [email protected] Al Falaschi (608) 770-2474 [email protected] The following contract rider is incorporated as part of the performance contact and incorporated herein by reference with the same full force and effect as the contract document. ONLY CHECKED ITEMS APPLY GUEST-LIST/COMPS Purchaser shall provide at no cost to Steely Dane ______ complimentary hard tickets or guest-list admissions. In the case of reserved seating, the complimentary seats shall be excellent seats, on the main floor of venue and centered. A final count or list will be provided by Steely Dane to purchaser twenty-four (24) hours before the time of performance. Remaining tickets may then be placed on sale. DRESSING ROOMS Purchaser shall provide a minimum of two (2) safe, clean, dressing rooms with locking doors. Dressing rooms should include: Twenty-four (24) clean hand towels Clean, potable running water Soap Seating for twenty (20) Lighting appropriate for makeup application Air conditioning and heat Full-length mirror One (1) ironing board and one (1) iron A minimum of two (2) 110v/20amp, grounded electrical outlets A shower Twelve (12) clean bath towels in each dressing room BACK STAGE ACCESS Steely Dane issues and distributes backstage access passes in the following categories: 1. BAND – Full access to all areas at all times of the show. 2. CREW – Full access to all areas at all times of the show. 3. VIP – Full access to all areas at all times of the show. -
Dokument 1.Pdf
»NOTHIN' HERE BUT HISTORY«: GESCHICHTLICHKEIT ALS ÄSTHETISCHE KATEGORIE BEI STEELY DAN Friedrich Geiger Die US-amerikanische Band Steely Dan wurde 1972 von dem Songwriter-Duo Walter Becker und Donald Fagen gegründet. In wechselnden Besetzungen, verstärkt durch eine eindrucksvolle Reihe exquisiter Studiogäste, legten sie bislang neun Originalalben vor. Hinzu kommen mittlerweile sechs Soloalben, zuletzt erschien im Oktober 2012 Sunken Condos von Donald Fagen. Somit steht Steely Dan mittlerweile für vierzig Jahre Musikgeschichte: Steely Dan Donald Fagen solo Walter Becker solo 1972 Can't Buy A Thrill 1973 Countdown To Ecstasy 1974 Pretzel Logic 1975 Katy Lied 1976 The Royal Scam 1977 Aja 1980 Gaucho 1982 The Nightfly 1993 Kamakiriad 1994 11 Tracks Of Whack 2000 Two Against Nature 2003 Everything Must Go 2006 Morph The Cat 2008 Circus Money 2012 Sunken Condos Tabelle 1: Übersicht 1972 bis 2012 101 FRIEDRICH GEIGER Wenn man über Steely Dan spricht, stellt sich die Frage, ob man die Einzel- arbeiten der Duopartner mit einbegreift oder nicht. Einerseits wurden diese Songs nicht im Duo, sondern alleine geschrieben, und sie unterscheiden sich im Stil erkennbar nicht nur voneinander, sondern auch von dem gemeinsa- men Material. Auf der anderen Seite sind die Differenzen nicht so groß, dass die spezifische Ästhetik, die Becker und Fagen als Steely Dan entwickelten, nicht auch in den Soloprojekten sofort identifizierbar wäre. Vor allem aber gab es nicht nur zahlreiche Überschneidungen beim Personal, das auf den Band- und Soloalben musizierte, sondern Becker und Fagen selbst wirkten auch bei den Projekten des jeweils anderen als Musiker oder gar Produzent mit. Daher ist es ratsam, die Soloalben nicht auszuklammern, wenn es um das künstlerische Konzept von Steely Dan gehen soll. -
JULY 25-31, 2013 WHEN ------Cover Story • Steely Dan------SATURDAY 8.10.13 Headwaters the Countdown Is Over Park West by Mark Hunter Ship, However
JULY 25-31, 2013 WHEN ----------------------------- Cover Story • Steely Dan ---------------------------- SATURDAY 8.10.13 Headwaters The Countdown Is Over Park West By Mark Hunter ship, however. The pair met in 1967 at Bard College in Annan- TICKETS Forty years on and we still dale-on-Hudson in New York can be purchased at Cap n’ Cork sing those stupid songs. You and by most accounts were locations or at www.jani.org know the ones I’m talking pasty social misfits who spent about. Those Steely Dan songs most of their time in their room 4 Advanced Sale $25 4 about who knows who’s doing reading science fiction and Day of Event $30 who knows what. Those songs avoiding the sun. Fagen had 4 Designated Driver $10 that just lurk there in your brain played jazz piano as a youth, BRING CHAIRS & BLANKETS waiting for the right circum- and walking down a hall one so you can enjoy a bottle of wine stance to bop and weave back day, he heard Becker playing or beer with your friends! to life. Those songs that got blues guitar. They found they us through college, or didn’t. shared a passion for jazz, blues, They’ve hooked us, and they pop, literature and inside jokes won’t go away. (an enjoyment that would later Walter Becker and Donald fuel much of their lyric writing), Fagen, the duo who brought us so they did what everybody those songs, are bringing their else was doing and formed a oddly named Mood Swings series of cheesy bands, includ- 2013: 8 Miles to Pancake Day ing the jazz-tinged The Leather tour to the Embassy Theatre Canary which featured Chevy in Fort Wayne July 30 at 7:30 Chase on drums. -
In the First Installment of Our Mammoth Two-Part Feature, Mark Buckingham
THE DRUMMERS OF STEELY DAN 1972-1980 In the fi rst installment of our mammoth two-part feature, Mark Buckingham talks to Blaine, Purdie, Gadd and Marotta, four of the session A-listers who honed the trademark blend of jazz, rock, pop and R&B of the band that epitomised studio perfection teely Dan’s credits read as a roll- shelve otherwise accomplished tunes that didn’t was so diffi cult to play in tempo, with everything in call of drumming greats: Jeff meet their exacting criteria. synch. There were no drum machines in those days, Porcaro, Jim Gordon, Hal Blaine, so we’d make a 24-track eight-bar loop, which at Bernard Purdie, Rick Marotta and Counting Down To Ecstasy: 1972-1973 30ips was a considerable length of tape. We trailed it Steve Gadd are just some of the Unimpeded by the excess of touring, Steely Dan’s out through the door, around an idler we’d set up on beatsmen to have passed through early sessions in California befi tted a songwriting a camera tripod and then copied that to a second 24- the ranks, infl uencing generations partnership beyond their years. Jim Hodder, the track machine. Everything was on that except the of drummers in the process. band’s original drummer and occasional vocalist, vocal and lead guitar. It worked like a dream.” Much has been eulogised about Steely Dan, a band infused a real fl avour into their early fresh-sounding that was, in effect, a songwriting partnership band hits. His relaxed, West Coast feel was Skewed Logic: 1974-1975 between New York jazz and literary intellectuals reminiscent of the playing of Richie Heyward and Jim 1974’s Pretzel Logic was an instant success and with Donald Fagen and Walter Becker. -
Jamaican Migrant and Canadian Host in Toronto's Transnational Re
King Alpha’s Song in a Strange Land: Jamaican Migrant and Canadian Host in Toronto’s Transnational Reggae Music Scene, 1973-1990 by John Jason Collins Wilson A dissertation Presented to The University of Guelph In partial fulfilment of requirements for the degree of Doctor of Philosophy in History Guelph, Ontario, Canada © John Jason Collins Wilson, May 2013 ABSTRACT King Alpha’s Song in a Strange Land: Jamaican Migrant and Canadian Host in Toronto’s Transnational Reggae Music Scene, 1973-1990 John Jason Collins Wilson Advisor: University of Guelph, 2013 Doctor Catharine Wilson Reggae music facilitated a cultural dialogue between Jamaican migrant and Canadian host in Toronto during the 1970s and 1980s. Exchanges flowed across the city’s ethnic frontier, bridging black and white youth together in an ‘oppositional’ and musical movement. While migrants enacted their Jamaican ethnicity in places where reggae was played, many non-Jamaicans satisfied a curiosity in the music of their migrant friends. This study examines the process of migration of people and music as seen from both the migrant and the host’s perspective. It is as much about black Jamaicans as it is about white Torontonians. Twenty Jamaicans and twenty non-Jamaicans were interviewed for this project. Though reggae became an expected part of Toronto’s musical vernacular, the Canadian version meant different things to different people. Indeed, sometimes the only thread that tied the varied experiences together was that Toronto was the place where reggae happened. Still, as a hybrid, reggae had rather evolved outside of place. It was a transnational musical form, constantly updated by influences traversing the ‘Black Atlantic’ in an on-going and triangular musical conversation.