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Tuesday June 18 : New York
Written by: Rob van Oosten Hondsdrafstraat 1 1441 PB Purmerend The Netherlands E – Mail : [email protected] © R. van Oosten 1 Introduction. When I was in training to become a teacher ( In the Netherlands that’s the Teachers Training College ) there was an advertisement for Counselors in the United States. Together with my friend Raymond we applied and after a sollicitation talk and the approval of our college we were allowed to go . Working in a summer camp for about 9 weeks and a round trip for 4 weeks. At that time I was 19 years old and did not spend such a long time away from home. I went to several European countries with my parents and was on a holiday in France with another friend ( for a month) the year before. My parents and girl friend ( Gerda to whom I ‘m married ) did not really like the idea but did not stop me. The experience of working in Camp Hurley is one I will never forget. It was a long and hard summer and I lost beside the sweat also a lot of weight. It was a period in which I foumd out that working together is not as easy as it seems to be, working with children can be difficult and it means that you have to invest in yourself and others. So to work in Camp Hurley with these difficult kids has been fundamental in my life. Every year, maybe every month I think about that period and I tried to go back there 6 years ago. -
1Guitar PDF Songs Index
Material on Guitar Website Reference Beginning Guitar Music Guitar Cover Beginning Chords Fingerpicking Bass Runs for Guitar Guitar Christmas Song List Guitar Care Guitar PDF Song Index 1/4/2017 Good Reader Web Downloads to Goodreader How to Use Goodreader Downloading Files to the iPad from iTunes Saving Your Internet Passwords Corrected Guitar and PDF 509 Songs 1/4/2017 A Bushel and a Peck Bad Moon Rising A White Sport Coat Ballad of Davy Crockett All I Ask of You Ballad of Green Berets All My Ex’s Live in Texas Battle Hymn of Aging All My Lovin’ Be Our Guest All My Trials Beautiful Brown Eyes Always On My Mind Because of You Am I That Easy to Forget Beep Beep Amanda - bass runs Beer for My Horses + tab Amazing Grace - D Begin the Beguine A America the Beautiful Besame Mucho American Pie Beyond the Reef Amor Big Rock Candy Mountain And I Love Her Blame It On Bossa Nova And I Love You So Blowin’ in the Wind Annie’s Song Blue Bayou April Love Blue Eyes Crying in the Rain - D, C Aquarius Blue Blue Skies Are You Lonesome Tonight Blueberry Hill Around the World in 80 Days Born to Lose As Tears Go By Both Sides Now Ashokan Farewell Breaking Up Is Hard to Do Autumn Leaves Bridge Over Troubled Water Bring Me Sunshine Moon Baby Blue D, A Bright Lights Big City Back Home Again Bus Stop Bad, Bad Leroy Brown By the Time I Get to Phoenix Bye Bye Love Dream A Little Dream of Me Edelweiss Cab Driver Eight Days A Week Can’t Help Falling El Condor Pasa + tab Can’t Smile Without You Elvira D, C, A Careless Love Enjoy Yourself Charade Eres Tu Chinese Happy -
Diana Davies Photograph Collection Finding Aid
Diana Davies Photograph Collection Finding Aid Collection summary Prepared by Stephanie Smith, Joyce Capper, Jillian Foley, and Meaghan McCarthy 2004-2005. Creator: Diana Davies Title: The Diana Davies Photograph Collection Extent: 8 binders containing contact sheets, slides, and prints; 7 boxes (8.5”x10.75”x2.5”) of 35 mm negatives; 2 binders of 35 mm and 120 format negatives; and 1 box of 11 oversize prints. Abstract: Original photographs, negatives, and color slides taken by Diana Davies. Date span: 1963-present. Bulk dates: Newport Folk Festival, 1963-1969, 1987, 1992; Philadelphia Folk Festival, 1967-1968, 1987. Provenance The Smithsonian Ralph Rinzler Folklife Archives and Collections acquired portions of the Diana Davies Photograph Collection in the late 1960s and early 1970s, when Ms. Davies photographed for the Festival of American Folklife. More materials came to the Archives circa 1989 or 1990. Archivist Stephanie Smith visited her in 1998 and 2004, and brought back additional materials which Ms. Davies wanted to donate to the Ralph Rinzler Folklife Archives. In a letter dated 12 March 2002, Ms. Davies gave full discretion to the Center for Folklife and Cultural Heritage to grant permission for both internal and external use of her photographs, with the proviso that her work be credited “photo by Diana Davies.” Restrictions Permission for the duplication or publication of items in the Diana Davies Photograph Collection must be obtained from the Ralph Rinzler Folklife Archives and Collections. Consult the archivists for further information. Scope and Content Note The Davies photographs already held by the Rinzler Archives have been supplemented by two more recent donations (1998 and 2004) of additional photographs (contact sheets, prints, and slides) of the Newport Folk Festival, the Philadelphia Folk Festival, the Poor People's March on Washington, the Civil Rights Movement, the Georgia Sea Islands, and miscellaneous personalities of the American folk revival. -
Iikbillboard
CANADA (Courtesy The Record) As of 6/13/85 AUSTRALIA (Courtesy Kent Music Report) As of 6/17/85 lir SINGLES 1 5 SINGLESUSSUDIO PHIL COLLINS ATLANTIC /WEA 1 1 WOULD I LIE TO YOU EURYTHMICS RCA 2 1 EVERYBODY WANTS TO RULE THE WORLD TEARS FOR FEARS 2 7 ANGEL MADONNA SIRE VERTIGO/POLYGRAM 3 3 WE ARE THE WORLD USA FOR AFRICA CBS 3 2 DON'T YOU (FORGET ABOUT ME) SIMPLE MINDS VIRGIN / POLYGRAM 4 9 50 YEARS UNCANNY X -MEN MUSHRO OM 4 3 NIGHT DEBARGE GORDY /QUALITY RHYTHM OF THE 5 17 LIVE IT UP MENTAL AS ANYTHING REGULAR 5 6 COLUMBIA /CBS EVERYTHING SHE WANTS WHAM! 6 5 RHYTHM OF THE NIGHT DEBARGE ORDr 6 11 WOULD I RCA - LIE TO YOU EURYTHMICS 7 6 DON'T YOU (FORGET ABOUT ME) SIMPLE MINDS VIRGIN NEW 7 NEVER SURRENDER COREY HART AQUARIUS /CAPITOL 8 4 EVERYBODY WANTS TO RULE THE WORLD TEARS FOR FEARS 8 17 BLACK CARS GINO VANNELLI POLYDOR/POLYGRAM MERCURY 9 12 A VIEW TO A KILL DURAN DURAN CAPITOL 9 8 WE CLOSE OUR EYES GO WEST CHRYSALIS 10 7 WALKING ON SUNSHINE KATRINA & THE WAVES ATTIC /A &M 10 10 19 PAUL HARDCASTLE CHRYSALIS 11 4 CRAZY FOR YOU MADONNA SIRE /WEA 11 2 CAN'T FIGHT THIS FEELING REO SPEEDWAGON EPIC 12 8 SMOOTH OPERATOR SADE PORTRAIT /CBS 12 NEW WALKING ON SUNSHINE KATRINA &WAVES CAPITOL 13 15 AXEL F HAROLD FALTERMEYER MCA 13 NEW A VIEW TO A KILL DURAN DURAN EMI 14 13 OBSESSION ANIMOTION MERCURY / POLYGRAM 14 18 WE WILL TOGETHER EUROGLIDERS CBS 15 NEW RASPBERRY BERET PRINCE & THE REVOLUTION PAISLEY PARK /WEA 15 14 WIDE BOY NIK KERSHAW MCA 16 16 HEAVEN BRYAN ADAMS A &M 16 12 NIGHTSHIFT COMMODORES MOTOWN 17 10 TEARS ARE NOT ENOUGH NORTHERN LIGHTS COLUMBIA /CBS 17 13 JUST A GIGOLO DAVID LEE ROTH WARNER 18 14 WE ARE THE WORLD USA FOR AFRICA COLUMBIA /CBS 18 11 THE HEAT IS ON GLENN FREY MCA 19 18 TOKYO ROSE IDLE EYES WEA 19 15 ONE MORE NIGHT PHIL COLLINS WEA Wi's: POWER STATION PARLOPHONE 20 20 THINGS CAN ONLY GET BETTER HOWARD JONES WEA 20 16 SOME LIKE IT HOT %..Copyright 1985, Billboard Publications, Inc. -
01 Prelude | | |--02 City of Refuge | | |--03 Bring Me My Queen
|--Abigail Washburn | |--City of Refuge | | |--01 Prelude | | |--02 City of Refuge | | |--03 Bring Me My Queen | | |--04 Chains | | |--05 Ballad of Treason | | |--06 Last Train | | |--07 Burn Thru | | |--08 Corner Girl | | |--09 Dreams Of Nectar | | |--10 Divine Bell | | |--11 Bright Morning Stars | | |--cover | | `--folder | |--Daytrotter Studio | | |--01 City of Refuge | | |--02 Taiyang Chulai | | |--03 Bring Me My Queen | | |--04 Chains | | |--06 What Are They Doing | | `--07 Keys to the Kingdom | |--Live at Ancramdale | | |--01 Main Stageam Set | | |--02 Intro | | |--03 Fall On My Knees | | |--04 Coffee’s Cold | | |--05 Eve Stole The Apple | | |--06 Red & Blazey | | |--07 Journey Home | | |--08 Key To The Kingdom | | |--09 Sometime | | |--10 Abigail talks about the trip to Tibet | | |--11 Song Of The Traveling Daughter | | |--12 Crowd _ Band Intros | | |--13 The Sparrow Watches Over Me | | |--14 Outro | | |--15 Master's Workshop Stage pm Set | | |--16 Tuning, Intro | | |--17 Track 17 of 24 | | |--18 Story about Learning Chinese | | |--19 The Lost Lamb | | |--20 Story About Chinese Reality TV Show | | |--21 Deep In The Night | | |--22 Q & A | | |--23 We’re Happy Working Under The Sun | | |--24 Story About Trip To China | | |--index | | `--washburn2006-07-15 | |--Live at Ballard | | |--01 Introduction | | |--02 Red And Blazing | | |--03 Eve Stole The Apple | | |--04 Free Internet | | |--05 Backstep Cindy_Purple Bamboo | | |--06 Intro. To The Lost Lamb | | |--07 The Lost Lamb | | |--08 Fall On My Knees | | |--Aw2005-10-09 | | `--Index -
Whiskey River (Take My Mind) I
whiskey river (take my mind) i introduction 00 Bush rev pg proofs 000i-xxiv i i 12/11/06 9:58:38 AM THIS PAGE INTENTIONALLY LEFT BLANK whiskey river (take my mind) iii The True Story of Texas Honky-Tonk by johnny bush with rick mitchell foreword by willie nelson University of Texas Press, Austin introduction 00 Bush rev pg proofs 000i-xxiv iii iii 12/11/06 9:58:39 AM iv copyright © 2007 by the university of texas press All rights reserved Printed in the United States of America First edition, 2007 Requests for permission to reproduce material from this work should be sent to: Permissions University of Texas Press P.O. Box 7819 Austin, TX 78713-7819 www.utexas.edu/utpress/about/bpermission.html ∞ The paper used in this book meets the minimum requirements of ansi/niso z39.48-1992 (r1997) (Permanence of Paper). library of congress cataloging-in-publication data Bush, Johnny. Whiskey river (take my mind) : the true story of Texas honky-tonk / by Johnny Bush with Rick Mitchell ; foreword by Willie Nelson. — 1st ed. p. cm. Includes discography (p. ), bibliographical references (p. ), and index. isbn-13: 978-0-292-71490-8 (cl. : alk. paper) isbn-10: 0-292-71490-4 1. Bush, Johnny. 2. Country musicians—Texas—Biography. 3. Spasmodic dysphonia—Patients—Texas—Biography. 4. Honky-tonk music—Texas— History and criticism. I. Mitchell, Rick, 1952– II. Title. ml420.b8967a3 2007 782.421642092—dc22 [B] 2006033039 whiskey river (take my mind) 00 Bush rev pg proofs 000i-xxiv iv iv 12/11/06 9:58:39 AM Dedicated to v John Bush Shinn, Jr., my dad, who encouraged me to follow my dreams. -
Crossing Over: from Black Rhythm Blues to White Rock 'N' Roll
PART2 RHYTHM& BUSINESS:THE POLITICAL ECONOMY OF BLACKMUSIC Crossing Over: From Black Rhythm Blues . Publishers (ASCAP), a “performance rights” organization that recovers royalty pay- to WhiteRock ‘n’ Roll ments for the performance of copyrighted music. Until 1939,ASCAP was a closed BY REEBEEGAROFALO society with a virtual monopoly on all copyrighted music. As proprietor of the com- positions of its members, ASCAP could regulate the use of any selection in its cata- logue. The organization exercised considerable power in the shaping of public taste. Membership in the society was generally skewed toward writers of show tunes and The history of popular music in this country-at least, in the twentieth century-can semi-serious works such as Richard Rodgers and Lorenz Hart, Cole Porter, George be described in terms of a pattern of black innovation and white popularization, Gershwin, Irving Berlin, and George M. Cohan. Of the society’s 170 charter mem- which 1 have referred to elsewhere as “black roots, white fruits.’” The pattern is built bers, six were black: Harry Burleigh, Will Marion Cook, J. Rosamond and James not only on the wellspring of creativity that black artists bring to popular music but Weldon Johnson, Cecil Mack, and Will Tyers.’ While other “literate” black writers also on the systematic exclusion of black personnel from positions of power within and composers (W. C. Handy, Duke Ellington) would be able to gain entrance to the industry and on the artificial separation of black and white audiences. Because of ASCAP, the vast majority of “untutored” black artists were routinely excluded from industry and audience racism, black music has been relegated to a separate and the society and thereby systematically denied the full benefits of copyright protection. -
Why Am I Doing This?
LISTEN TO ME, BABY BOB DYLAN 2008 by Olof Björner A SUMMARY OF RECORDING & CONCERT ACTIVITIES, NEW RELEASES, RECORDINGS & BOOKS. © 2011 by Olof Björner All Rights Reserved. This text may be reproduced, re-transmitted, redistributed and otherwise propagated at will, provided that this notice remains intact and in place. Listen To Me, Baby — Bob Dylan 2008 page 2 of 133 1 INTRODUCTION .................................................................................................................................................................. 4 2 2008 AT A GLANCE ............................................................................................................................................................. 4 3 THE 2008 CALENDAR ......................................................................................................................................................... 5 4 NEW RELEASES AND RECORDINGS ............................................................................................................................. 7 4.1 BOB DYLAN TRANSMISSIONS ............................................................................................................................................... 7 4.2 BOB DYLAN RE-TRANSMISSIONS ......................................................................................................................................... 7 4.3 BOB DYLAN LIVE TRANSMISSIONS ..................................................................................................................................... -
Printable Schedule
CALENDAR OF EVENTS AUGUST – NOVEMBER 2021 281-FREE FUN (281-373-3386) | milleroutdoortheatre.com Photo by Nash Baker INFORMATION Glass containers are prohibited in all City of Houston parks. If you are seated Location in the covered seating area, please ensure that your cooler is small enough to fit under your seat in case an emergency exit is required. 6000 Hermann Park Drive, Houston, TX 77030 Smoking Something for Everyone Smoking is prohibited in Hermann Park and at Miller Outdoor Theatre, including Miller offers the most diverse season of professional entertainment of any Houston the hill. performance venue — musical theater, traditional and contemporary dance, opera, classical and popular music, multicultural performances, daytime shows for young Recording, Photography, & Remote Controlled Vehicles audiences, and more! Oh, and it’s always FREE! Audio/visual recording and/or photography of any portion of Miller Outdoor Theatre Seating presentations require the express written consent of the City of Houston. Launching, landing, or operating unmanned or remote controlled vehicles (such as drones, Tickets for evening performances are available online at milleroutdoortheatre.com quadcopters, etc.) within Miller Outdoor Theatre grounds— including the hill and beginning at 9 a.m. two days prior to the performance until noon on the day of plaza—is prohibited by park rules. performance. A limited number of tickets will be available at the Box Office 90 minutes before the performance. Accessibility Face coverings/masks are strongly encouraged for all attendees in the Look for and symbols indicating performances that are captioned for the covered seats and on the hill, unless eating or drinking, especially those hearing-impaired or audio described for the blind. -
New Entry of Record Labels in the Music Industry
Start Me Up: New Entry of Record Labels in the Music Industry Master Thesis MSc Business Administration Management and Entrepreneurship in the Creative Industries Faculty of Economics and Business, Amsterdam Business School Myra Alice Wilhelmina Ruers - 11903929 Supervisor: Dr. M. Piazzai 21st of June 2018 Statement of Originality This document is written by Student Myra Ruers, who declares to take full responsibility for the contents of this document. I declare that the text and the work presented in this document is original and that no sources other than those mentioned in the text and its references have been used in creating it. The Faculty of Economics and Business is responsible solely for the supervision of completion of the work, not for the contents. 2 Abstract The music industry is extremely vibrant, diverse, and inherently uncertain. Record labels are the main intermediaries in this industry, facilitating the connection between the creative input from musicians and the demand from the consumers. Due to many technological advancements, the barriers to entry have decreased significantly, hence making it easier to enter this industry as a new record label. Additionally, strategic integration options allow existing firms to start new ventures by acquiring or initiating subsidiaries. This research focuses on the multiple modes through which new entry can be commenced. These entry modes all have their own characteristics and consequences for the configurations of the industry. The likelihood of entry, the subsequent performance of new record labels, and the effects on the diversity of the output are the main topics that are explored. In this study, databases storing longitudinal information on musical releases are used to compile a dataset with the necessary information on new record labels. -
Hash(Tag) America at Catalina Jazz Club in Hollywood on Monday, November 18, at 8:30Pm
1042 N. Vista Street #8, West Hollywood, CA 90046 • 323.845.9781 [email protected] Chris Isaacson Presents in association with The VFC Project has announced #Hash(tag) America at Catalina Jazz Club in Hollywood on Monday, November 18, at 8:30pm. #Hash(tag) America is a new theatrical musical, an urgent urban rock concert, and a soul stirring personal testimonial all rolled into one powerful explosion of sound, youth, diversity and truth. Set against original musical collaborations by Anthony Fedorov and other artists, this inspirational new musical explores true stories of social justice, gender identity, race, immigration, and economic inequalities within the fabric of the American experience. #Hash(tag) America began as a concept album entitled Calling On You (co-produced by Anthony Fedorov and Grammy Award-winner Jeeve Ducornet) from a successfully funded 2016 Kickstarter campaign. Los Angeles will be treated to a concert version of the show first performed to a rousing audience and critical response at New York’s The Green Room 42. — MORE— AT CATALINA JAZZ CLUB IN HOLLYWOOD [Page 2] Joining Fedorov (American Idol, Rent), Isa Briones (Star Trek: Picard, Hamilton), and Eden Espinosa (Falsettos, Wicked, Rent) will be Kyle Carter (The Lion King, In the Heights), Christina Sajous (SpongeBob SquarePants, Spiderman, American Idiot), and Heath Saunders (Alice By Heart, Jesus Christ Superstar Live in Concert on FOX). Said Fedorov, “In the wake of our current political climate and as an immigrant myself, I felt like I had to do something. I started writing songs about racism, gun violence, and discrimination, and creating a show that will hopefully bring people together in these difficult times. -
MARTY STUART TRAVELS from SATURDAY NIGHT to SUNDAY MORNING by Mario Tarradell
MARTY STUART TRAVELS FROM SATURDAY NIGHT TO SUNDAY MORNING By Mario Tarradell Country music singer, songwriter, guitarist, TV show host and historian continues to mine the rich treasures of American roots music Marty Stuart spent nine years journeying from Saturday night into Sunday morning. That’s no hyperbole. The country singer, songwriter, guitarist, TV show host and noted historian took nearly a decade to craft his expansive and ambitious double-album, Saturday Night/Sunday Morning. The just-released effort not only combines Stuart’s predilection for all things American roots music – country, rock ‘n’ roll, R&B, gospel and bluegrass – but it also tells a story. “I wanted it to flow as a continuation, as an evolution,” says Stuart, 56, by phone from his home in Nashville. “We toured all the while making this record. The more we developed the idea, the more songs started piling up.” As the title suggests, Saturday Night/Sunday Morning captures the dichotomous reality of raising hell and seeking heaven. It’s about night and day, dark and light; the balancing act of feeding the flesh and nourishing the soul. The Saturday Night disc is all about the honky-tonk, while the Sunday Morning CD is all about the church. Stuart calls it “spiritual warfare,” noting that it’s a fine line we all struggle with in our lives. The gospel harmonies on the Sunday Morning side are particularly impressive, recalling the best of the Oak Ridge Boys and the Staple Singers. Stuart and his longtime band, the Fabulous Superlatives, found common ground as people in that musical world of Southern gospel.