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NORRIS FREEWAY CORRIDOR MANAGEMENT PLAN Prepared by the City of Norris, Tennessee June 2020 SECTION 1: ESSENTIAL INFORMATION
NORRIS FREEWAY CORRIDOR MANAGEMENT PLAN Prepared by the City of Norris, Tennessee June 2020 SECTION 1: ESSENTIAL INFORMATION Location. Norris Freeway is located in the heart of the eastern portion of the Tennessee Valley. The Freeway passes over Norris Dam, whose location was selected to control the flooding caused by heavy rains in the Clinch and Powell River watershed. Beside flood control, there were a range of conditions that were to be addressed: the near absence of electrical service in rural areas, erosion and 1 landscape restoration, and a new modern road leading to Knoxville (as opposed to the dusty dirt and gravel roads that characterized this part of East Tennessee). The Freeway starts at US 25W in Rocky Top (once known as Coal Creek) and heads southeast to the unincorporated community of Halls. Along the way, it crosses Norris Dam, runs by several miles of Norris Dam State Park, skirts the City of Norris and that town’s watershed and greenbelt. Parts of Anderson County, Campbell County and Knox County are traversed along the route. Date of Local Designation In 1984, Norris Freeway was designated as a Tennessee Scenic Highway by the Tennessee Department of Transportation. Some folks just call such routes “Mockingbird Highways,” as the Tennessee State Bird is the image on the signs designating these Scenic Byways. Intrinsic Qualities Virtually all the intrinsic qualities come into play along Norris Freeway, particularly Historic and Recreational. In fact, those two characteristics are intertwined in this case. For instance, Norris Dam and the east side of Norris Dam State Park are on the National Register of Historic Places. -
CPROUD %\ Sive Tour Later in the Year
aient His First Album for Private Will Be Voiceless Kottke's Acoustic Music Is Again in Vogue BY STEVEN DUPLER D NEW YORK The surge of interest in new age and acoustic instrumen- tal music is helping guitarist Leo Kottke get his career back on track. The Minnesota -born virtuoso re- cently signed with Private Music, an unexpected move that will see him release his first album in almost three years and undertake an exten- CPROUD %\ sive tour later in the year. Kottke first came into the nation- TO HAVE SERVED al spotlight in the early '70s, a peri- od when stringed acoustic music THE FOLLOWING was enjoying one of its periodic re- naissances. "It's a cyclical thing," Kottke GRAMMY NOMINEES: says. "The flurry of interest in Eu- rope a few years ago in the acoustic guitar followed by about eight years the same surge that was oc- curring here when I was with Tako- BRiCE SPRINGSTEEN DIRE STRAITS ma and then Capitol." The foggy- voiced Kottke (who says he will not sing on his Private HUEY LEWIS AND THE NEWS debut) is regarded as a master of a singular and very American style of guitar, which draws as much from STING PHIL COLLINS KATRINA Appalachian bluegrass as from bot- tleneck blues and classical music. The "folkier" sound of his early AND THE WAVES SPYRO GYRA product, on the Takoma label, simi- lar to work by John Fahey and Bola Private Music's newest artist, guitarist Leo Kottke, poses with bassist /producer HENDRYX MICK JAGGER Sete, was eventually augmented by NONA Buell Neidlinger in front the mixing during the recording of Kottke's a grander, more fully orchestrated of console first album in almost three years. -
Jerry Williams Jr. Discography
SWAMP DOGG - JERRY WILLIAMS, JR. DISCOGRAPHY Updated 2016.January.5 Compiled, researched and annotated by David E. Chance: [email protected] Special thanks to: Swamp Dogg, Ray Ellis, Tom DeJong, Steve Bardsley, Pete Morgan, Stuart Heap, Harry Grundy, Clive Richardson, Andy Schwartz, my loving wife Asma and my little boy Jonah. News, Info, Interviews & Articles Audio & Video Discography Singles & EPs Albums (CDs & LPs) Various Artists Compilations Production & Arrangement Covers & Samples Miscellaneous Movies & Television Song Credits Lyrics ================================= NEWS, INFO, INTERVIEWS & ARTICLES: ================================= The Swamp Dogg Times: http://www.swampdogg.net/ Facebook: https://www.facebook.com/SwampDogg Twitter: https://twitter.com/TheSwampDogg Swamp Dogg's Record Store: http://swampdogg.bandcamp.com/ http://store.fastcommerce.com/render.cz?method=index&store=sdeg&refresh=true LIVING BLUES INTERVIEW The April 2014 issue of Living Blues (issue #230, vol. 45 #2) has a lengthy interview and front cover article on Swamp Dogg by Gene Tomko. "There's a Lot of Freedom in My Albums", front cover + pages 10-19. The article includes a few never-before-seen vintage photos, including Jerry at age 2 and a picture of him talking with Bobby "Blue" Bland. The issue can be purchased from the Living Blues website, which also includes a nod to this online discography you're now viewing: http://www.livingblues.com/ SWAMP DOGG WRITES A BOOK PROLOGUE Swamp Dogg has written the prologue to a new book, Espiritus en la Oscuridad: Viaje a la era soul, written by Andreu Cunill Clares and soon to be published in Spain by 66 rpm Edicions: http://66-rpm.com/ The jacket's front cover is a photo of Swamp Dogg in the studio with Tommy Hunt circa 1968. -
Audacity Find Clipping
Audacity find clipping Continue See also: List of songs about California Wikimedia related to the song list article This is a list of songs about Los Angeles, California: either refer, are set there, named after a place or feature of a city named after a famous resident, or inspired by an event that occurred locally. In addition, several adjacent communities in the Greater Los Angeles area, such as West Hollywood, Beverly Hills, Santa Monica, Pasadena, Inglewood and Compton are also included in this list, despite the fact that they are separate municipalities. The songs are listed by those who are notable or well-known artists. Songs #s-A 10th and Crenshaw Fatboy Slim 100 Miles and Runnin' at N.W.A 101 Eastbound on Fourplay 103rd St. Theme Watts 103rd Street Rhythm Band 1977 Sunset Strip at Low Numbers 2 A.M. on Bobby Mulholland Drive Please, and Udenik 2 David Banner 21 Snoopstreet Trey Deee 26 Miles (Santa Catalina) at Four Preps 2 Nigs United 4 West Compton Prince 29th Street David Benoit 213 to 619 Adjacent Abstract. at Los Angeles Joe Mama 30 Piers Avenue Andrew Hill 319 La Cienega Tony, Vic and Manuel 34th Street in Los Angeles Dan Cassidy 3rd Base, Dodger Stadium Joe Kewani (Rebuilt Paradise Cooder) 405 by RAC Andre Allan Anjos 4pm in Calabasas Drake (musician) 5 p.m. to Los Angeles Julie Covington 6 'N Mornin' by Ice-T 64 Bars at Wilshire Barney Kessel 77 Sunset Strip from Alpinestars 77 Sunset Sunset Strip composers Mack David and Jerry Livingston 79th and Sunset Humble Pye 80 blocks from Silverlake People under the stairs 808 Beats Unknown DJ 8069 Vineland round Robin 90210 Blackbeard 99 miles from Los Angeles Art Garfunkel and Albert Hammond Malibu Caroline Loeb .. -
Austinmusicawards2017.Pdf
Jo Carol Pierce, 1993 Paul Ray, Stevie Ray Vaughan, and PHOTOS BY MARTHA GRENON MARTHA BY PHOTOS Joe Ely, 1990 Daniel Johnston, Living in a Dream 1990 35 YEARS OF THE AUSTIN MUSIC AWARDS BY DOUG FREEMAN n retrospect, confrontation seemed almost a genre taking up the gauntlet after Nelson’s clashing,” admits Moser with a mixture of The Big Boys broil through trademark inevitable. Everyone saw it coming, but no outlaw country of the Seventies. Then Stevie pride and regret at the booking and subse- confrontational catharsis, Biscuit spitting one recalls exactly what set it off. Ray Vaughan called just prior to the date to quent melee. “What I remember of the night is beer onto the crowd during “Movies” and rip- I Blame the Big Boys, whose scathing punk ask if his band could play a surprise set. The that tensions started brewing from the outset ping open a bag of trash to sling around for a classed-up Austin Music Awards show booking, like the entire evening, transpired so between the staff of the Opera House, which the stage as the mosh pit gains momentum audience visited the genre’s desired effect on casually that Moser had almost forgotten until was largely made up of older hippies of a Willie during “TV.” the era. Blame the security at the Austin Stevie Ray and Jimmie Vaughan walked in Nelson persuasion who didn’t take very kindly About 10 minutes in, as the quartet sears into Opera House, bikers and ex-Navy SEALs from with Double Trouble and to the Big Boys, and the Big “Complete Control,” security charges from the Willie Nelson’s road crew, who typical of the proceeded to unleash a dev- ANY HISTORY OF Boys themselves, who were stage wings at the first stage divers. -
Doo-Wah Riders
DOO-WAH RIDERS KENNY LEE BENSON— VOCALS, ACCORDIAN, KEYBOARD, & HARMONICA When I was in my early 20s I decided to quit playing coun- try music in the beer and honky tonks of New Mexico and study music "seriously." I left Albuquerque and moved to Boston to go to music school. After two semesters I ran out of money and did what came natural... playing country music in beer joints and honky tonks. This time in the Northeast. In spite of playing with some won- derful people and players (including the legendary Sleepy La- Beef), I came to the realization that no matter where I was, I was always playing the "the worst place in town" and decided to get the hell out of Dodge. Torn between moving to Nashville and Los Angeles (I had an "ex" in Texas), I let my record collection decide for me. Emmy- lou Harris, Rodney Crowell, Brian Ahern, Byron Berline, Albert Lee and Chris Hillman were all in California and making the kind of records I wanted to make, so I packed up and moved there. Once again, I went to school and studied arranging and orchestration with Dick Grove in Studio City, California (my cur- rent home). One night after playing music at a friend's house, the guitar player and I stood in the parking lot and talked about country music until the wee hours of the morning. We found that we had a mutual passion for Bob Wills, Asleep at the Wheel, Guy Clark and, of course, Emmylou Harris; we decided that we should put a band together just for "laughs." Little did I know that the band would become a major part of my life and that I'd still be working with Lindy Rasmusson 30 years later! . -
TOKYO IDOLS - a film by KYOKO MIYAKE
TOKYO IDOLS - A film by KYOKO MIYAKE Distributed in Canada by Films We Like Bookings and General Inquries: mike@filmswelike.com Publicity and Media: mallory@filmswelike.com Press kit and high rez images: http://www.filmswelike.com/films/tokyo-idols LOGLINE Girl bands and their pop music permeate every moment of Japanese life. Following an aspiring pop singer and her fans, Tokyo Idols explores a cultural phenomenon driven by an obsession with young female sexuality, and the growing disconnect between men and women in hyper-modern societies SYNOPSIS “IDOLS” has fast become a phenomenon in Japan as girl bands and pop music permeate Japanese life. TOKYO IDOLS - an eye-opening film gets at the heart of a cultural phenomenon driven by an obsession with young female sexuality and internet popularity. This ever growing phenom is told through Rio, a bona fide "Tokyo Idol" who takes us on her journey toward fame. Now meet her “brothers”: a group of adult middle aged male super fans (ages 35 - 50) who devote their lives to following her—in the virtual world and in real life. Once considered to be on the fringes of society, the "brothers" who gave up salaried jobs to pursue an interest in female idol culture have since blown up and have now become mainstream via the internet, illuminating the growing disconnect between men and women in hypermodern societies. With her provocative look into the Japanese pop music industry and its focus on traditional beauty ideals, filmmaker Kyoko Miyake confronts the nature of gender power dynamics at work. As the female idols become younger and younger, Miyake offers a critique on the veil of internet fame and the new terms of engagement that are now playing out IRL around the globe. -
HARD REPORT' November 21, 1986 Issue # 6 (609) 654-7272 FRONTRUNNERS ERIC CLAPTON BOB GELDOF "AUGUST" "DEEP in the HEART E.C
THE HARD REPORT' November 21, 1986 Issue # 6 (609) 654-7272 FRONTRUNNERS ERIC CLAPTON BOB GELDOF "AUGUST" "DEEP IN THE HEART E.C. DELIVERS BIG ON OF NOWHERE" HIS MOST HIGHLY ANTICIPATED ALBUM OF IN TERMS OF WRITING AND ROCKING, WE'D THE EIGHTIES! CALL THIS A WORLD CLASS SURPRISE! ATLANTIC THE KINKS KATE BUSH NINNS . "THINK VISUAL" "EXPERIMENT IV" THINK THE 12" IS A BIT THE HIGH PRIESTESS ROUGH? YOU'LL FLIP OF MIND MUSIC RATES OVER "FACTORY" AND AN "A" FOR THIS "LOST AND FOUND" CEREBRAL CONCOCTION! MCA EMI JN OE HWN PE UD SD Fs RD OA My PLUS! ETTRACKS EDDIE MONEY & TIMBUK3 CHARTSTARS * HEADLINES MOST ADDED HOWARD and the FCC 1 The Kinks "Rock & Roll Cities" (MCA) 61 2 Ann Wilson "Best Man in The World" (CAP) 53 3 Bruce Hornsby "Western Skyline..." (RCA) 40 4 Peter Gabriel "Big Time" (GEFFEN) 35 McNUTT To McWKDF HOT NUMBERS ALBUMS Billy Joel "The Bridge" 46-39 (COL) YATES Back in L.A. World Party "Private. 44-38 (CHRY.) Jason/Scorchers"Still..." 37-33 (EMI) Ben Orr "The Lace" 18-14 (E/A) DEBUTS WNEW's McEWEN Stevie Ray Vaughan "Live Alive" #23(EPIC) tubes out Robert Cray "Strong Persuader" #26 (POLY) TRACKS KBC Band "America" 92-71 JOBNAPPERS Van Halen "Rock & Roll Live" 83-63 Europe "The Final Countdown" 89-78 TEXTBOOK: Smithereens "Behind the Wall..." 57-47 GREG GILLISPIE RECORD OF THE WEEK THE STEVE MILLER BAND --FOR HIS FIRST # 1 SINCE 82's "ABRACADABRA"! INSIDE... %tea' &Mai& &Mal& EtiZiraZ CiairlZif:.-.ZaW. CfMCOLZ &L -Z Cad CcIZ Cad' Ca& &Yet Cif& Ca& Ca& Cge. -
Press Quotes
PRESS QUOTES ASSOCIATED PRESS: Wise words pour forth from Chris Smither – observations and aphorisms, similes and internal rhymes, run-on sentences and concise quips, all in a conversational flow. The careful construction of Smither’s lyrics is a thing of beauty and the bedrock of his bluesy folk music. Smither is an excellent acoustic guitarist and first-rate foot-stomper. NATIONAL PUBLIC RADIO: [Smither] taps his foot to keep the rhythm, much like the late blues legend John Lee Hooker. His finger-picked guitar lines are sleek, unhurried and insistent. And then there's the voice – equal parts gravel and molasses. (I edited a little out) ROLLING STONE: Bathed in the flickering glow of passing headlights and neon bar signs, Smither's roots are as blue as they come. There is plenty of misty Louisiana and Lightnin' Hopkins in Smither's weathered singing and unhurried picking. So fine. MOJO (5 STARS): Hundred Dollar Valentine is a thing of profound beauty; deep, sad, wise songs, allied to perfectly crafted arrangements, from a a man who’s live long enough in darkness to address the big, heavy questions with a lightness of touch. OXFORD AMERICAN It was that rhythmic push-and-pull, that New Orleans sensibility that made Smither stand out NEW YORK TIMES: With a weary, well-traveled voice and a serenely intricate finger-picking style, Mr. Smither turns the blues into songs that accept hard-won lessons and try to make peace with fate. MAVERICK: Cast your mind back to the first time you heard Hank Williams, Big Bill Broonzy or JJ Cale and remember how good it felt. -
Dec. 22, 2015 Snd. Tech. Album Arch
SOUND TECHNIQUES RECORDING ARCHIVE (Albums recorded and mixed complete as well as partial mixes and overdubs where noted) Affinity-Affinity S=Trident Studio SOHO, London. (TRACKED AND MIXED: SOUND TECHNIQUES A-RANGE) R=1970 (Vertigo) E=Frank Owen, Robin Geoffrey Cable P=John Anthony SOURCE=Ken Scott, Discogs, Original Album Liner Notes Albion Country Band-Battle of The Field S=Sound Techniques Studio Chelsea, London. (TRACKED AND MIXED: SOUND TECHNIQUES A-RANGE) S=Island Studio, St. Peter’s Square, London (PARTIAL TRACKING) R=1973 (Carthage) E=John Wood P=John Wood SOURCE: Original Album liner notes/Discogs Albion Dance Band-The Prospect Before Us S=Sound Techniques Studio Chelsea, London. (PARTIALLY TRACKED. MIXED: SOUND TECHNIQUES A-RANGE) S=Olympic Studio #1 Studio, Barnes, London (PARTIAL TRACKING) R=Mar.1976 Rel. (Harvest) @ Sound Techniques, Olympic: Tracks 2,5,8,9 and 14 E= Victor Gamm !1 SOUND TECHNIQUES RECORDING ARCHIVE (Albums recorded and mixed complete as well as partial mixes and overdubs where noted) P=Ashley Hutchings and Simon Nicol SOURCE: Original Album liner notes/Discogs Alice Cooper-Muscle of Love S=Sunset Sound Recorders Hollywood, CA. Studio #2. (TRACKED: SOUND TECHNIQUES A-RANGE) S=Record Plant, NYC, A&R Studio NY (OVERDUBS AND MIX) R=1973 (Warner Bros) E=Jack Douglas P=Jack Douglas and Jack Richardson SOURCE: Original Album liner notes, Discogs Alquin-The Mountain Queen S= De Lane Lea Studio Wembley, London (TRACKED AND MIXED: SOUND TECHNIQUES A-RANGE) R= 1973 (Polydor) E= Dick Plant P= Derek Lawrence SOURCE: Original Album Liner Notes, Discogs Al Stewart-Zero She Flies S=Sound Techniques Studio Chelsea, London. -
The Brass Band Bridge with a in This Issue Tremendous Number of Reviews of New Brass Band Recordings
A S E B R S B A T H N D BRIDGE H issue 110 The Official Publication of the North American Brass Band Association august, 2008 Once again, Ronald W. Holz has provided UNDER THE BRIDGE readers of The Brass Band Bridge with a IN THIS ISSUE tremendous number of reviews of new brass band recordings. I’d like to add a hearty, “hear, Douglas Yeo hear” to his enthusiastic recommendation of ATOP THE BRIDGE the new recording of Elgar’s Severn Suite, with From the President, pg. 2 Editor Black Dyke Band, conducted by Sir Colin Davis. This performance is revelatory, and having worked with Sir Colin myself when he RECORDING OF THE his issue of The Brass Band Bridge fea- has guest conducted the Boston Symphony YEAR CONTEST tures reports from several recent brass (including memorable performances of Elgar’s pg. 3 band festivals which were sponsored, in Enigma Variations and The Dream of Gerontius), Tpart, by NABBA. The Great American Brass I can very well imagine how the Black Dyke Band Festival is the premier brass band festival players felt when sitting under the leading NEWS FROM NABBA in the USA and it always features performances interprer of Elgar in our time. The recording BANDS by at least one of NABBA’s most distinguished is truly stupendous. Ron’s reviews are also a bands. The Fifth Toronto Festival of Brass fea- reminder to all NABBA member bands to get pg. 5 tured world premiere performances, and several in their entries for NABBA’s “Recording of the youth bands. -
Acoustic Guitar Songs by Title 11Th Street Waltz Sean Mcgowan Sean
Acoustic Guitar Songs by Title Title Creator(s) Arranger Performer Month Year 101 South Peter Finger Peter Finger Mar 2000 11th Street Waltz Sean McGowan Sean McGowan Aug 2012 1952 Vincent Black Lightning Richard Thompson Richard Thompson Nov/Dec 1993 39 Brian May Queen May 2015 50 Ways to Leave Your Lover Paul Simon Paul Simon Jan 2019 500 Miles Traditional Mar/Apr 1992 5927 California Street Teja Gerken Jan 2013 A Blacksmith Courted Me Traditional Martin Simpson Martin Simpson May 2004 A Daughter in Denver Tom Paxton Tom Paxton Aug 2017 A Day at the Races Preston Reed Preston Reed Jul/Aug 1992 A Grandmother's Wish Keola Beamer, Auntie Alice Namakelua Keola Beamer Sep 2001 A Hard Rain's A-Gonna Fall Bob Dylan Bob Dylan Dec 2000 A Little Love, A Little Kiss Adrian Ross, Lao Silesu Eddie Lang Apr 2018 A Natural Man Jack Williams Jack Williams Mar 2017 A Night in Frontenac Beppe Gambetta Beppe Gambetta Jun 2004 A Tribute to Peador O'Donnell Donal Lunny Jerry Douglas Sep 1998 A Whiter Shade of Pale Keith Reed, Gary Brooker Martin Tallstrom Procul Harum Jun 2011 About a Girl Kurt Cobain Nirvana Nov 2009 Act Naturally Vonie Morrison, Johnny Russel The Beatles Nov 2011 Addison's Walk (excerpts) Phil Keaggy Phil Keaggy May/Jun 1992 Adelita Francisco Tarrega Sep 2018 Africa David Paich, Jeff Porcaro Andy McKee Andy McKee Nov 2009 After the Rain Chuck Prophet, Kurt Lipschutz Chuck Prophet Sep 2003 After You've Gone Henry Creamer, Turner Layton Sep 2005 Ain't It Enough Ketch Secor, Willie Watson Old Crow Medicine Show Jan 2013 Ain't Life a Brook