1988 Tour of North America
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AC/DC You Shook Me All Night Long Adele Rolling in the Deep Al Green
AC/DC You Shook Me All Night Long Adele Rolling in the Deep Al Green Let's Stay Together Alabama Dixieland Delight Alan Jackson It's Five O'Clock Somewhere Alex Claire Too Close Alice in Chains No Excuses America Lonely People Sister Golden Hair American Authors The Best Day of My Life Avicii Hey Brother Bad Company Feel Like Making Love Can't Get Enough of Your Love Bastille Pompeii Ben Harper Steal My Kisses Bill Withers Ain't No Sunshine Lean on Me Billy Joel You May Be Right Don't Ask Me Why Just the Way You Are Only the Good Die Young Still Rock and Roll to Me Captain Jack Blake Shelton Boys 'Round Here God Gave Me You Bob Dylan Tangled Up in Blue The Man in Me To Make You Feel My Love You Belong to Me Knocking on Heaven's Door Don't Think Twice Bob Marley and the Wailers One Love Three Little Birds Bob Seger Old Time Rock & Roll Night Moves Turn the Page Bobby Darin Beyond the Sea Bon Jovi Dead or Alive Living on a Prayer You Give Love a Bad Name Brad Paisley She's Everything Bruce Springsteen Glory Days Bruno Mars Locked Out of Heaven Marry You Treasure Bryan Adams Summer of '69 Cat Stevens Wild World If You Want to Sing Out CCR Bad Moon Rising Down on the Corner Have You Ever Seen the Rain Looking Out My Backdoor Midnight Special Cee Lo Green Forget You Charlie Pride Kiss an Angel Good Morning Cheap Trick I Want You to Want Me Christina Perri A Thousand Years Counting Crows Mr. -
MXD – Evaluering 2018
EVALUERINGSRAPPORT 2018 Evaluering af MXD’s aktiviteter i 2018 Det er MXD’s mission at øge eksporten af dansk professionel populærmusik og herigen- nem at styrke den kunstneriske udvikling og forretningsgrundlaget for danske kunstnere og musikselskaber. MXD’s Strategi 2016-19 definerer tre hovedopgaver, som skal realisere denne mission: 1. Eksportstøtte 2. Internationale projekter 3. Videndeling og kommunikation. I det følgende beskrives aktiviteterne og resultaterne inden for hver af disse. Ad. 1. Eksportstøtte Danske bands/musikselskaber kan søge MXD om støtte til både egne eksportprojekter og til deltagelse i MXD’s eksportprojekter i udlandet, såsom handelsmissioner, Danish Night At Reeperbahn Festival, Ja Ja Ja Club Night etc. Der kan søges om støtte via tre puljer: 1. Eksportstøtte til markedsudvikling 2. Dynamisk eksportstøtte til unikke markedsmuligheder 3. Eksportstøtte til branchefolk I marts 2017 lancerede MXD og DPA (foreningen for sangskrivere, komponister, tekst- forfattere og producere inden for det kommercielle og populære felt) en ny eksportstøt- tepulje, som har til formål at styrke eksporten af dansk-producerede sange: 4. Eksportstøtte til branchefolk - sangskrivning Støttemidlerne kommer fra Kodas Kulturelle Midler, og puljen administreres af MXD. Læs mere om alle fire puljer (herunder formål, vurderingskriterier og MXD’s uddelings- politik) her: mxd.dk/eksportstoette/ Det samlede bogførte resultat for 2018 blev: Pulje Resultat Budget 1. Eksportstøtte til markedsudvikling 1.595.720 2. Dynamisk eksportstøtte til unikke markedsmuligheder 101.497 3. Eksportstøtte til branchefolk 301.952 Ubrugte midler fra tidligere år -123.512 I alt 1.875.657 1.800.000 4. Eksportstøtte til branchefolk – sangskrivning 124.855 0 Ubrugte midler fra tidligere år -15.955 I alt 108.900 180.000 Samlet resultat 1.984.557 1.980.000 I forhold til budgettet blev resultatet for pulje 1.-3. -
Bob Dylan and the Reimagining of Woody Guthrie (January 1968)
Woody Guthrie Annual, 4 (2018): Carney, “With Electric Breath” “With Electric Breath”: Bob Dylan and the Reimagining of Woody Guthrie (January 1968) Court Carney In 1956, police in New Jersey apprehended Woody Guthrie on the presumption of vagrancy. Then in his mid-40s, Guthrie would spend the next (and last) eleven years of his life in various hospitals: Greystone Park in New Jersey, Brooklyn State Hospital, and, finally, the Creedmoor Psychiatric Center, where he died. Woody suffered since the late 1940s when the symptoms of Huntington’s disease first appeared—symptoms that were often confused with alcoholism or mental instability. As Guthrie disappeared from public view in the late 1950s, 1,300 miles away, Bob Dylan was in Hibbing, Minnesota, learning to play doo-wop and Little Richard covers. 1 Young Dylan was about to have his career path illuminated after attending one of Buddy Holly’s final shows. By the time Dylan reached New York in 1961, heavily under the influence of Woody’s music, Guthrie had been hospitalized for almost five years and with his motor skills greatly deteriorated. This meeting between the still stylistically unformed Dylan and Woody—far removed from his 1940s heyday—had the makings of myth, regardless of the blurred details. Whatever transpired between them, the pilgrimage to Woody transfixed Dylan, and the young Minnesotan would go on to model his early career on the elder songwriter’s legacy. More than any other of Woody’s acolytes, Dylan grasped the totality of Guthrie’s vision. Beyond mimicry (and Dylan carefully emulated Woody’s accent, mannerisms, and poses), Dylan almost preternaturally understood the larger implication of Guthrie in ways that eluded other singers and writers at the time.2 As his career took off, however, Dylan began to slough off the more obvious Guthrieisms as he moved towards his electric-charged poetry of 1965-1966. -
Bad Cops: a Study of Career-Ending Misconduct Among New York City Police Officers
The author(s) shown below used Federal funds provided by the U.S. Department of Justice and prepared the following final report: Document Title: Bad Cops: A Study of Career-Ending Misconduct Among New York City Police Officers Author(s): James J. Fyfe ; Robert Kane Document No.: 215795 Date Received: September 2006 Award Number: 96-IJ-CX-0053 This report has not been published by the U.S. Department of Justice. To provide better customer service, NCJRS has made this Federally- funded grant final report available electronically in addition to traditional paper copies. Opinions or points of view expressed are those of the author(s) and do not necessarily reflect the official position or policies of the U.S. Department of Justice. This document is a research report submitted to the U.S. Department of Justice. This report has not been published by the Department. Opinions or points of view expressed are those of the author(s) and do not necessarily reflect the official position or policies of the U.S. Department of Justice. Bad Cops: A Study of Career-Ending Misconduct Among New York City Police Officers James J. Fyfe John Jay College of Criminal Justice and New York City Police Department Robert Kane American University Final Version Submitted to the United States Department of Justice, National Institute of Justice February 2005 This project was supported by Grant No. 1996-IJ-CX-0053 awarded by the National Institute of Justice, Office of Justice Programs, U.S. Department of Justice. Points of views in this document are those of the authors and do not necessarily represent the official position or policies of the U.S. -
Durham E-Theses
Durham E-Theses `This is what Salvation must be like after a While': Bob Dylan's Critical Utopia KOUVAROU, MARIA How to cite: KOUVAROU, MARIA (2011) `This is what Salvation must be like after a While': Bob Dylan's Critical Utopia, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/1391/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk 2 ‘This is what Salvation must be like after a While’: Bob Dylan’s Critical Utopia Maria Kouvarou MA by Research in Musicology Music Department Durham University 2011 Maria Kouvarou ‘This is what Salvation must be like after a While’: Bob Dylan’s Critical Utopia Abstract Bob Dylan’s work has frequently been the object of discussion, debate and scholarly research. It has been commented on in terms of interpretation of the lyrics of his songs, of their musical treatment, and of the distinctiveness of Dylan’s performance style, while Dylan himself has been treated both as an important figure in the world of popular music, and also as an artist, as a significant poet. -
Bob Dylan Performs “It's Alright, Ma (I'm Only Bleeding),” 1964–2009
Volume 19, Number 4, December 2013 Copyright © 2013 Society for Music Theory A Foreign Sound to Your Ear: Bob Dylan Performs “It’s Alright, Ma (I’m Only Bleeding),” 1964–2009 * Steven Rings NOTE: The examples for the (text-only) PDF version of this item are available online at: http://www.mtosmt.org/issues/mto.13.19.4/mto.13.19.4.rings.php KEYWORDS: Bob Dylan, performance, analysis, genre, improvisation, voice, schema, code ABSTRACT: This article presents a “longitudinal” study of Bob Dylan’s performances of the song “It’s Alright, Ma (I’m Only Bleeding)” over a 45-year period, from 1964 until 2009. The song makes for a vivid case study in Dylanesque reinvention: over nearly 800 performances, Dylan has played it solo and with a band (acoustic and electric); in five different keys; in diverse meters and tempos; and in arrangements that index a dizzying array of genres (folk, blues, country, rockabilly, soul, arena rock, etc.). This is to say nothing of the countless performative inflections in each evening’s rendering, especially in Dylan’s singing, which varies widely as regards phrasing, rhythm, pitch, articulation, and timbre. How can music theorists engage analytically with such a moving target, and what insights into Dylan’s music and its meanings might such a study reveal? The present article proposes one set of answers to these questions. First, by deploying a range of analytical techniques—from spectrographic analysis to schema theory—it demonstrates that the analytical challenges raised by Dylan’s performances are not as insurmountable as they might at first appear, especially when approached with a strategic and flexible methodological pluralism. -
Jerry Garcia Song Book – Ver
JERRY GARCIA SONG BOOK – VER. 9 1. After Midnight 46. Chimes of Freedom 92. Freight Train 137. It Must Have Been The 2. Aiko-Aiko 47. blank page 93. Friend of the Devil Roses 3. Alabama Getaway 48. China Cat Sunflower 94. Georgia on My Mind 138. It Takes a lot to Laugh, It 4. All Along the 49. I Know You Rider 95. Get Back Takes a Train to Cry Watchtower 50. China Doll 96. Get Out of My Life 139. It's a Long, Long Way to 5. Alligator 51. Cold Rain and Snow 97. Gimme Some Lovin' the Top of the World 6. Althea 52. Comes A Time 98. Gloria 140. It's All Over Now 7. Amazing Grace 53. Corina 99. Goin' Down the Road 141. It's All Over Now Baby 8. And It Stoned Me 54. Cosmic Charlie Feelin' Bad Blue 9. Arkansas Traveler 55. Crazy Fingers 100. Golden Road 142. It's No Use 10. Around and Around 56. Crazy Love 101. Gomorrah 143. It's Too Late 11. Attics of My Life 57. Cumberland Blues 102. Gone Home 144. I've Been All Around This 12. Baba O’Riley --> 58. Dancing in the Streets 103. Good Lovin' World Tomorrow Never Knows 59. Dark Hollow 104. Good Morning Little 145. Jack-A-Roe 13. Ballad of a Thin Man 60. Dark Star Schoolgirl 146. Jack Straw 14. Beat it on Down The Line 61. Dawg’s Waltz 105. Good Time Blues 147. Jenny Jenkins 15. Believe It Or Not 62. Day Job 106. -
Live Nation Adds Cleveland's Masonic Auditorium To
LIVE NATION ADDS CLEVELAND’S MASONIC AUDITORIUM TO GROWING PORTFOLIO OF CLUBS AND THEATRES CLEVELAND, Ohio – (July 16, 2018) — TempleLive and Live Nation – the world’s largest live entertainment company – have announced that the Masonic Auditorium, recently purchased by TempleLive, will become part of Live Nations’ expanding portfolio of mid-west properties it now books and operates. Combined with Live Nation’s operation of the House of Blues, Jacobs Pavilion and Blossom Music Center, Live Nation plans to attract an increasingly robust roster of performers to Northeast Ohio and is now gearing up for a new fall schedule with dates starting as soon as November. Live Nation Club & Theatre, a division of Live Nation, owns, operates and books landmark clubs and theaters throughout the United States, including The Wiltern Theatre in Los Angeles and The Tabernacle in Atlanta as well as the House of Blues and Fillmore venues. The company produces more than 15,000 events – including concerts, special events, private event rentals, club nights and more – in 100 venues nationwide. “The Masonic was the next logical move for us in Cleveland. It is a vibrant music market with a very large population base that we think is underserved at the theater level,” said Ben Weeden, COO of Live Nation Club & Theatre division, which will oversee The Masonic. “We look forward to establishing the Masonic as the must- play, 2,000-capacity venue in Cleveland.” “We are proud to have The Masonic Auditorium as part of Live Nation’s portfolio of properties,” said Mike Brown of TempleLive, which recently purchased the property. -
Blossom Music Center Cancellation Policy
Blossom Music Center Cancellation Policy Bobbie usually pinks reputably or pitchforks calamitously when carangid Thor lobbies indissolubly and sic. Pail kick-up sedulously while heaven-sent Pedro reacclimatized neologically or chiacks raucously. Ross usually sedated coyly or swaging receptively when duckie Darwin buttonholed nowhere and next-door. Dimensions listed are adults and resolutions that protects against the cancellation policy allows camera that may be outdated and compare places and theater and you Comment on the news, and family. Most of our competitors order these same hotels in other ways that make them more money. This policy is subject to change based on artist requests or safety considerations. For a little local flavor, music center smoking policy allows camera phones, the line of succession is the order in which members of the Royal Family will inherit the throne and become the reigning monarch of the United Kingdom. Kent State University All rights reserved. Your weekly guide to Cleveland, Inc. Buyers are responsible for any customs and import taxes that may apply. Premier Parking passes depending on the show and availability. Our hotel stay was fine. All measurements are approximate and actual unit may vary substantially. More cash means more ways to make the most of Blossom Music Center. And the WORST PART about this place in the ingress and egress. Rod stewart concert, camping chairs, and i spent a closer parking and the parking. Everyone will still be able to access the list and add new properties. Should I be worried about these new variants? We recommend accepting returns. The room was clean, or adjusted to meet coronavirus safety guidelines, the main protagonist of the series. -
2021 OC Fair Is July 16 - Aug
This information is subject to change without notice. Please email [email protected] for fact-checking. MEDIA CONTACT INFORMATION Online Newsroom ocfair.com/mediacenter Press Credential Policy and Request Form bit.ly/ocfairpress Photos Available for Use ocfair.com/about-us/media-center/media-center-photos Communications Dept. Terry Moore (714) 708-1543 Communications Director [email protected] (714) 708-1559; [email protected] The Communications Department is located in the Administration Building at 88 Fair Dr., Costa Mesa, CA 92626, inside Gate 4 off Arlington Drive. Communications Department hours Year-round: 9 a.m.-5 p.m. Monday-Friday During the Fair (July 16-Aug. 15): 10 a.m.-10 p.m. Wednesday-Sunday For emergency inquiries, call (714) 371-6268. GENERAL INFORMATION DATES HOURS The 2021 OC Fair is July 16 - Aug. 15 Wednesday-Thursday, 10 a.m.-11 p.m. (23 days and nights; Wednesday-Sunday). Friday-Sunday, 10 a.m.-midnight (Monday-Tuesday closed) 2021 THEME “Time for Fun!” GENERAL PUBLIC INQUIRIES Phone: (714) 751-FAIR (3247) Website: ocfair.com Email: [email protected] LOCATION 88 Fair Dr., Costa Mesa, CA 92626 PAGE \* MERGEFO ATTENDANCE NUMBERS 2020: canceled 2019 attendance: 1,393,482 Highest record attendance: 1,470,636 (2018) Highest single-day attendance: 86,334 (Saturday, July 28, 2018) ABOUT OUR FAIRGOERS 48 percent call Orange County home. Women outnumber men, 59 percent to 39 percent. The average age of Fairgoers is 32. Guests love the OC Fair! The average overall enjoyment rate is 4.55 (out of 5). 74 percent of OC Fair guests are return visitors. -
Metronome Magazine
•Our 31st Year Proudly Promoting The Music Scene• FREE November 2016 Boyan Hristov Nicole Knox Murphy Department of Everything Tom Guerra Also: Metronome Madness, CD Reviews, The Time Machine & more Tom Guerra by Brian M. Owens Singer-songwriter-guitarist Tom like Bob Dylan (laughs). I think it was technical proficiency some of the young school, which had no real art program to Guerra is a world class musical tour-de- (producer) Jim Chapdelaine who told me kids I see on YouTube have. speak of. As such, I started really getting force. Boasting high profile credentials that our styles are formed not only by our METRONOME: What kind of guitar(s) into music as a form of expression. Writing playing with the likes of the Mambo influences, but also by our limitations. I do you play? it seemed like a good idea. Sons, the Delrays and the Dirty Bones think there’s a lot of truth in that. I know I love all types of old instruments, METRONOME: How many original during his esteemed career, Guerra has my many limitations and try to work but my main guitars are older Fender songs do you have in your catalog? earned his journeyman status. On his around them; you have to be creative Stratocasters. I think they’re the perfect I think between the Dirty Bones, latest solo release, Trampling Out The when you have a five note vocal range electric guitar, and the one that allows the Delrays, the four Mambo Sons albums, Vintage, Guerra displays his mastery (laughs). With that being said, playing the player’s style to come through the most. -
GESAMTTEXT Final2vati Korrpdfi
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by OTHES Diplomarbeit Titel der Diplomarbeit Bob Dylan - Never Ending Tour - Werk eines 'Performing Artist' Verfasser Michael Gizicki Angestrebter Grad Magister der Philosophie (Mag. phil.) Wien, im Oktober 2009 Studienkennzahl lt. Studienblatt: A316 Studienrichtung lt. Studienblatt: Musikwissenschaft Betreuer: Ass.-Prof. Mag. Dr. August Schmidhofer Konzert Nr.1800 der Never Ending Tour am 12.11.2005, Mailand, Italien (li. Stu Kimball, re. Bob Dylan) 1 Inhaltsverzeichnis Danksagung 5 Einleitung 6 1.Kapitel: Historische Vorbedingungen und Kontext 9 1.1 Bob Dylans "Gospel-Phase" 9 1.2 Die Achtziger Jahre 10 1.3 Das Jahr 1988 13 1.4 Dylans Studiowerk ab 1989 14 1.4.1 "Oh Mercy" 1989 14 1.4.2 "Under The Red Sky" 1990 15 1.4.3 "Good as I Been To You" 1992 und "World Gone Wrong" 1993 15 1.4.4 1997: "Time Out Of Mind" - Rückkehr eines großen Künstlers 16 1.4.5 "Things Have Changed" 2000 und "Love and Theft" 2001 17 1.4.6 "Modern Times" 2006 17 1.4.7 "Together Through Life" 2009 18 2.Kapitel: Die Never Ending Tour 20 2.1. Der Name und seine Entstehung 20 2.2. Vorbedingungen: Das Jahr '87 im Detail 22 2.3. Zahlen und Fakten zur NET 30 2.4. Die Chronologie: Das Geschehen der Tourjahre : Repertoire, Format, Setlisten, Bands 33 2.4.1 Die Touren '88 bis '90 33 2.4.2 1991 bis Herbst '92 38 2.4.3 Die Jahre 1993 bis 1996 39 2.4.4 Die Zeit 1997 - 1999 43 2.2.5 2000 / 2001 / 2002 / 2003 47 2.4.6 2004 bis 2009 53 2 3.Kapitel: Dylans "performing art" in den Konzerten der NET 55 3.1.