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KLOS Aug.5Th
1 PLAYLIST AUG. 5TH 2012 Special Guests WINGS Denny Seiwell – Denny Laine – Laurence Juber 1 2 9AM The Beatles - Rain - Non-LP B-side (Lennon-McCartney) Lead vocal: John Recorded on April 14 and 16, 1966. The track is notable for the backwards vocal from John Lennon at the end of the song. The section is John singing part of the first verse but the tape is superimposed backwards in the mix. The song contains slowed down instruments, guitar distortion, and vocals recorded and played back at variable speed. Aside from Paul McCartney’s dominant bass part, the song features a striking drum performance from Ringo, who has called “Rain” his favorite Beatles song. The B-side of “Paperback Writer.” Issued in America on May 23, 1966 and the UK on June 10, 1966, several months in advance of the “Revolver” album. On U.S. album: Hey Jude - Capitol LP (1970) 2 3 The Beatles - Paperback Writer - A Collection Of Beatles Oldies (Lennon-McCartney) Lead vocal: Paul The Beatles’ twelfth single release for EMI’s Parlophone label. Recorded on April 13 and 14, 1966. The track is notable for Paul McCartney’s furious bass line. The bass is so prominent in the mix that sound engineers at EMI worried it could cause the stylus of a record player tone arm (the needle thing on record players) to jump when fans played the 45 RPM single at home. Thankfully, no such calamity occurred. For this heavy bass sound Paul’s chose to replace his usual Hofner bass with a Rickenbacker 4001S bass. -
BWTB Revolver @ 50 2016
1 PLAYLIST AUG. 7th 2016 Part 1 of our Revolver @ 50 Special~ We will dedicate to early versions of songs…plus the single that preceded the release of REVOLVER…Lets start with the first song recorded for the album it was called Mark 1 in April of 1966…good morning hipsters 2 9AM The Beatles - Tomorrow Never Knows – Revolver TK1 (Lennon-McCartney) Lead vocal: John The first song recorded for what would become the “Revolver” album. John’s composition was unlike anything The Beatles or anyone else had ever recorded. Lennon’s vocal is buried under a wall of sound -- an assemblage of repeating tape loops and sound effects – placed on top of a dense one chord song with basic melody driven by Ringo's thunderous drum pattern. The lyrics were largely taken from “The Psychedelic Experience,” a 1964 book written by Harvard psychologists Timothy Leary and Richard Alpert, which contained an adaptation of the ancient “Tibetan Book of the Dead.” Each Beatle worked at home on creating strange sounds to add to the mix. Then they were added at different speeds sometime backwards. Paul got “arranging” credit. He had discovered that by removing the erase head on his Grundig reel-to-reel tape machine, he could saturate a recording with sound. A bit of….The Beatles - For No One - Revolver (Lennon-McCartney) Lead vocal: Paul 3 The Beatles - Here, There And Everywhere / TK’s 7 & 13 - Revolver (Lennon-McCartney) Lead vocal: Paul Written by Paul while sitting by the pool of John’s estate, this classic ballad was inspired by The Beach Boys’ “God Only Knows.” Completed in 14 takes spread over three sessions on June 14, 16 and 17, 1966. -
MTO 11.4: Spicer, Review of the Beatles As Musicians
Volume 11, Number 4, October 2005 Copyright © 2005 Society for Music Theory Mark Spicer Received October 2005 [1] As I thought about how best to begin this review, an article by David Fricke in the latest issue of Rolling Stone caught my attention.(1) Entitled “Beatles Maniacs,” the article tells the tale of the Fab Faux, a New York-based Beatles tribute group— founded in 1998 by Will Lee (longtime bassist for Paul Schaffer’s CBS Orchestra on the Late Show With David Letterman)—that has quickly risen to become “the most-accomplished band in the Beatles-cover business.” By painstakingly learning their respective parts note-by-note from the original studio recordings, the Fab Faux to date have mastered and performed live “160 of the 211 songs in the official canon.”(2) Lee likens his group’s approach to performing the Beatles to “the way classical musicians start a chamber orchestra to play Mozart . as perfectly as we can.” As the Faux’s drummer Rich Pagano puts it, “[t]his is the greatest music ever written, and we’re such freaks for it.” [2] It’s been over thirty-five years since the real Fab Four called it quits, and the group is now down to two surviving members, yet somehow the Beatles remain as popular as ever. Hardly a month goes by, it seems, without something new and Beatle-related appearing in the mass media to remind us of just how important this group has been, and continues to be, in shaping our postmodern world. For example, as I write this, the current issue of TV Guide (August 14–20, 2005) is a “special tribute” issue commemorating the fortieth anniversary of the Beatles’ sold-out performance at New York’s Shea Stadium on August 15, 1965—a concert which, as the magazine notes, marked the “dawning of a new era for rock music” where “[v]ast outdoor shows would become the superstar standard.”(3) The cover of my copy—one of four covers for this week’s issue, each featuring a different Beatle—boasts a photograph of Paul McCartney onstage at the Shea concert, his famous Höfner “violin” bass gripped in one hand as he waves to the crowd with the other. -
“The Beatles Raise the Bar-Yet Again”By Christopher Parker
“The Beatles Raise the Bar-Yet Again” by Christopher Parker I know what you’re thinking. You’re thinking, Parker, everyone knows that 1967’s Sgt. Pepper‘s Lonely Hearts Club Band is the Beatles’ greatest album and in fact the greatest album of all time. Nope. No way. I beg to differ. In my humble opinion, 1966’s Revolver, the Beatles album released the year before Sgt. Pepper, is the greatest. Why, you ask? In many ways, Revolver was the beginning of a new era, not only in the career of the Beatles, but in the ever-changing world of rock & roll. The world’s greatest rock band was beginning to tire of the endless touring amidst the chaos of Beatlemania. The constant battling against hordes of screaming fans, and a life lived being jostled and shoved from one hotel room to another were becoming more than tiresome. In addition, during a concert, the volume of screams often exceeded 120 decibels-approximately the same noise level as one would be exposed to if he were standing beside a Boeing 747 during takeoff. No one was listening to their music, and consequently, they were beginning to feel like, as John Lennon would later say, ‘waxworks’ or ‘performing fleas.’ Revolver signals a change from the ‘She Loves You’ era-relatively simple songs of love and relationships- to a new era of songs designed to be listened to. These were songs that could never be played at a live concert. They were creations-works of art-songs that were created to be appreciated and discussed-not to elicit screams from teenage girls. -
Sophies Voice Free
FREE SOPHIES VOICE PDF Helen Hardt | 318 pages | 01 Dec 2016 | Waterhouse Press | 9780990505648 | English | NH, United States Product: Sophie's BIG Voice | Conscious Discipline Sophie's Choice is a American drama film directed and written by Alan J. Pakula Sophies Voice, adapted from William Styron 's novel of the same name. The film stars Meryl Streep as Sophies Voice "Sophie" Zawistowski, a Polish immigrant with a dark secret from her past who shares a boarding house in Brooklyn with her tempestuous lover, Nathan and a young writer Stingo. Newmanand Josh Mostel. Streep's titular performance was unanimously praised, often cited amongst the best acting performances in film history. InStingo Sophies Voice to Brooklyn to write a novel, and is befriended by Sophie Zawistowski, a Polish immigrant, and her emotionally unstable Sophies Voice, Nathan Landau. Nathan is constantly jealous, and when he is in one of Sophies Voice violent mood swings, he convinces himself that Sophie is unfaithful to Sophies Voice, and he abuses and harasses her. A flashback shows how Nathan first met Sophie after her immigration to the U. Sophie tells Stingo that before she came to the U. Stingo later learns from a college Sophies Voice that Sophie's father was a Nazi sympathizer. Wanda tried to convince Sophie to translate some stolen Gestapo documents, but Sophie declined, fearing she might endanger her children. Nathan tells Sophie and Stingo that he is doing groundbreaking research at a pharmaceutical company, but Nathan's physician brother tells Stingo that Nathan is a paranoid schizophrenicand that all of the schools that Nathan attended were "expensive funny farms ". -
BABY-Srrring Mom Sees RVE KIDS DIE in BLAZE
VW RABBIT *84 2 dr, 4 tpd, ac, atarao, 2 to chooM from, $4496. VW JETTA ’85 4 dr, at, ae, atarao, low ml, $8496. VW JETTA ’84 8 apd, ■nrf, atarao, aharp. $5M . VW JE TTA ’82 2 dr, 8 apd, caaa, 1 ownar, aharp car, $8498. VW JETTA ’85 4 dr, 8 apd, ac, caaa, aold & aarvicad hara, $7998. VW JETTA ’81 4 dr, 8 apd, caaa, axe. cond, $4898. VW RABBIT ’84 4 dr, 4 apd, ac, diaaal, low ml, axe. cond, $4998. VW CONVERTIBLE ’84 8 apd, ae, caaa, axe. cond, low low ml, $9498. VW TURBO DIESEL ’84 8 apd, anrf, ac, 1 ownar, add & aarvicad hara, $6498. VW JETTA ’86 4 dr, 8 apd,.ac, caaa, local car, axe. cond, $8998. iiaiirl»0lpr) Manchester — A City of Village Charm Hfralft VW PICKUP ’81 Qaa, 4 apd, aharp truck, $2998. 30 Cents LIPMAN VW Saturday, Feb. 21,1987 ROUTE 83, VERNON 649-2638 BABY-SrrriNG m o m sees RVE KIDS DIE IN BLAZE — Turn to page 3 CARS I GET SPOILED Jl ig Like a Quality om CARTER S tUPERMVIMIS W.CMVETTE 4 cyl. 4 apd.. Radio, SS‘«»* 2 9 9 S 1 I. MWIEVIIUU 8 Auto, AC, P8, PB, P. I, Stereo, Crulaa, Tilt andau Roof. $ 0 2 0 5 T. OEAN PMX Firefighters carry the bodies of five children from a burned-out apartment in Willimantic Friday. AP photo B, Auto, AC, PS, PB, oat & Or. Locka, Sun * 4 8 9 5 WSKCTMIM Cops probe woman’s death Cyl., 8 Spd., Stereo Caaa., '«■ * 4 9 9 5 'MAGAZINE PULLOUT RCTION Missing for severai days .. -
Aaron Krerowicz Faculty Advisor: Dr. Brett Clement 11 99 66 44 11 99 66 88 ABSTRACT
thth e e LenLen non non /M /Mcc CaCa rTn rTn ey ey DyDy n n a a m m ic ic Aaron Krerowicz Faculty advisor: Dr. Brett Clement 11 99 66 44 11 99 66 88 ABSTRACT T h e 1 2 - Ba r Blu es Few songwriting partnerships can match the longevity, innovations, and popularity of John Lennon Ex Tended Forms and Paul McCartney. Together they formed the core of The Beatles, arguably the most important rock The early Beatles were masters of economy. Only three of their first While several earlier covers use it, the first original Beatles recordings band in history. Fascinatingly, the way Lennon and McCartney composed is often comparable, even 116 recordings surpass three minutes. While they would never to employ the 12-bar blues were McCartney's 'Can't Buy Me Love' and though their resulting music is stylistically distinct, a pattern I dub The Lennon/McCartney Dynamic. abandon brevity, there is a clear progression towards longer songs, Lennon's 'You Can't Do That', both off the album A Hard Day's Night. especially in their later years. Discarded drafts of two songs from The This study observes six pairs of songs, one pair for each year from 1964-69, to show how the two White Album prove their formal experimentation. Track 01 'Can't Buy Me Love', recorded 29 January - 10 March 1964 songwriters frequently employed the same compositional ideas, but in ways that produced uniquely Though the official version of McCartney's 'Helter Skelter' lasts 4:29 (The Beatles' ninth- personal music. -
(A) Data in the Life: Authorship Attribution of Lennon-Mccartney Songs
(A) Data in the Life: Authorship Attribution of Lennon-McCartney Songs Mark E. Glickman∗ Department of Statistics Harvard University [email protected] Jason I. Brown Department of Mathematics and Statistics Dalhousie University [email protected] Ryan B. Song School of Engineering and Applied Sciences Harvard University [email protected] Abstract The songwriting duo of John Lennon and Paul McCartney, the two founding mem- bers of the Beatles, composed some of the most popular and memorable songs of the last century. Despite having authored songs under the joint credit agreement of arXiv:1906.05427v1 [cs.SD] 12 Jun 2019 Lennon-McCartney, it is well-documented that most of their songs or portions of songs were primarily written by exactly one of the two. Furthermore, the authorship of some Lennon-McCartney songs is in dispute, with the recollections of authorship based on previous interviews with Lennon and McCartney in conflict. For Lennon-McCartney songs of known and unknown authorship written and recorded over the period 1962-66, we extracted musical features from each song or song portion. These features consist of the occurrence of melodic notes, chords, melodic note pairs, chord change pairs, and four-note melody contours. We developed a prediction model based on variable ∗Address for correspondence: Department of Statistics, Harvard University, 1 Oxford Street, Cambridge, MA 02138, USA. E-mail address: [email protected]. Jason Brown is supported by NSERC grant RGPIN 170450-2013. The authors would like to thank Xiao-Li Meng, Michael Jordan, David C. Hoaglin, and the three anonymous referees for their helpful comments. -
BWTB June 21St 2015
1 Playlist Fathers Day June 21st 2015 2 OPEN/9AM Today we will honor the FATHER…by playing only Beatles and solo Beatles songs pertaining to MEN, BOYS, Songs with Men’s names or titles such as King…or Mister…and of course songs about Dad’s and being a Father…and if we have time maybe some songs about SUMMER as this is June 21st the 1st day of SUMMER 2015…but let’s start with the MEN…or in this case…the boy. The Beatles - This Boy – Meet The Beatles US EP Four By The Beatles /Past Masters I flip of I Want To Hold You Hand in UK The Beatles – Mean Mr. Mustard - Abbey Road Recorded July 24th. Written in India as we heard on the White LP demos from Esher. When the band is playing it during the Let It Be sessions Pam was then a Shirley. Lennon 1.00 3 The Beatles - Baby, You’re A Rich Man - Non-LP track (Lennon-McCartney) Lead vocal: John The Beatles’ fifteenth single release for EMI’s Parlophone label. The Beatles were contractually obligated to deliver four new songs for inclusion in the “Yellow Submarine” animated film project. “Baby, You’re A Rich Man” was the first song 4 recorded especially for that project. Earlier in the year, George Harrison’s initial offering for the “Sgt. Pepper” album, “Only A Northern Song,” had been rejected for that album and was now being earmarked for use in the “Yellow Submarine” animated film. But with the rush-release of “All You Need Is Love” as a single following the “Our World” world television transmission on June 25, 1967, a B-side was needed. -
Ingesting Text
Ingesting text This is from Section 15.3 of the Modern Data Science with R book. Using rvest Take a look at the Wikipedia List of songs recorded by the Beatles. In the book the second list of Other songs is used. I have used the Main Songs list. A great reference for regex (commands like gsub) is the r4ds book, see Chapter 14 about strings library(rvest) ## Loading required package: xml2 library(tidyr) library(methods) library(mdsr) ## Loading required package: dplyr ## ## Attaching package: 'dplyr' ## The following objects are masked from 'package:stats': ## ## filter, lag ## The following objects are masked from 'package:base': ## ## intersect, setdiff, setequal, union ## Loading required package: lattice ## Loading required package: ggformula ## Loading required package: ggplot2 ## Loading required package: ggstance ## ## Attaching package: 'ggstance' ## The following objects are masked from 'package:ggplot2': ## ## geom_errorbarh, GeomErrorbarh ## ## New to ggformula? Try the tutorials: ## learnr::run_tutorial("introduction", package = "ggformula") ## learnr::run_tutorial("refining", package = "ggformula") ## Loading required package: mosaicData ## Loading required package: Matrix ## ## Attaching package: 'Matrix' 1 ## The following object is masked from 'package:tidyr': ## ## expand ## ## The 'mosaic' package masks several functions from core packages in order to add ## additional features. The original behavior of these functions should not be affected by this. ## ## Note: If you use the Matrix package, be sure to load it BEFORE -
The Children's Horror Film
A Thesis Submitted for the Degree of PhD at the University of Warwick Permanent WRAP URL: http://wrap.warwick.ac.uk/90706 Copyright and reuse: This thesis is made available online and is protected by original copyright. Please scroll down to view the document itself. Please refer to the repository record for this item for information to help you to cite it. Our policy information is available from the repository home page. For more information, please contact the WRAP Team at: [email protected] warwick.ac.uk/lib-publications The Children’s Horror Film: Beneficial fear and subversive pleasure in an (im)possible Hollywood subgenre Catherine Lester A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy in Film and Television Studies Department of Film and Television Studies University of Warwick October 2016 Table of Contents Acknowledgements .................................................................................................................. 4 Declaration of Inclusion of Published Work ............................................................................ 5 Abstract .................................................................................................................................... 6 List of Illustrations .................................................................................................................... 7 Introduction – Thinking of the Children ......................................................................... 11 Structure and Aims ........................................................................................................... -
The Mia Urncane and the Palmist Says
The Mia urncan# e lirni VMI. NO. I<» UNIVKUITI or MIAMI. CORAL GABLES, FLORIDA, MABCM 12, l'>""> TELEPHONI MO . 2581 Eight Coeds Chosen ROTC Princesses Music School Top Grades" By DICK MACK KurrioM Heforter Women in the School of Music 12,318SignUp have the highest cumulative grade average in the university A recent compilation of grades This Semester in the individual schools shows For those girls not satisfied that the female music students with having just one boyfriend, head the list with a 3.1327 aver there's another half (of a boy) age. These figures compare with Eight girls were selected Monday evening to participate in Photo by Mike licobson K«M for each girl, lurking somewhere a 29412 average for men in the Ihe Army ROTC program as Army princesses. Chosen on the Peterson, Vivky Lauffer, Hazel Rudolph, JoAnn Fisherkeller on campus same school. basis of their poise, personality and intelligence, the new Harriet Weingardcn. "Poise, social attitude and willingness to This semester, there are 2,539 Capturing the bottom spot princesses will he organized under Commander Bobbi Steffes work are paramount among the many other prerequisites of an , more male students than female are women in the Speech De to lend beauty to the field during the drills. The new princesses Army princess." Col. Richard G. Banks, advisor to the princess students, audits and medical stu partment, with a 1.8 overall, are (I. to r.) Carla Fink. Cherry Kraus, Susan Sloan. Roxanne program, remarked. dents The breakdown is as fol- while men in the department 1 lows: have the dubious distinction Starts Next Week I of ranking next to the bottom, 6.612—male students with a 1.890t overall.