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Sewanee Purple, 1997-1998
. SEWANEE SEWANEE, TENNESSEE September 25, 1997 Vol.CLXXVII No. 2 Party out of Bounds Sewanee police add female force County Sheriff and Dean Pearigcn in roponsc to their unruly behavior. Then he and the other policeman, unable to control the studcniv backed off until Dean Pearigcn arrived with Deputy Chief. Emic Burner. Gilliam said ih.ii ii is customary to call the Dean to help police break up panics, even if they arc off campus, when ihe police cannot deal with them Within an hour, four Sewanee officers, five Franklin County officers, and Pearigcn were on the scene Dean Pcarigen told the students to shut down ihc party, and either get sober drivers or go inside. Gilliam said that many sober students volunteered 10 drive and even make extra trips, but two Peed and Blouni home was the site of confrontation between police and students arrests were made while students started making their way home. One student claimed he was only by Kelly Smith Neighbors were also concerned trying to move his car about twenty The Sewanee police responded to a about student vehicles which were by Vickie Cogan feet, under officer's orders, but was call at 2:07 am on Sunday, Septem- parked illegaly throughout the Now that school has started up again, most everyone is back into charged regardless. Another student ber 1 3. about an off campus party at neighborhood. a regular routine For most Sewanee students, part of that routine was arrested for DUI. and a second the residence of Mike Peed, C'98, Officer Tony Gilliam responded to includes avoiding the flashing lights of the ever vigilant Sewanee passenger was arrested for evasion and Mac Blount, C'98, on Longs the call and estimated that there Police Department. -
The Society for American Music
The Society for American Music Thirty-Fourth Annual Conference 1 RIDERS IN THE SKY 2008 Honorary Members Riders In The Sky are truly exceptional. By definition, empirical data, and critical acclaim, they stand “hats & shoulders” above the rest of the purveyors of C & W – “Comedy & Western!” For thirty years Riders In The Sky have been keepers of the flame passed on by the Sons of the Pioneers, Gene Autry and Roy Rogers, reviving and revitalizing the genre. And while remaining true to the integrity of Western music, they have themselves become modern-day icons by branding the genre with their own legendary wacky humor and way-out Western wit, and all along encouraging buckaroos and buckarettes to live life “The Cowboy Way!” 2 Society for American Music Thirty-Fourth Annual Conference 3 Society for American Music Thirty-Fourth Annual Conference Hosted by Trinity University 27 February - 2 March 2008 San Antonio, Texas 2 Society for American Music Thirty-Fourth Annual Conference 3 4 Society for American Music Thirty-Fourth Annual Conference 5 Welcome to the 34th annual conference of the Society for American Music! This wonderful meeting is a historic watershed for our Society as we explore the musics of our neighbors to the South. Our honorary member this year is the award-winning group, Riders In The Sky, who will join the San Antonio Symphony for an unusual concert of American music (and comedy). We will undoubtedly have many new members attending this conference. I hope you will welcome them and make them feel “at home.” That’s what SAM is about! Many thanks to Kay Norton and her committee for their exceptional program and to Carl Leafstedt and his committee for their meticulous attention to the many challenges of local arrangements. -
Vanguard Label Discography Was Compiled Using Our Record Collections, Schwann Catalogs from 1953 to 1982, a Phono-Log from 1963, and Various Other Sources
Discography Of The Vanguard Label Vanguard Records was established in New York City in 1947. It was owned by Maynard and Seymour Solomon. The label released classical, folk, international, jazz, pop, spoken word, rhythm and blues and blues. Vanguard had a subsidiary called Bach Guild that released classical music. The Solomon brothers started the company with a loan of $10,000 from their family and rented a small office on 80 East 11th Street. The label was started just as the 33 1/3 RPM LP was just gaining popularity and Vanguard concentrated on LP’s. Vanguard commissioned recordings of five Bach Cantatas and those were the first releases on the label. As the long play market expanded Vanguard moved into other fields of music besides classical. The famed producer John Hammond (Discoverer of Robert Johnson, Bruce Springsteen Billie Holiday, Bob Dylan and Aretha Franklin) came in to supervise a jazz series called Jazz Showcase. The Solomon brothers’ politics was left leaning and many of the artists on Vanguard were black-listed by the House Un-American Activities Committive. Vanguard ignored the black-list of performers and had success with Cisco Houston, Paul Robeson and the Weavers. The Weavers were so successful that Vanguard moved more and more into the popular field. Folk music became the main focus of the label and the home of Joan Baez, Ian and Sylvia, Rooftop Singers, Ramblin’ Jack Elliott, Doc Watson, Country Joe and the Fish and many others. During the 1950’s and early 1960’s, a folk festival was held each year in Newport Rhode Island and Vanguard recorded and issued albums from the those events. -
Salem Leaving Takoma Park
Salem Leaving Takoma Park ~ 43 Years of John Fahey ~ The John Fahey Catalog From The International Fahey Committee Chris Downes, Paul Bryant, Malcolm Kirton, Tom Kremer Thanks to Mitchell Wittenberg and Glenn Jones DISCOGRAPHY...................................................................................................................................................... 4 SUMMARY ............................................................................................................................................................. 4 TRACK LISTING...................................................................................................................................................... 6 THE FONOTONE SESSIONS 1958-1962 ............................................................................................................... 6 BLIND JOE DEATH 1959/1964/1967 ..................................................................................................................... 8 DEATH CHANTS, BREAKDOWNS, AND MILITARY WALTZES 1964/1967........................................................ 8 THE DANCE OF DEATH AND OTHER PLANTATION FAVORITES 1964/67 .................................................... 9 THE TRANSFIGURATION OF BLIND JOE DEATH 1965 ................................................................................... 9 THE EARLY YEARS (FONOTONE) 1965 ............................................................................................................ 10 GUITAR VOLUME 4 THE GREAT SAN BERNARDINO BIRTHDAY -
The Living Daylights 2(3) 22 January 1974 Richard Neville Editor
University of Wollongong Research Online The Living Daylights Historical & Cultural Collections 1-22-1974 The Living Daylights 2(3) 22 January 1974 Richard Neville Editor Follow this and additional works at: http://ro.uow.edu.au/livingdaylights Recommended Citation Neville, Richard, (1974), The Living Daylights 2(3) 22 January 1974, Incorporated Newsagencies Company, Melbourne, vol.2 no.3, January 22 - 28, 28p. http://ro.uow.edu.au/livingdaylights/13 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] The Living Daylights 2(3) 22 January 1974 Publisher Incorporated Newsagencies Company, Melbourne, vol.2 no.3, January 22 - 28, 28p This serial is available at Research Online: http://ro.uow.edu.au/livingdaylights/13 Vol.2 No.3 Jan.22-28 1974 S CREW IN 6 T HE PETRO L GIAN TS «. A ballsy interview with oil maverick Ian Sykes BLACK & PROUD & ABOUT TO BE LYNCHED... In death row with Michael X WHAT S ON in Sydney & Melbourne (plus Sunbury details) a OLLOWING our US bases feature F last fortnight, there have been sev eral repercussions, the least important of which was the front page o f Melbourne’s Truth, sat, jan 19. n t n j l f As the source o f Truth's hallucinations (“ BLOOD WILL FLOW” ), we were cited as a “ left wing newspaper” (ha ha marx- ists) and credited with a variety o f dast ardly intentions. We would like to thank Truth for publicising the march on the US bases, leaving Melbourne early in may Richard Beckett and driving through the other major cities. -
Ace Catalogue 2014
ace catalogue 2014 ACE • BIG BEAT • BGP • CHISWICK • GLOBESTYLE • KENT • KICKING MULE • SOUTHBOUND • TAKOMA • VANGUARD • WESTBOUND A alphabetic listing by artist 2013’s CDs and LPs are presented here with full details. See www.acerecords.com for complete information on every item. Artist Title Cat No Label Nathan Abshire With His Pine Master Of The Cajun Accordion: CDCHD 1348 Ace Grove Boys & The Balfa Brothers The Classic Swallow Recordings Top accordionist Nathan Abshire at his very best in the Cajun honky-tonk and revival eras of the 1960s and 1970s. Pine Grove Blues • Sur Le Courtableau • Tramp Sur La Rue • Lemonade Song • A Musician’s Life • Offshore Blues • Phil’s Waltz • I Don’t Hurt Anymore • Shamrock • If You Don’t Love Me • Service Blues • Partie A Grand Basile • Nathan’s Lafayette Two Step • Let Me Hold Your Hand • French Blues • La Noce A Josephine • Tracks Of My Buggy • J’etais Au Bal • Valse De Kaplan • Choupique Two Step • Dying In Misery • La Valse De Bayou Teche • Games People Play • Valse De Holly Beach • Fee-Fee Pon-Cho Academy Of St Martin-in-the-Fields Amadeus - Special Edition: FCD2 16002 (2CD) Ace Cond By Sir Neville Marriner The Director’s Cut Academy Of St Martin-in-the-Fields The English Patient FCD 16001 Ace Cond By Harry Rabinowitz Ace Of Cups It’s Bad For You But Buy It! CDWIKD 236 Big Beat Act I Act I CDSEWM 145 Southbound Roy Acuff Once More It’s Roy Acuff/ CDCHD 988 Ace King Of Country Music Roy Acuff & His Smokey Sings American Folk Songs/ CDCHD 999 Ace Mountain Boys Hand-Clapping Gospel Songs Cannonball -
Chapter 3 John Fahey: Background and Brief Biography
50 CHAPTER 3 JOHN FAHEY: BACKGROUND AND BRIEF BIOGRAPHY “Because of Dick Spottswood and Don Owens and Bill Monroe, I became a professional guitar player and composer.” John Fahey.1 John Fahey was born on February 28, 1939, in Takoma Park, located in Cecil County Maryland.2 His early musical life was typical of a suburban middle class child in the United States. Both his mother and father were amateur musicians; his father played popular songs on the Irish harp and the piano, and his mother played popular and semi-classical songs on the piano. Fahey remembers that, “my father liked schmaltz, but my mother played Rachmaninoff preludes and things. I started hearing that stuff really young, right out of the womb.”3 Fahey admitted on at least one occasion to taking piano lessons himself, but did not maintain an interest, saying that the piano “didn’t sound enough like a full orchestra.”4 A similar fate awaited the clarinet, an instrument he took up in junior high school in another attempt to connect with the concert music he was becoming interested in: I [Fahey] had been playing clarinet in a school band and was interested in orchestras and symphonic music, but I couldn’t maintain an interest playing the clarinet. I’ve always wanted to improvise and write things more than I 1 John Fahey, How Bluegrass Music Destroyed My Life , Chicago: Drag City , 2000 , 265. The author is aware that this semi-autobiographical work mixes truth and fiction quite liberally and notes that the book itself is listed as fiction. -
Folklife Annual, 1986. INSTITUTION Library of Congress, Washington, D.C
DOCUMENT RESUME ED 310 960 SO 020 179 AUTHOR Jabbour, Alan, Ed.; Hardin, James, Ed. TITLE Folklife Annual, 1986. INSTITUTION Library of Congress, Washington, D.C. American Folklife Center. REPORT NO ISBN-0-8444-0514-0 PUB DATE 87 NOTE 178p.; For the 1987 edition, see SO 020 180. AVAILABLE FROMSuperintendent of Documents, U.S. Government Printing Office, Washington, DC 20402. PUB TYPE Books (010) -- Historical Materials (060) EDRS PRICE MF01/PC08 Plus Postage. DESCRIPTORS *Cultural Education; *Dance; Ethnic Groups; Ethnography; *Folk Culture; Foreign Countries; Foreign Culture; *Legends; Mythology; Photographs IDENTIFIERS Breakdancing; Finland; Finnish Americans; Peru; West Indies ABSTRACT Folklife is the study of tradition, of what carries forward through time, providing continuity and identity with a place or an activity. This collection of articles is intended to provide a forum for the discussion of theories and procedures of folklife study and to demonstrate both the variety of folklife communities and the unexpected similarities displayed by seemingly disparate groups or situations. "Breakdancing" (S. Banes) traces the phenomenon of breakdancing from its origins on the streets of New York City in the early 1980s where it served as a nonviolent form of competition between gangs, or "crews," of youngsters through its transformation into a theatrical event. "Among the Qeros" (J. Cohen) details the return visit of a filmmaker to a remote region in the Andes of Peru and the changes he found there after only six months. "'Bleows'": The Whaling Complex in Bequia" (H. P. Beck) describes 19th century whaling customs still practiced on the island of Beguia in the Lesser Antilles. -
Pete Neuman & the Real Deal
Bob Dylan, Jerry Garcia, Beck, Doc Watson, John McCutcheon, Taj Mahal, Bruce Cockburn, and All shows begin at 6:30 Guthrie Thomas. In case of inclement weather, Tuesday Night Blues Hurt's influence spanned several music genres be held at the House of Rock, 422 Water Street. including blues, country, bluegrass, folk and *August 3 will be held at Phoenix Park. contemporary rock and roll. A soft-spoken man, his nature was reflected in the work, which consisted of a May 31 Lucas K & the Cool Hand Saints mellow mix of country, blues and old time music. facebook.com/lucasandthesaints June 7 The Jonestones Hurt died of a heart attack in Grenada, Mississippi. August 2, 2011 at Phoenix Park AMBlues.com There is now a memorial in Avalon, Mississippi for June 14 Howard ‘Guitar’ Luedtke & Blue Max Mississippi John Hurt. It is parallel to RR2, the rural road HowardLuedtke.com on which he grew up. June 21 Left Wing Bourbon Tom Paxton wrote and recorded a song about him in LeftWingBourbon.yolasite.com 1977 entitled "Did You Hear John Hurt?" The first track of June 28 Sparky & Friends Facebook.com/SparkyAndTheWipers John Fahey's 1968 album, Requia, is entitled July 5 Jayson Collins Group "Requiem For John Hurt". Fahey's posthumous live myspace.com/jaysoncollins album The Great Santa Barbara Oil Slick also features July 12 Code Blue with Catya & Sue a version of the piece, there entitled "Requiem For Catya.net Mississippi John Hurt". British folk/blues artist Wizz Jones July 19 The Steve Meyer Band recorded a tribute song called "Mississippi John" for Real Deal MySpace.com/SteveMeyerAndTheBluesDogs July 26 Deep Water Reunion his 1977 album Magical Flight. -
Fahey, John: the Transfiguration of Blind Joe Death (Bull Moose.Com)
Fahey, John: The Transfiguration of Blind Joe Death (Bull Moose.com) Notes / Reviews The Transfiguration of Blind Joe Death is a 1965 album by American finger-style guitarist and composer John Fahey, originally issued in a hand-lettered edition of 50. As with all of Fahey's independently released early albums, it had little critical recognition upon release. The album has grown in stature since its reissue on CD in 1997 and is now highly regarded critically. History The title refers to a fictional bluesman named Blind Joe Death, first introduced by Fahey on his debut album Blind Joe Death. For years Fahey and Takoma Records continued to treat the imaginary guitarist as a real person, including booklets with their LPs containing biographical information about him and that he had taught Fahey to play. The Transfiguration of Blind Joe Death was issued by Riverboat Records, initially in a hand-lettered edition of 50, before The Great San Bernardino Birthday Party (Guitar Vol. 4), but was later reissued by Takoma. Once reissued by Takoma, it became Volume 5, but was already labelled Volume 5 on the Riverboat album sleeves. The original 1965 liner notes came in a separate booklet, were lengthy and were attributed to one Charles Holloway, Esq. They begin: "A disgusting, degenerate, insipid young folklorist from the Croat & Isaiah Nettles Foundation for Ethnological Research meandered mesmerically midst marble mansions in Mattapan, Massachusetts. It was an unsavory, vapid day in the summer of 2010 as the jejune air from Back Bay transubstantiated itself autologically and gradually into an ozone-like atmosphere." The Transfiguration of Blind Joe Death was partly recorded on the East coast, but more tracks were needed to make the album. -
Lumia Nights
OMNI NETWORKER CD / LP / CS / DIGITAL SP 1326 RELEASE DATE: NOVEMBER 1ST, 2019 TRACKLISTING: 1. Sincerely Yours 2. Courtesy Call 3. Moat 4. Underage 5. Skeleton Key 6. Genuine Person 7. Present Tense 8. Blunt Force 9. Flat Earth 10. Networker 11. Sleep Mask Enter Networker, the new album by Omni and first with indie giant Sub Pop Records. Their sound is still defined by sparse drums, GENRE: Alternative Rock locked-in bass, blistering guitar, and nonchalant, yet assured vocals, but from the first notes of "Sincerely Yours" you'll immediately notice that Networker sounds much cleaner and more "HI-FI" than their prior two albums, Deluxe (2016) and Multi-task (2017). The departure in fidelity suits the new record and allows the listener to enjoy the nuances of their meticulous arrangements. Don't worry, the riffs of 0 9 8 7 8 7 1 3 2 6 2 5 0 9 8 7 8 7 1 3 2 6 1 8 Gang of Four and Wire are still present, but the production is more CD Packaging: Digipack LP Packaging: Single-pocket lush and the harmony is even more expansive. Despite nods to the jacket with custom dust sleeve sounds of the ’70s and ’80s what comes through is a record fully Includes mp3 coupon rooted in the here and now. Thematically, this is apparent on the title NON-RETURNABLE track "Networker" taking a candid snapshot of the “digital you” aspect of life in the age of the internet. The otherwise fun romp “Skeleton Key” also acknowledges the “direct message and obsessive” side of social media with lines like “if you don't like what you see, the pretty face on the screen, scroll on by...” Networker was written half between tours and half during recording sessions. -
Ii. Archive of Books, Recordings, Sheet Music, Videos, and Advertising Materials
II. ARCHIVE OF BOOKS, RECORDINGS, SHEET MUSIC, VIDEOS, AND ADVERTISING MATERIALS IIB. Recordings II B1. African Source Materials It is Africa that is the largest presence in African American music, and it is still the least understood. Africa itself is still largely unknown to most Americans, and there is so much uncertainly in placing the ancestry of any specific African tribal group in any particular area of the United States or the Caribbean. Slaves were marched thousands of miles from their tribal areas before they were placed on the ships, and when they arrived in the Western Hemisphere there was generally an effort to separate members of the same tribe so they would not be able to communicate with the other slaves except through the slave holder’s language. What is known is the general area the slaves came from - West Africa, roughly from Senegal to Angola, and inland in the northern regions to the Niger basin in what is now Mali. This selection of recordings is only an introduction to the wealth of music from this area, but the archive includes the documentary recordings of the music I recorded on my travels in these areas as I searched for roots of the blues and other musical forms I knew from the United States. Six albums were released by Sonet Records in Sweden, and Folkways Records in the United States, and the book The Roots of the Blues also resulted from these travels. The 1974-1975 Recordings AFRICAN JOURNEY A Search for the Roots of the Blues Vol. 1 - LP, Recorded and documented by Samuel Charters.