2003 Sept Vol 127 No 4
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
10CC Dreadlock Holiday 98 Degrees Because of You Aaron Neville Don
10CC My Love My Life Dreadlock Holiday One Of Us Our Last Summer 98 Degrees Rock Me Because Of You S.O.S. Slipping Through My Fingers Aaron Neville Super Trouper Don't Know Much (Duet Linda Ronstad) Take A Chance On Me For The Goodtimes Thank You For The Music The Grand Tour That's Me The Name Of The Game Aaron Tippin The Visitors Ain't Nothin' Wrong With The Radio The Winner Takes It All Kiss This Tiger Two For The Price Of One Abba Under Attack Andante, Andante Voulez Vous Angel Eyes Waterloo Another Town, Another Train When All Is Said And Done Bang A Boomerang When I Kissed The Teacher Chiquitita Why Did It Have To Be Me Dance (While The Music Still Goes On) Dancing Queen Abc Does Your Mother Know Poison Arrow Dum Dum Diddle The Look Of Love Fernando Gimme! Gimme! Gimme! (A Man After Midnight) Ac Dc Happy New Year For Those About To Rock Hasta Manana Have A Drink On Me He Is Your Brother Highway To Hell Hey Hey Helen Who Made Who Honey Honey Whole Lotta Rosie I Do, I Do, I Do You Shook Me All Night Long I Have A Dream I Let The Music Speak Ace Of Base I Wonder All That She Wants If It Wasn't For The Nights Beautiful Life I'm A Marionette Cruel Summer I've Been Waiting For You Don't Turn Around Kisses Of Fire Life Is A Flower Knowing Me Knowing You Lucky Love Lay All Your Love On Me The Sign Lovers(Live A Little Longer) Wheel Of Fortune Mamma Mia Money Money Money Ad Libs The Engelstalige Karaoke Holding de Riddim Entertainment Pagina 1 Boy From New York City Theme From Moonlighting Adele Al Jolson Don't You Remember Avalon I Set Fire -
Deaton Goes Inside the Cmas Remembering Eddie Reeves
November 26, 2018, Issue 629 Deaton Goes Inside The CMAs Exec. Producer of the 52nd CMA Awards Robert Deaton offers the inside view of country music’s biggest night. CA: The show was so well-received, drawing high marks from everyone we spoke with, but the ratings were down significantly (CAT 11/15). Obviously a lot of factors at play, most of them out of your control, but what is your view? RD: I’m probably going to oversimplify it, and there are people high up at the network who could get into the analytics. The way I look at it, I can’t control the HUT (Households Using Television). All I can try to do is get the people who are watching TV to watch our Robert Deaton broadcast. We were up 91% over the previous week’s scheduling. We won every half hour by a large margin. We were No. 1 for the night. For that particular Gol’ Darn Gone & Dunn It: MCA’s Clare Dunn with WEBG/ night, and that particular week, and that particular month, people Chicago staffers. Pictured (l-r) are the label’s Donna Jo are watching our show. That, I feel good about. Passuntino, the station’s Lance Houston, Dunn and the station’s Not speaking for CMA, but every day is new from a technolo- Kelsey King. gy standpoint. Viewing habits are much different than even three years ago. With that dramatic shift, we are still in an antiquated Remembering Eddie Reeves measurement system. Not just with this show, but all live broad- Most in Nashville remember the late Eddie Reeves casts. -
Music Genres and Corporate Cultures
Music Genres and Corporate Cultures Music Genres and Corporate Cultures explores the workings of the music industry, tracing the often uneasy relationship between entertainment cor- porations and the artists they sign. Keith Negus examines the contrasting strategies of major labels like Sony and Universal in managing different genres, artists and staff, and assesses the various myths of corporate cul- ture. How do takeovers affect the treatment of artists? Why was Poly- Gram perceived as too European to attract US artists? Why and how did EMI Records attempt to change their corporate culture? Through a study of three major genres—rap, country and salsa—Negus investigates why the music industry recognises and rewards certain sounds, and how this influences both the creativity of musicians and their audiences. He explores why some artists get international promotion while others are neglected, and how performers are packaged as ‘world music’. Negus examines the tension between rap’s image as a spontaneous ‘music of the streets’ and the practicalities of the market, asks why execu- tives from New York feel uncomfortable when they visit the country music business in Nashville, and explains why the lack of soundscan sys- tems in Puerto Rican record shops affects salsa’s position on the US Bill- board chart. Drawing on extensive research and interviews with music industry per- sonnel in Britain, the United States and Japan, Music Genres and Corpo- rate Cultures shows how the creation, circulation and consumption of popular music is shaped by record companies and corporate business style while stressing that music production takes place within a broader cul- ture, not totally within the control of large corporations. -
Texas Music Office (512)
Missouri – Mobile Recording 151 Missouri City Civic Center Amy E. Mitchell Mixture 1522 Texas Parkway, Missouri City, TX 77489 4607 Clawson Road, Austin, TX 78745 (281) 261-4290; [email protected] Attorney & Counselor at Law (512) 462-2611 Jennifer Sooy P.O. Box 49547 [email protected] Austin, TX 78765 Mark Younger-Smith, Owner/Producer Mr. A’s (512) 970-7824; (866) 514-3973 3409 Cavalcade, Houston, TX 77026 [email protected] Mlar Records (713) 675-2319 http://www.amyemitchell.com 10110 West Sam Houston South Parkway, Suite 150 Tony Attorneys • Music business consultants Houston, TX 77099-5109 Austin Music Foundation (832) 351-3511 Mr. Cassette of Texas Entertainment Law Section of the State Bar of Texas Po White 4930 Burnet Road, Suite 100, Austin, TX 78756-2600 Austin Young Lawyers Association (512) 452-5050; Fax (512) 452-6441 American Bar Association Mo’ Ranch [email protected] Established: 2004 P.O. Box 870, Blanco, TX 78606 Carol Humphrey, Sole Proprietor Amy E. Mitchell, a sole practitioner based in Aus- (830) 833-5430 tin, practices entertainment law with a focus on emerg- Waymond Lightfoot Mr. E’s Electronics ing bands. Work experience includes reviewing indie 2818 Hillcrest Drive, San Antonio, TX 78201-7046 label deals, production agreements, and label shop- Mo’s Place (210) 737-6737 ping agreements, as well as drafting, structuring, and 21940 Kingsland, Katy, TX 77450 negotiating music industry deals. She graduated from (281) 392-3499 the University of Texas School of Law in 2004 and is Mr. E’s licensed to practice law in Texas. -
Al Staehely One Sheet.Pdf
Al Staehely 1 Who is Al Staehely Al Staehely has been writing and playing music for a long time. Born and raised in one of the world’s most influential music towns, Staehely often found great inspiration in the nooks and crannies of Austin’s musical landscape. His foray into instrumentation and songwriting began at an early age thanks in part to his mother’s love of good music. An injury in his early teens resulting from the intense heat of a typical Texas summer kept Staehely from further pursuing athletic endeavors. He soon found himself armed with a guitar, on loan from a cousin who most likely saw Staehely’s true potential, and learning the chords for Ricky Nelson’s “Poor Little Fool.” What started out as a hobby, something to help pass the time, quickly turned into Staehely’s greatest pursuit. Throughout high school and college, Staehely played in a number of bands serving as frontman, bassist, guitar player, and songwriter. During his college years, one of Staehely’s bands had the supreme honor of playing backup for rock ‘n’ roll and blues legends such as Chuck Berry and Freddie King. And that was just the beginning. Staehely is an unconventional guy and his career in music has a few fun twists. In the early ‘70s, Staehely earned his JD from the University of Texas at Austin. Rather than jump straight into practicing law, Staehely opted instead to tuck away his law degree and hop on the first plane to Los Angeles where he joined the well-established ‘60s rock band Spirit. -
Copyright by Craig Dwight Hillis 2011
Copyright by Craig Dwight Hillis 2011 The Dissertation Committee for Craig Dwight Hillis Certifies that this is the approved version of the following dissertation: The Austin Music Scene in the 1970s: Songs and Songwriters Committee: __________________________________ Mark C. Smith, Supervisor __________________________________ Douglas E. Foley __________________________________ Karl H. Miller __________________________________ Kevin Mooney __________________________________ Jeffery L. Meikle __________________________________ William M. Stott The Austin Music Scene in the 1970s: Songs and Songwriters by Craig Dwight Hillis, B.A.; M.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas At Austin August, 2011 Dedication In memory of David Norman Hillis ~ Brother Valerie Ann Hillis ~ Mother Dwight Norman Hillis ~ Father Acknowledgements This project began roughly twenty years ago when I visited the American Studies Department to inquire about their graduate program. I'd been rooting around the History Department where, at age forty-one and only twenty years behind schedule, I'd finished my undergraduate degree. I had the academic bug and I wanted to move on to graduate school. Professor David Montejano was kind enough to let me sit in on one of his graduate courses to allow me to get a feel for what graduate work involved. As the seminar wound down, he suggested that I check out the AMS program on the third floor of Garrison Hall. I looked through the courses the department had been offering over the last few semesters and after noticing subjects like film history, jazz, a large collection of topics in popular culture, and seminars dealing with drugs, alcohol, and the beat generation, I knew I'd found a new home. -
463-6666 [email protected] Martin, Dale
Martin, Dale – Matthews, Sherry 151 Dale Martin, Music Writer Mas Distributors • Houston Masterpiece Mastering P.O. Box 311200, New Braunfels, TX 78131 819 Hogan, Houston, TX 77009 P.O. Box 2130 (830) 626-3424; Fax (830) 626-0825 (713) 228-7773 Wimberley, TX 78676-2130 [email protected] Matias Ramirez, Owner (512) 842-1431; Fax (512) 842-1431 [email protected] Michael Martin Mason Country Opry at the Odeon Theater www.masterpiecemastering.com P.O. Box 10662, Austin, TX 78766-1662 1701 South Bridge Street, Brady, TX 76825-7031 Billy Stull (512) 454-1135; (512) 462-2219; Fax (512) 454-5483 (325) 597-1895; (325) 597-2119; Fax (325) 597-0515 Mastering • Audio engineers [email protected] Compact disc manufacturers • Record producers Martin Professional, Inc. Tracy Pitcox, Producer National Academy of Recording Arts and Sciences 7120 Rufe Snow Drive, Bldg. 106, Suite 303 Established: 1997 North Richland Hills, TX 76148 Mason Studio Established in beautiful Wimberley TX in 1997, the (817) 577-8404; (800) 200-1210; Fax (817) 577-8604 216 Forest Drive, Lake Jackson, TX 77566 tuned mastering laboratory now features an incredible Jeff Dougherty, Regional Sales Manager (979) 297-8924; [email protected] custom Analog Mastering System designed by Rodney Mason, Owner legendary audio designer Rupert Neve and conceived Narciso Martinez Cultural by veteran mastering engineer Billy Stull. This System Masquerade Entertainment dubbed Masterpiece is produced and marketed Arts Center 2186 Jackson Keller, Suite 412, San Antonio, TX 78213 worldwide by Legendary Audio P.O. Box 471 (210) 377-3535; Fax (210) 342-2568 www.legendaryaudio.com. Masterpiece empowers the San Benito, TX 78586 Ernest Calderon, Coordinator audio engineer to enhance, restructure, or repair stereo (956) 361-0110; (956) 425-9552; Fax (956) 361-0767 audio masters-digital or analog. -
Federal Register/Vol. 84, No. 130/Monday, July 8, 2019/Rules and Regulations
32274 Federal Register / Vol. 84, No. 130 / Monday, July 8, 2019 / Rules and Regulations (b) Definitions. As used in this to the compulsory license for digital administer this new blanket-licensing section, designated representative music providers to make and distribute system beginning on the ‘‘license means a Coast Guard Patrol digital phonorecord deliveries. For the availability date,’’ that is, January 1, Commander, including a Coast Guard reasons published in this document, the 2021.5 As detailed further below, the petty officer, warrant or commissioned Register designates Mechanical MLC, through its board of directors and officer on board a Coast Guard vessel or Licensing Collective, Inc. as the task-specific committees, will be on board a federal, state, or local law mechanical licensing collective and responsible for a variety of duties, enforcement vessel assisting the Captain Digital Licensee Coordinator, Inc. as the including receiving usage reports from of the Port (COTP), Delaware Bay in the digital licensee coordinator, including digital music providers, collecting and enforcement of the safety zone. their individual proposed board distributing royalties associated with (c) Regulations. (1) Under the general members. those uses, identifying musical works safety zone regulations in subpart C of DATES: Effective July 8, 2019. embodied in particular sound this part, you may not enter the safety recordings, administering a process by FOR FURTHER INFORMATION CONTACT: zone described in paragraph (a) of this which copyright owners can claim Regan A. Smith, General Counsel and section unless authorized by the COTP ownership of musical works (and shares Associate Register of Copyrights, by or the COTP’s designated representative. -
And Add To), Provided That Credit Is Given to Michael Erlewine for Any Use of the Data Enclosed Here
POSTER DATA COMPILED BY MICHAEL ERLEWINE Copyright © 2003-2020 by Michael Erlewine THIS DATA IS FREE TO USE, SHARE, (AND ADD TO), PROVIDED THAT CREDIT IS GIVEN TO MICHAEL ERLEWINE FOR ANY USE OF THE DATA ENCLOSED HERE. There is no guarantee that this data is complete or without errors and typos. And any prices are sure to be out of date. This is just a beginning to document this important field of study. [email protected] ------------------------------ FIL-2.037 1965-12-10 P-1 --------- 1965-12-10 / FIL 2.037 CP003186 / A2 37 2nd Mime Troupe Appeal Party: Jefferson Airplane, Great Society at Fillmore Auditorium - San Francisco, CA Notes: The second appeals party was held in the {Fillmore Auditorium}, and thanks to a plug from {Bob Dylan}, who was playing in Berkeley, it too was very well attended. It raised some $6000 and even had a nascent kitchen that served matzo-ball soup and salad. This was December 10, 1965. This item appears in the Art of Rock book, plate no. 2.037 Benefit: San Francisco Mime Troupe Benefit Venue: Fillmore Auditorium - SF Promoter: SF Mime Troupe Appeals Items: Original poster FIL-2.037 Edition 1 / CP003186 / A2 37 (14-1/2 x 20) AORPlate: 2.037 Price: 1200.00 FIL-2.037 / NONE / 37 AORPlate: 2.037 Performers: 1965-12-10: Fillmore Auditorium - SF Jefferson Airplane / Great Society / John Handy / Gentleman's Band / Mystery Trend / Grateful Dead / Sam Thomas ------------------------------ FIL-2.036 1965-12-10 H-1 --------- 1965-12-10 / FIL 2.036 CP003184 / A2 36 2nd Mime Troupe Appeal Party: Jefferson Airplane, Great Society at Fillmore Auditorium - San Francisco, CA Notes: The second appeals party was held in the {Fillmore Auditorium}, and thanks to a plug from {Bob Dylan}, who was playing in Berkeley, it too was very well attended. -
Country Update
Country Update BILLBOARD.COM/NEWSLETTERS NOVEMBER 26, 2018 | PAGE 1 OF 19 INSIDE BILLBOARD COUNTRY UPDATE [email protected] Dan + Shay Leap To No. 1 After Borderline Shooting, Country Artists >page 5 Begin To Speak Out On Gun Control ‘Clown’ Case Impacts Songwriters At least a dozen families spent Thanksgiving with an unoccupied red carpet. >page 9 chair at the table and an empty place in their hearts following the Indeed, artists’ responses to questions this year about the slaughter of 12 people at the Borderline Bar & Grill in Thousand issue are a sharp reversal from the 2017 CMA Awards, which Oaks, Calif. occurred 39 days after the massacre at the Route 91 Harvest The Nov. 7 attack marked the 307th mass shooting in the festival in Las Vegas, where 58 country concertgoers were killed Kenny Chesney’s New United States in the first 311 days of 2018. The Country Music and another 441 were injured. With the industry’s emotions Paradigm Association acknowledged the tragedy as Garth Brooks led still raw, the CMA initially threatened journalists last year with >page 9 a moment of silence for expulsion if they asked the victims at the start of artists on the red carpet the CMA’s 52nd annual about gun violence. It awards on Nov. 14. rescinded that order after Bentley, Stapleton, In contrast to that Morris and Brad Paisley Aldean Aid Charities silence, the Borderline publicly criticized the >page 10 incident seems to have policy. Regardless, most made country artists artists shied away from more vocal about the the subject or spoke in MORRIS BRICE PRICE Makin’ Tracks: Carly subject of guns. -
Ditch the Fest Fest
RECOMMENDED EVENTS FOR OCT. 7 TO OCT. 14 LANCE HAHN SUE FOLEY MEMORIAL & PETER KARP Red 7, Saturday 9 Antone’s, Wednesday 13 See “Off the Record,” p.56. While not exactly Stax stal- warts Carla and Rufus Thomas, Ottawa’s Sue Foley and Nashville MALAIKAT DAN bluesman Peter Karp shuffle over EDITED BY AUDRA SCHROEDER SINGA homemade grit on their upcoming music listings album, He Said, She Said, “Rules Beerland, Sunday 10 of Engagement” and “Treat Me | Butcher Bear & Charlie The impeccably named Arrington Right” inhabiting the middle ground de Dionyso, former growler for punk- between her Fender backbone and and-brimstoners Old Time Relijun, his compositional acumen. Foley’s AMANDA BLANK proves he’s up for a challenge with local residency last decade only Scoot Inn, Friday 8 his latest project. A recent self-titled makes Antone’s heart grow fonder bow for K Records channels his as the years pass by. Eve & the Spank Rock collaborator Blank Nick Caveisms into throaty art-rock Exiles open. – Raoul Hernandez stood solo with last year’s debut, I Love invocations. Also, the lyrics are all in You. Sure, the first single is an electro- Indonesian. Locals YellowFever, Soft pop once-over of Romeo Void’s 1982 Healer, and This Horn of Afrika soften WOVENHAND hit “Never Say Never,” but the Philly the edges a bit. – Audra Schroeder Mohawk, Thursday 14 singer teases and sprays it with that smart-mouthed, hypersexual downtown With unshakable conviction and Old Testament wrath, former 16 lacquer. God-Des & She, Dubb Sicks, CHRISTINA CARTER and Darko open. -
2009 Summer Vol 133 No 2
PAGE 26 I TRIBUTE TO THE LATE JOHN W. FISH lESIDENT RAINBOW DELTA INTERNATIONAL FRATERNITY We have all heard the phrase, "redi know what reuse, recycle," but do we really Jo do in order to live a more environmentally responsible lifestyle? I PAGE29_ I i I Cu nil fa. Every day at Delta Tau Delta is "recruitment day." We're always looking for young men who are committed to academics and who share Delt values, and who will represent the chapter in a positive way. Won't you do your DELTA TAU DELTA part to keep our Fraternity strong? Letters of Distinction. Learn more at www.delts.org. Lives of Excellence. \^ TH� mmm i vQiUA�E 133, m. 2 1 smMiEii2oo& MAGAZINE MISSION 29 Cover ? Inform members of the events, Story activities and concerns of inter est to members of the Fraternity, Think Green ? Attract and involve members of the Fraternity via appropriate coverage, information and opin ion stories. 6 Fraternity Headlines ? Educate present and potential members on pertinent issues, introiluces 2009-10 rraternity chapter consultants persons, events and ideas so HeatHines of the past that members may be aware of Sesquicentennial history book published and appreciate their heritage as Three tombstone chapters re-chartereil Delts, PERIODICAL STATEMENT A Serve as an instrument of public The Rainbow (ISSN 1532-5334) is published Expansion update and forecast relations for the Fraternity by twice annually for $10 per year by Delta Tau Students and advisors learn from leadership programs Delta Fraternity at 10000 Altisonville Road. presenting an image of the Fra Fishers.