Folk Forum Winter Spring 2014
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Editor's Notes
R&R Editor’s Notes editoR and PubliSheR: Jann S. Wenner Managing editoR: Will Dana executive editors: Eric Bates, Jason Fine dePuty Managing editors: Nathan Brackett John Dioso AssiStant Managing editoR: Jonathan Ringen The Future Is Unwritten SenioR wRiters: David Fricke, Peter Travers SenioR editors: Michael Endelman, Thomas Walsh Sean Woods esides barack obama himself, Associate editors: Brian Hiatt, Coco McPherson there probably aren’t many peo- AssiStant editors: Nicole Frehsée, Andy Greene Julia Holmes, Sarene Leeds, Eric Magnuson ple who have done more to put Kevin O’Donnell, Jamie Reynolds, Phoebe St. John B AssiStant to the editoR and PubliSheR: Ally Lewis our current president in the White House editoRial Staff: Alison Weinflash than artist-activist-provocateur Shepard ROLLINGSTONE.COM: Robert Mancini (Executive Ed.) Caryn Ganz (Deputy Ed.), Erica Futterman, John Gara Fairey. Fairey’s samizdat “Hope” poster, contRibuting editors: Mark Binelli, David Browne Rich Cohen, John Colapinto, Jonathan Cott plastered all over America on walls, Anthony DeCurtis, Tim Dickinson, Raoul Duke (Sports) T-shirts and computer screens, helped the Gavin Edwards, Jenny Eliscu, Mikal Gilmore, Jeff Goodell Vanessa Grigoriadis, Erik Hedegaard, Christian Hoard country connect to this man who prom- Claire Hoffman, Robert F. Kennedy Jr., Steve Knopper David Kushner, Guy Lawson, David Lipsky, Kurt Loder ised voters such an extraordinary change Greil Marcus, P.J. O’Rourke, Charles Perry, Janet Reitman from politics as usual. Austin Scaggs, Jeff Sharlet, Rob Sheffield, Paul Solotaroff Ralph Steadman (Gardening), Neil Strauss, Randall Sullivan Seven months into his presidency, in Matt Taibbi, Touré, David Wild, Peter Wilkinson, Evan Wright the midst of the debate over health care, Art diRectoR: Joseph Hutchinson Obama is facing the tests that will likely Art dePaRtMent: Steven Charny (Sr. -
Vinyl Theory
Vinyl Theory Jeffrey R. Di Leo Copyright © 2020 by Jefrey R. Di Leo Lever Press (leverpress.org) is a publisher of pathbreaking scholarship. Supported by a consortium of liberal arts institutions focused on, and renowned for, excellence in both research and teaching, our press is grounded on three essential commitments: to publish rich media digital books simultaneously available in print, to be a peer-reviewed, open access press that charges no fees to either authors or their institutions, and to be a press aligned with the ethos and mission of liberal arts colleges. This work is licensed under the Creative Commons Attribution- NonCommercial 4.0 International License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc/4.0/ or send a letter to Creative Commons, PO Box 1866, Mountain View, CA 94042, USA. The complete manuscript of this work was subjected to a partly closed (“single blind”) review process. For more information, please see our Peer Review Commitments and Guidelines at https://www.leverpress.org/peerreview DOI: https://doi.org/10.3998/mpub.11676127 Print ISBN: 978-1-64315-015-4 Open access ISBN: 978-1-64315-016-1 Library of Congress Control Number: 2019954611 Published in the United States of America by Lever Press, in partnership with Amherst College Press and Michigan Publishing Without music, life would be an error. —Friedrich Nietzsche The preservation of music in records reminds one of canned food. —Theodor W. Adorno Contents Member Institution Acknowledgments vii Preface 1 1. Late Capitalism on Vinyl 11 2. The Curve of the Needle 37 3. -
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. -
Metallica to Perform Live on the Howard Stern Show on Stern's Exclusive Siriusxm Channel Howard 100
NEWS RELEASE Metallica to Perform Live on The Howard Stern Show on Stern's Exclusive SiriusXM Channel Howard 100 9/23/2016 - Metallica's exclusive SiriusXM channel Mandatory Metallica to return November 16 - Mandatory Metallica to feature "Town Hall" special NEW YORK, Sept. 23, 2016 /PRNewswire/ -- Howard Stern and SiriusXM announced today that Grammy® Award- winning, Rock and Roll Hall of Fame Inductees Metallica will perform live on The Howard Stern Show on Howard Stern's exclusive SiriusXM channel Howard 100 on Monday, September 26. The in studio performance will feature Metallica performing songs from their 30-plus year career, including music from their upcoming album Hardwired….to Self-Destruct, scheduled to be released on November 18 on the band's Blackened Recordings. Additionally, on Monday, September 26, the band will record a special edition of SiriusXM's "Town Hall" series— answering questions from a select group of SiriusXM listeners in the SiriusXM studios in New York City. The "Town Hall" special, hosted by music journalist and SiriusXM host David Fricke, will air on the band's limited-run SiriusXM channel Mandatory Metallica, launching Wednesday, November 16. Mandatory Metallica, which originally aired on SiriusXM in 2009 and again in 2013 when the band performed a private concert for SiriusXM at the Apollo Theater in New York City, will feature hits, rarities and concert recordings from throughout the band's iconic career. The channel will air beginning Wednesday, November 16 at 5:00 pm ET and will air through Wednesday, November 23, via satellite on channel 40 and through the SiriusXM app on smartphones and other connected devices, as well as online at siriusxm.com. -
St. Patrick's Day Irish Celebration & Day of Irish Dance
FOR IMMEDIATE RELEASE MEDIA CONTACT: March 1, 2021 Krissy Schoenfelder 651.292.3276 | [email protected] Year two of virtual Day of Irish Dance and St. Patrick’s Day Celebration Virtual Irish fun for the whole family SAINT PAUL, Minn. (March 1, 2021)– The Irish Music and Dance Association has been offering a family friendly St. Patrick’s Day celebration at Landmark Center every year since the first concert in 1983! This year’s virtual celebrations bring back many performers who delight audiences each year at historic Landmark Center in St. Paul. In other years, Landmark Center is filled with guests enjoying Irish music, Irish dance, a bit of Irish theatre and special children’s entertainment. This year, the Irish Music and Dance Association and Landmark Center will welcome everyone virtually – on the IMDA website, the new IMDA YouTube Channel, IMDA’s Facebook Page, and on Landmark Center’s website and Facebook pages – for Day of Irish Dance, March 14, and the St. Patrick’s Day Irish Celebration, March 17. March 14 - The Sundays at Landmark event, “Day of Irish Dance,” will have two components. The first, all things Irish dance—history, costumes, music, lessons, etc—on Landmark Center’s website (www.landmarkcenter.org/irish-celebrations). The second component is the only in-person element of either day, a concert with Todd Menton from Landmark Center’s Market Street porch. The outdoor concert will still observe COVID-19 protocols (masks, social distancing), and will be live-streamed for those unable to attend in person. Visit the Landmark Center or IMDA website in the event of inclement weather for concert location info. -
February 2019
FebruaryFebruary Irish Music & 2019 2019 Dance Association Feabhra The mission of the Irish Music and Dance Association is to support and promote Irish music, dance, and other cultural traditions to insure their continuation. St. Paul’s Own Authentic St. Patrick’s Day Celebration for the Whole Family! Saturday, March 16 It will be a great day of music, dance and culture – fun for the whole family. So come on down to the St. Paul before the St. Patrick’s Day Parade for the fun at Landmark Center and come on back after the parade! What’s new for the St. Patrick’s Day Irish Celebration 2019? A sumptuous selection of traditional Irish music and dance with new and favorite bands and dance groups plus theater: . New bands - Irish Pub Rock the SERFs and lush vocals with fiddle, whistle, guitar, mandolin, and percussion from the Inland Seas! . This year’s Cross-Cultural Presentation offers a delightful blend of Irish and Swedish music in “Tullamore Aquavit Dew” with Phil Platt and Eric Platt in the Seminar Room. The Children’s Stage will start earlier this year, with songs with Ross Sutter – for two performances, a parent and kid céilí dance party with the Mooncoin Céili Dancers, songs from Charlie Heymann, interactive storytelling with Sir Gustav Doc’Tain, plus music and dance with Danielle Enblom. Theater with “Sadie the Goat” a one-woman show, written in verse, that tells the purportedly true story of an Irish-American woman in “Gangs of New York”-era Manhattan. Look for more on this presentation elsewhere in this newsletter. -
Read Ebook {PDF EPUB} up by R.E.M. up by R.E.M
Read Ebook {PDF EPUB} Up by R.E.M. Up by R.E.M. Completing the CAPTCHA proves you are a human and gives you temporary access to the web property. What can I do to prevent this in the future? If you are on a personal connection, like at home, you can run an anti-virus scan on your device to make sure it is not infected with malware. If you are at an office or shared network, you can ask the network administrator to run a scan across the network looking for misconfigured or infected devices. Another way to prevent getting this page in the future is to use Privacy Pass. You may need to download version 2.0 now from the Chrome Web Store. Cloudflare Ray ID: 660c7973f8a24e2c • Your IP : 116.202.236.252 • Performance & security by Cloudflare. The Real Reason R.E.M. Broke Up. Regardless of what your opinion about R.E.M. is, there's no denying that they shaped the face of alternative rock for years. Heck, they've basically been every kind of alternative rock band themselves. They spent their formative years as cult favorite college rockers. Then, they started attracting more and more attention until they were making music with genuine mainstream appeal. Between 1991 and 1992 alone, they released the folk- inspired Out of Time and the baroque Automatic For The People, making them easily the most successful band to attack the audiences of the early grunge era with both mandolins ("Losing My Religion") and string arrangements (A good chunk of Automatic ). -
Krist Novoselic, Dave Grohl, and Kurt Cobain
f Krist Novoselic, Dave Grohl, and Kurt Cobain (from top) N irvana By David Fricke The Seattle band led and defined the early-nineties alternative-rock uprising, unleashing a generation s pent-up energy and changing the sound and future of rock. THIS IS WHAT NIRVANA SINGER-GUITARIST KURT Cobain thought of institutional honors in rock & roll: When his band was photographed for the cover of Rolling Stone for the first time, in early 1992, he arrived wearing a white T-shirt on which he’d written, c o r p o r a t e m a g a z i n e s s t i l l s u c k in black marker. The slogan was his twist on one coined by the punk-rock label SST: “Corporate Rock Still Sucks.” The hastily arranged photo session, held by the side of a road during a manic tour of Australia, was later recalled by photogra pher Mark Seliger: “I said to Kurt, T think that’s a great shirt... but let’s shoot a couple with and without it.’ Kurt said, ‘No, I’m not going to take my shirt off.’” Rolling Stone ran his Fuck You un-retouched. ^ Cobain was also mocking his own success. At that moment, Nirvana - Cobain, bassist Krist Novoselic, and drummer Dave Grohl - was rock’s biggest new rock band, propelled out of a long-simmering postpunk scene in Seattle by its incendiary second album, N everm ind, and an improbable Top Ten single, “Smells Like Teen Spirit.” Right after New Year’s Day 1992, Nevermind - Nirvana’s first major-label release and a perfect monster of feral-punk challenge and classic-rock magne tism, issued to underground ecstacy just months before - had shoved Michael Jackson’s D angerous out of the Number One spot in B illboard. -
Missouri Folklore Society Journal
Missouri Folklore Society Journal Special Issue: Songs and Ballads Volumes 27 - 28 2005 - 2006 Cover illustration: Anonymous 19th-century woodcut used by designer Mia Tea for the cover of a CD titled Folk Songs & Ballads by Mark T. Permission for MFS to use a modified version of the image for the cover of this journal was granted by Circle of Sound Folk and Community Music Projects. The Mia Tea version of the woodcut is available at http://www.circleofsound.co.uk; acc. 6/6/15. Missouri Folklore Society Journal Volumes 27 - 28 2005 - 2006 Special Issue Editor Lyn Wolz University of Kansas Assistant Editor Elizabeth Freise University of Kansas General Editors Dr. Jim Vandergriff (Ret.) Dr. Donna Jurich University of Arizona Review Editor Dr. Jim Vandergriff Missouri Folklore Society P. O. Box 1757 Columbia, MO 65205 This issue of the Missouri Folklore Society Journal was published by Naciketas Press, 715 E. McPherson, Kirksville, Missouri, 63501 ISSN: 0731-2946; ISBN: 978-1-936135-17-2 (1-936135-17-5) The Missouri Folklore Society Journal is indexed in: The Hathi Trust Digital Library Vols. 4-24, 26; 1982-2002, 2004 Essentially acts as an online keyword indexing tool; only allows users to search by keyword and only within one year of the journal at a time. The result is a list of page numbers where the search words appear. No abstracts or full-text incl. (Available free at http://catalog.hathitrust.org/Search/Advanced). The MLA International Bibliography Vols. 1-26, 1979-2004 Searchable by keyword, author, and journal title. The result is a list of article citations; it does not include abstracts or full-text. -
Eric Clapton
Eric Clapton http://www.gibson.com/Products/Electric-Guitars/Les-Paul/Gibson- Custom/Eric-Clapton-1960-Les-Paul.aspx Group 2 Lauren Hartmann, Sarah Youssef, Benjamin Markham, and Suyog Dahal Overview ❖ Artist Biography ❖ Musical Influences ❖ Musical Style ❖ Other Music at the Time ❖ Musical Analysis ❖ Clapton’s Influence ❖ Legacy http://www.ericclapton.com/eric-clapton-biography?page=0%2C2 ❖ Conclusion ❖ References Why We Chose Eric Clapton ❖ We chose Eric Clapton because he is considered one of the most important and influential guitarist of times. ❖ We were interested to learn about how his personal life and choices influenced his musical style. http://thubakabra.deviantart.com/art/Eric- Clapton-333962401 Eric Clapton’s Early Life ❖ Born Eric Patrick Clapton on March 30, 1945 ❖ The son of an unmarried couple, Patricia Molly Clapton and and Edward Walter Fryer. ❖ Edward Walter Fryer was a Canadian soldier stationed in England during WWII. Before Eric was born he returned to his wife back in Canada. ❖ It was difficult on Patricia to raise Eric on her own. Her parents, Rose and Jack Clapp were the primary caregiver of Eric, and raised him http://www.seymourduncan.com/forum/ as their own. showthread.php?127804-quot-So-and-so-played- THIS-guitar-quot (Eric Clapton and WBR, n.d.). Eric Clapton’s Early Life ❖ He was brought up in a musical household ➢ His grandmother played the piano ➢ His mother and uncle always had big bands playing throughout the house ❖ At the age of 9 he found out the truth about his parents ➢ Was affected tremendously by this truth and began to be moody and distant. -
The Legendary Stooges Axeman, 1948-2009: He Didn't Just Play the Guitar
The legendary Stooges axeman, 1948-2009: he didn't just play the guitar. BY TIM "NAPALM" STEGALL The first thing you noticed, after seeing the perfect picture of teenage delinquency in quartet form on the cover (and how much the band depicted resembles a prehistoric Ramones, if you're of a certain age), was the sound: Corrosive, brittle, brassy, seemingly untamed. It was the sound of an electric guitar being punished more than played. And the noise got particularly nasty once Mr. Guitar Flogger stepped on his wah-wah pedal. Because unlike whenever Jimi Hendrix stepped on a wah, this guitar didn't talk. It snarled and spat and attacked like a cobra. As the six string engine that drove The Stooges, Ron Asheton didn't play guitar. He played the amp. And the fuzztone. And the wah-wah pedal. In the process, he didn't just give singer Iggy Pop a sonic playground in which he could run riot and push the boundaries of then-acceptable rock stagecraft. ("Ron provided the ammo," says Rolling Stone Senior Writer David Fricke. "Iggy pulled the trigger.") Ron Asheton also changed the way rock 'n' roll was played and energized a few generations to pick up guitars themselves, creating several subgenres in the process. Ron Asheton was found dead in the wee hours of January 6, 2009, in the Ann Arbor home he and brother Scott (The Stooges' drummer) and sister Kathy (muse to a few late Sixties Detroit rockers and lyrical inspiration for The Stooges' classic "TV Eye") grew up in after the family relocated from the guitarist's native Washington, DC. -
Casco Bay Weekly (1990) Casco Bay Weekly
Portland Public Library Portland Public Library Digital Commons Casco Bay Weekly (1990) Casco Bay Weekly 5-24-1990 Casco Bay Weekly : 24 May 1990 Follow this and additional works at: http://digitalcommons.portlandlibrary.com/cbw_1990 Recommended Citation "Casco Bay Weekly : 24 May 1990" (1990). Casco Bay Weekly (1990). 19. http://digitalcommons.portlandlibrary.com/cbw_1990/19 This Newspaper is brought to you for free and open access by the Casco Bay Weekly at Portland Public Library Digital Commons. It has been accepted for inclusion in Casco Bay Weekly (1990) by an authorized administrator of Portland Public Library Digital Commons. For more information, please contact [email protected]. RECEIVED MAY 2 4 \990 PORTlAND PUBLIC UBRAP' Greater Portland's news and arts weekly flEE Dave Baff on accord Ian for the Southern Maine Blues Society All Stars (above). On sax, Morgan Wltthoft sits In (below). People who live the blues; peopl wh lose the blues By w.o. Cutlip and helicopters and other neat things fill the screen. If you are particularly unfortunate, you may even If your resolve fails this evening and you do not catch the products themselves singing the blues. On a kick back on the divan to read another 20 chapters of given night, one might be serenaded by automobiles, Proust's "Remembrance of Things Past," you will, in toilets, household cleansers, hamburgers, band aids, all probability, turn your television on and bask in its suppositories - the list is endless. It will be clear to light. you then that Madison Avenue has discovered the This is not a tragedy.