Psaudio Copper

Total Page:16

File Type:pdf, Size:1020Kb

Psaudio Copper Issue 142 AUGUST 2ND, 2021 Is there a reader among us who doesn’t dig ZZ Top? We mourn the passing of Joseph Michael “Dusty” Hill (72), bassist, vocalist and keyboardist for the tres hombres. Blending blues, boogie, bone-crushing rock, born-for-MTV visuals, humor and outrageousness – they once took a passel of live animals on stage as part of their 1976 – 1977 Worldwide Texas Tour – Hill, drummer Frank Beard and guitarist Billy F. Gibbons have scorched stages worldwide. As a friend said, “it’s amazing how just three guys could make that much sound.” Rest in peace, Mr. Hill. In this issue: Anne E. Johnson gets inspired by the music of Renaissance composer William Byrd, and understands The Animals. Wayne Robins reviews Native Sons, the superb new album from Los Lobos. Ray Chelstowski interviews The Immediate Family, featuring studio legends Waddy Wachtel, Lee Sklar, Russ Kunkel and others, in an exclusive video interview. I offer up more confessions of a record collector. Tom Gibbs finds much to like in some new SACD discs. John Seetoo winds up his coverage of the Audio Engineering Society’s Spring 2021 AES show. Ken Sander travels through an alternate California reality. WL Woodward continues his series on troubadour Tom Waits. Russ Welton interviews cellist Jo Quail, who takes a unique approach to the instrument. In another article, he ponders what's needed for sustaining creativity. Adrian Wu looks at more of his favorite analog recordings. Cliff Chenfeld turns us on to some outstanding new music in his latest Be Here Now column. J.I. Agnew digs deeper into the extraordinary Telefunken M15A tape machine. B. Jan Montana faces the music. Rudy Radelic continues his definitive survey of jazz legend Cal Tjader. We fill out the issue with some modern-day blues, incredibly rare loudspeakers, the ages of plastic and an organ donation. Staff Writers: J.I. Agnew, Ray Chelstowski, Cliff Chenfeld, Jay Jay French, Tom Gibbs, Roy Hall, Rich Isaacs, Anne E. Johnson, Don Kaplan, Don Lindich, Stuart Marvin, Tom Methans, B. Jan Montana, Rudy Radelic, Tim Riley, Wayne Robins, Alón Sagee, Ken Sander, Larry Schenbeck, John Seetoo, Dan Schwartz, Russ Welton, WL Woodward, Adrian Wu Contributing Editors: Ivan Berger, Steven Bryan Bieler, Harris Fogel, Robert Heiblim, Ken Kessler, Bob Wood Cover: “Cartoon Bob” D’Amico Cartoons: James Whitworth, Peter Xeni Parting Shots: James Schrimpf, B. Jan Montana, Rich Isaacs (and others) Editor: Frank Doris Publisher: Paul McGowan Advertising Sales: No one. We are free from advertising and subscribing to Copper is free. – FD Confessions of a Record Collector, Part Two FRANKLY SPEAKING Written by Frank Doris In Part One (Issue 137) I noted that many of us have made the transition from mere purchasers of record albums to hopelessly hooked vinyl collectors. For example, my friend Alex, who bought 3,500 albums last year alone. Or Les and George at Angry Mom Records in Ithaca, New York, who had to start a record store because their collections were getting too big for their homes. In the last column I pointed out some of the telltale signs that you, too, have become an irredeemable vinyl obsessive. It usually starts insidiously, unnoticeably and with room for plausible deniability – until one day your eyes are burning from hours of looking at Goldmine, or you’ve set your alarm for 5:00 am to be the first at a garage sale advertising records, or... You’re in the mood to play a certain record – and can’t find it. You’ve misfiled or misplaced it, which is doubly aggravating because, one, you really have to hear that record right now and not one of the thousands of other discs you own, and two, it sets your obsessive-compulsiveness into overdrive. All my records must be perfectly filed! Where is that record? Where is it? AAARRRGGHHHH! Later, you’re out on that big first date, or trying to concentrate on something at work, or looking for the freeway exit, and all you can think about is that record and how you could possibly have been so stupid as to mis-file it. A tangent to this is when you’re browsing through records and can’t remember whether or not you own a particular LP. You decide that you don’t, you buy it, and when you go to file it in your collection...realize you already have it. Maybe more than one copy. I’m sorry to have to break the news but the older you get, the worse this syndrome manifests itself. There’s one allowable exception to having your records scrupulously filed. That’s the “new arrivals” stack. This is in fact a foolproof “tell” that someone’s a veteran vinylphile – that section of records, waiting to be played, usually on the floor, with the records leaning at ever-more-acute angles the closer they are to the beginning of the pile. Inevitably, they’re completely disorganized. This “new arrivals” section may be 20 years old. Speaking of multiple copies – of course you have more than one copy of your favorite records. I mean, come on. The anxiety of having just one copy of a treasured disc is unbearable. What if something were to happen to it? You need a backup or five. And with a record like Miles Davis’ Kind of Blue, there have been endless reissues, and you’ve been compelled to see if the latest remaster sounds better. So, you buy it again...and again...and again... I buy multiples of certain records that are near and dear to me and rare, like the first Earth Opera album, or At The Sound Of The Bell by Pavlov’s Dog (I have at least six, including an impossibly rare test pressing that only gets played on very special occasions), or original Charisma Records pressings of Peter Gabriel-era Genesis albums, or Tal Farlow’s 1983 Cookin’ On All Burners (I’ve only found two). You’ll also buy records you already own if they’re cheap. My daughter was amused to find out that I had seven copies of Kraftwerk’s Autobahn. Well, one of them still had the $1.98 sticker on it. At that price, there’s no way I wasn’t going to buy it. Then of course, there’s upgrade-itis. Like stamps and vintage automobiles, in record collecting, condition is everything. So, if you own a VG (Very Good) copy of Freak Out by The Mothers of Invention, you yearn for an Excellent or Near Mint one. You are not only aware that the Goldmine rating system is the accepted standard, you subscribe to Goldmine, aka “The Music Collector’s Magazine.” Finding a sealed copy of a record is bliss. Assuming it’s not a counterfeit, and since you’re an inveterate record collector, you know that records can be re-sealed by unscrupulous parties. You’ve undoubtedly heard stories of fake “butcher” Yesterday and Today Beatles album covers. Record Store Day? Yawn. You’ve already checked out the offerings online and there’s nothing of interest. You spend more than you should on records. Check that – you spend more than you can afford. But that’s amateur-level stuff. You know you’re a serious record collector when you’ve had to make a choice between records or food. In college I had little or negative money – thank goodness for the Faculty-Student Association check cashing service, which every student learned to manipulate when it came to the “float” between cashing a check with no money in your account, and making a deposit to cover it. There were times when a new release by a favorite artist came out, and I had to have the record – immediately. But I would only have a couple of bucks or less in my pocket. I’d go for the record over the meal pretty much every time. I mean, there would always be a friend you could mooch food from, but, for example, only one copy of the new Roxy Music album left at Just-A-Song. A corollary: convince your friend to buy the album, and then go over to their place to listen to it...whether they wanted you there or not. Hey, what are friends for? Speaking of which: when you go to a record store, or record collectors’ show, or garage sale or thrift shop for that matter – you, um, maybe don’t want to go with your friends. They might snap up that mint copy of the Reiner Living Stereo Scheherazade before you do! For less than $5! (Andy, if you’re reading this, you know who I’m taking about.) It’s fun to go to record hunting with your buddies, no denying that, but when you’re with a guy like Michael Fremer, who can blaze through stacks of records like a threshing machine, and waves that copy of Music for Bang, Baaroom and Harp in front of your face that he just plucked while you were stumbling through the Steve and Eydie albums, it’s a bitter pill to swallow. You’ve developed the ability to blaze through stacks of records like a threshing machine. You might not notice that your wife or significant other has changed their hairstyle, but you’ve acquired the ability to flip through stacks of albums at a dizzying rate and come to a stop at a speed that defies the laws of physics when you see something interesting. This skill really comes in handy at a record show, where dozens of collectors who are just as rabid as you are descend upon the racks.
Recommended publications
  • Excitement Building for Bristol's Old Home Day Celebration
    Bears looking at some rebuilding Story on Page B1 THURSDAY,Newfound AUGUST 27, 2015 FREE IN PRINT, FREE ON-LINE • WWW.NEWFOUNDLANDING.COM Landing COMPLIMENTARY Excitement building for Bristol’s Old Home Day celebration BY DONNA RHODES drhodes@salmonpress.com ty and address the state’s BRISTOL — It’s time latest drug epidemic. once again to gather the Registration will take family and join your place beside the tennis friends and neighbors courts at 7:30 a.m., and for the annual Bristol the first 35 entrants will Old Home Day, which receive a free tee shirt. will be held on Saturday, The race then hits the Aug. 29, at Kelley Park, road at 8 a.m. off North Main Street in Also from 8 until downtown Bristol. 11 a.m., there will be a Leslie Dion, one of buffet breakfast served many who have worked at the Union Lodge on hard to make this year’s Pleasant Street for those celebration another big who want to start the success, said it will be day off with a great meal. the perfect time to bring At 9 a.m., the public is the kids to the park for asked to come cheer on some summertime fun an adult softball league’s before the new school championship game and year begins. everyone is also invited “This year, we have to join in the horseshoe a great line-up of kids tournament behind the games, like Water Wars, Middle School at 10 a.m., an inflatable obsta- which will offer cash cle course, and a ‘hose prizes for winners.
    [Show full text]
  • Wavelength (December 1981)
    University of New Orleans ScholarWorks@UNO Wavelength Midlo Center for New Orleans Studies 12-1981 Wavelength (December 1981) Connie Atkinson University of New Orleans Follow this and additional works at: https://scholarworks.uno.edu/wavelength Recommended Citation Wavelength (December 1981) 14 https://scholarworks.uno.edu/wavelength/14 This Book is brought to you for free and open access by the Midlo Center for New Orleans Studies at ScholarWorks@UNO. It has been accepted for inclusion in Wavelength by an authorized administrator of ScholarWorks@UNO. For more information, please contact scholarworks@uno.edu. ML I .~jq Lc. Coli. Easy Christmas Shopping Send a year's worth of New Orleans music. to your friends. Send $10 for each subscription to Wavelength, P.O. Box 15667, New Orleans, LA 10115 ·--------------------------------------------------r-----------------------------------------------------· Name ___ Name Address Address City, State, Zip ___ City, State, Zip ----­ Gift From Gift From ISSUE NO. 14 • DECEMBER 1981 SONYA JBL "I'm not sure, but I'm almost positive, that all music came from New Orleans. " meets West to bring you the Ernie K-Doe, 1979 East best in high-fideUty reproduction. Features What's Old? What's New ..... 12 Vinyl Junkie . ............... 13 Inflation In Music Business ..... 14 Reggae .............. .. ...... 15 New New Orleans Releases ..... 17 Jed Palmer .................. 2 3 A Night At Jed's ............. 25 Mr. Google Eyes . ............. 26 Toots . ..................... 35 AFO ....................... 37 Wavelength Band Guide . ...... 39 Columns Letters ............. ....... .. 7 Top20 ....................... 9 December ................ ... 11 Books ...................... 47 Rare Record ........... ...... 48 Jazz ....... .... ............. 49 Reviews ..................... 51 Classifieds ................... 61 Last Page ................... 62 Cover illustration by Skip Bolen. Publlsller, Patrick Berry. Editor, Connie Atkinson.
    [Show full text]
  • Rolling Stone Magazine's Top 500 Songs
    Rolling Stone Magazine's Top 500 Songs No. Interpret Title Year of release 1. Bob Dylan Like a Rolling Stone 1961 2. The Rolling Stones Satisfaction 1965 3. John Lennon Imagine 1971 4. Marvin Gaye What’s Going on 1971 5. Aretha Franklin Respect 1967 6. The Beach Boys Good Vibrations 1966 7. Chuck Berry Johnny B. Goode 1958 8. The Beatles Hey Jude 1968 9. Nirvana Smells Like Teen Spirit 1991 10. Ray Charles What'd I Say (part 1&2) 1959 11. The Who My Generation 1965 12. Sam Cooke A Change is Gonna Come 1964 13. The Beatles Yesterday 1965 14. Bob Dylan Blowin' in the Wind 1963 15. The Clash London Calling 1980 16. The Beatles I Want zo Hold Your Hand 1963 17. Jimmy Hendrix Purple Haze 1967 18. Chuck Berry Maybellene 1955 19. Elvis Presley Hound Dog 1956 20. The Beatles Let It Be 1970 21. Bruce Springsteen Born to Run 1975 22. The Ronettes Be My Baby 1963 23. The Beatles In my Life 1965 24. The Impressions People Get Ready 1965 25. The Beach Boys God Only Knows 1966 26. The Beatles A day in a life 1967 27. Derek and the Dominos Layla 1970 28. Otis Redding Sitting on the Dock of the Bay 1968 29. The Beatles Help 1965 30. Johnny Cash I Walk the Line 1956 31. Led Zeppelin Stairway to Heaven 1971 32. The Rolling Stones Sympathy for the Devil 1968 33. Tina Turner River Deep - Mountain High 1966 34. The Righteous Brothers You've Lost that Lovin' Feelin' 1964 35.
    [Show full text]
  • Mise En Page 1
    NANCY , ville d’échange, dynamique, jeune, première ville universitaire du grand Est, s’impose frustrée. Comme jadis au CMCN et maintenant à Music Academy International, nous sommes des comme un des pôles culturels et artistiques européens. Point chaud du rock, capitale du jazz, européens convaincus. La vocation internationale de notre école n’est pas uniquement dictée par la haut-lieu de la musique classique, Nancy a le goût de la scène. Du club de jazz intimiste à “l’Autre situation géographique de Nancy (dans un rayon de 350 km nous touchons Paris et 6 pays, dans un Canal”, scène de Rock, chanson & électro ultra-équipée, en passant par la salle de concerts rayon de 950 km nous touchons Brest et 11 pays), mais également par l’enrichissement culturel et majestueuse jusqu’au Zénith imposant, Nancy accueille à bras ouverts les musiciens de tous économique qui se présente à l’artiste qui profite de l’ouverture des frontières. horizons. Music Academy International est implantée à proximité de trois parcs, à deux pas de la célèbre place Stanislas, en plein centre ville dans un quartier sympathique et sécurisant. Pour cette raison Music Academy International entre autres, accueille nombre d’artistes étrangers réputés. Music Academy se félicite également d’un partenariat privilégié avec une vingtaine des INTERNATIONAL : Le caractère universel de la musique et plus particulièrement les qualités de plus grandes écoles du monde entier. Mais ne nous y trompons pas, même si à Music Academy le brassage et d’intégration des courants actuels, interdit de délimiter son champ d’action, de rester mot “International” prend toute sa mesure, même si les accents sont multiples, même si tous les replié sur son territoire national.
    [Show full text]
  • Dedicated 10 the Needs of the Music /Record Industry
    DEDICATED 10 THE NEEDS OF THE MUSIC /RECORD INDUSTRY SINGLES SLEEPERS ALBUMS THE MIRACLES, "NIGHT LIFE" (prod. by Freddie THIN LIZZY, "THE BOYS ARE BACK IN TOWN" ROLLING STONES, "BLACK AND BLUE." Perren) (Jobete/Grimora, ASCAP). (prod. by John Alcock) (RSO, ASCAP). It's taken almost three years from start "Love Machine" was the group's big- t) One of 1976's brightest prospects is to finish with new friends and direc- .rnmu.rr/ gest across-the-board smash since this Anglo-American quartet that tions. The reggae influence is in full the departure of Smokey Robinson. has come into its own after several evidence ("Hot Stuff," "Cherry O Now they're about to do it all over overlooked outings. With a sound Baby"), along with some straightfor- again with more pulsating rhythms that could be compared to Bruce ward blues ("Melody") and some more and adventurous vocal lines. Instant Springsteen, Thin Lizzy is back in traditional sounding Stones ("Hand of pop/r&b play is assured. Tamla T town and should soon be making its Fate"). A bruiser of an album! Rolling 54268 (Motown). presence felt. Mercury 73786. Stones COC 79104 (Atlantic) (6.98). CAROLE KING, "HIGH OUT OF TIME" (prod. FOOLS GOLD, "RAIN, OH RAIN" (prod. by SEALS & CROFTS, "GET CLOSER." Their by Lou Adler) (Screen Gems -Colum- Glen Frey) (Frank Share/Big Shorty, Christmastime greatest hits package re- bia, ASCAP). An extravagant tapes- ASCAP). The group that recently minded everyone just what Seals & try of sound is woven by Ms. King served as back-up to Dan Fogelberg Crofts are capable of.
    [Show full text]
  • If the Stones Were the Bohemian Bad Boys of the British R&B Scene, The
    anEHEl s If the Stones were the bohemian bad boys of the British R&B scene, the Animals were its working-class heroes. rom the somber opening chords of the than many of his English R&B contemporaries. The Animals’ first big hit “House of the Rising Animals’ best records had such great resonance because Sun,” the world could tell that this band Burdon drew not only on his enthusiasm, respect and was up to something different than their empathy for the blues and the people who created it, but British Invasion peers. When the record also on his own English working class sensibilities. hitP #1 in England and America in the summer and fall of If the Stones were the decadent, bohemian bad boys 1964, the Beatles and their Mersey-beat fellow travellers of the British R&B scene, the Animals were its working- dominated the charts with songs like “I Want to Hold Your class heroes. “We Gotta Get Out of This Place” and “It’s My Hand” and “Glad All Over.” “House of the Rising Sun,” a tra­ Life,” two Brill Building-penned hits for the band, were ditional folk song then recently recorded by Bob Dylan on informed as much by working-class anger as by Burdons his debut album, was a tale of the hard life of prostitution, blues influences, and the bands anthemic background poverty and despair in New Orleans. In the Animals’ vocals underscored the point. recording it became a full-scale rock & roll drama, During the two-year period that the original scored by keyboardist Alan Price’s rumbling organ play­ Animals recorded together, their electrified reworkings of ing and narrated by Eric Burdons vocals, which, as on folk songs undoubtedly influenced the rise of folk-rock, many of the Animals’ best records, built from a foreboding and Burdons gritty vocals inspired a crop of British and bluesy lament to a frenetic howl of pain and protest.
    [Show full text]
  • Ken Peplowski Discography
    Discography – Ken Peplowski 1987 Double Exposure Concord Jazz 1989 Sonny Side Concord Jazz 1990 Mr. Gentle and Mr. Cool Concord Jazz 1990 Illuminations Concord 1991 Groovin' High Concord Jazz 1992 Concord Duo Series, Vol. 3 Concord Jazz 1992 The Natural Touch Concord Jazz / Concord 1993 Steppin' with Peps Concord Jazz 1994 Encore! Live at Centre Concord Concord Jazz / Concord 1994 Live at Ambassador Auditorium Concord Jazz / Concord 1995 The International All-Stars Play Benny Goodman, Vol. 2 Nagel Heyer Records 1995 The International Allstars Play Benny Goodman, Vol. 1 Nagel Heyer Records 1995 It's a Lonesome Old Town Concord Jazz / Concord 1996 The Other Portrait Concord / Concord Jazz 1997 A Good Reed Concord Jazz / Concord 1998 Grenadilla Concord Jazz 1999 Last Swing of the Century Concord Vista / Concord Jazz 2000 All This...Live in the UK, Vol. 1 Koch / Koch Jazz 2001 Tribute to Benny Goodman with the BBC Big Band Chandos 2002 Just Friends Nagel Heyer Records 2002 And Heaven Too: Live in the U.K. Vol. 2 Koch 2002 Remembering Louis Jump Records 2002 Ellingtonian Tales Mainstream 2002 Lost in the Stars Nagel Heyer Records 2004 Easy to Remember Nagel Heyer Records 2007 Memories of You Tokuma Records 2008 Gypsy Lamento Venus / Venus Jazz Japan 2008 When You Wish Upon a Star Tokuma Records 2011 In Search Of Capri 2013 Maybe September Capri 2013 ...Live at the Kitano Victoria Company 2018 Sunrise Arbors 2018 Duologue Arbors Credits 2018 Duologue Adrian Cunningham / Ken Peplowski Primary Artist 2018 Sunrise Ken Peplowski / Ken Peplowski
    [Show full text]
  • Sky Pilot, How High Can You Fly - Not Even Past
    Sky Pilot, How High Can You Fly - Not Even Past BOOKS FILMS & MEDIA THE PUBLIC HISTORIAN BLOG TEXAS OUR/STORIES STUDENTS ABOUT 15 MINUTE HISTORY "The past is never dead. It's not even past." William Faulkner NOT EVEN PAST Tweet 19 Like THE PUBLIC HISTORIAN Sky Pilot, How High Can You Fly by Nathan Stone Making History: Houston’s “Spirit of the Confederacy” I started going to camp in 1968. We were still just children, but we already had Vietnam to think about. The evening news was a body count. At camp, we didn’t see the news, but we listened to Eric Burdon and the Animals’ Sky Pilot while doing our beadwork with Father Pekarski. Pekarski looked like Grandpa from The Munsters. He was bald with a scowl and a growl, wearing shorts and an official camp tee shirt over his pot belly. The local legend was that at night, before going out to do his vampire thing, he would come in and mix up your beads so that the red ones were in the blue box, and the black ones were in the white box. Then, he would twist the thread on your bead loom a hundred and twenty times so that it would be impossible to work with the next day. And laugh. In fact, he was as nice a May 06, 2020 guy as you could ever want to know. More from The Public Historian BOOKS America for Americans: A History of Xenophobia in the United States by Erika Lee (2019) April 20, 2020 More Books The Munsters Back then, bead-craft might have seemed like a sort of “feminine” thing to be doing at a boys’ camp.
    [Show full text]
  • Normanwhitfieldblog.Pdf
    2 He was a brilliant composer and record producer, one of the best to come out of Motown. He was born on May12th 1940 in Harlem, New York, and passed away on September 16th 2008 in Los Angeles, at the age of 68. He founded Whitfield Records in Los Angeles after his departure from Motown Records. He was known as the father of the “Psychedelic Funk” sound. Longer songs, a heavy bass line, distorted guitars, multi-tracked drums and inventive vocal arrangements became the trademarks of Norman’s production output, mainly with The Temptations. According to Dave Laing (Journalist for the Guardian Newspaper; Thursday 18th September 2008) stated that Norman Whitfield’s first actual job at Motown Records was as a member of staff for which he got paid $15 a week to lend a critical ear to new recordings by Motown staff, a job he said "consisted of being totally honest about what records you were listening to". He graded the tracks for Gordy's monthly staff meeting, where decisions were made on which should be released. Soon dissatisfied with quality control, Whitfield fought to be allowed to create records himself. This involved competing with such established figures as Smokey Robinson, but he got his first 3 opportunities in 1964 with lesser Motown The Temptations’ songs, during the first ten groups, co-writing and producing “Needle years of the label’s operation. Such songs as in a Haystack” by the Velvelettes and “Too “Just My Imagination (Running Away with Many Fish in the Sea” by the Marvelettes. Me)”, “Ball Confusion”, “Papa Was a Rollin’ These records brought him the chance to Stone” and “I Can’t Get Next To You” all work with the Temptations, already one of achieved platinum certification in America for Motown's elite groups.
    [Show full text]
  • David Ruffin at His Best Mp3, Flac, Wma
    David Ruffin At His Best mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Funk / Soul Album: At His Best Country: US Released: 1978 Style: Soul MP3 version RAR size: 1922 mb FLAC version RAR size: 1434 mb WMA version RAR size: 1276 mb Rating: 4.5 Votes: 793 Other Formats: WAV MP4 ADX MIDI AC3 AC3 AU Tracklist Hide Credits Walk Away From Love A1 3:16 Producer – Van McCoyWritten-By – Charles H. Kipps, Jr.* Ain't Too Proud To Beg A2 2:30 Written-By – Edward J. Holland*Written-By, Producer – Norman Whitfield Everything's Coming Up Love A3 2:57 Written-By, Producer – Van McCoy (I Know) I'm Losing You A4 2:24 Written-By – Cornelius Grant, Edward J. Holland*Written-By, Producer – Norman Whitfield My Whole World Ended ((The Moment You Left Me) A5 Written-By – Jimmy Roach, Pam SawyerWritten-By, Producer – Harvey Fuqua, Johnny 3:27 Bristol You're My Piece Of Mind B1 3:31 Producer – Charles Kipps, Jr.*Written-By, Producer – Van McCoy My Girl B2 2:55 Written-By, Producer – Ronald White, William Robinson* Just Let Me Hold You For A Night B3 3:21 Producer – Van McCoyWritten-By, Producer – Charles H. Kipps, Jr.* I Wish It Would Rain B4 2:47 Written-By – Barrett Strong, Roger PenzabeneWritten-By, Producer – Norman Whitfield I Miss You (Part I) B5 3:47 Producer – Bobby MillerWritten-By – Kenny Gamble-Leon Huff* Companies, etc. Phonographic Copyright (p) – Motown Record Corporation Copyright (c) – Motown Record Corporation Published By – Charles Kipps Music Inc. Published By – Stone Agate Music Division Published By – Warner-Tamerlane Publishing Corp.
    [Show full text]
  • Exposing Minstrelsy and Racial Representation Within American Tap Dance Performances of The
    UNIVERSITY OF CALIFORNIA Los Angeles Masks in Disguise: Exposing Minstrelsy and Racial Representation within American Tap Dance Performances of the Stage, Screen, and Sound Cartoon, 1900-1950 A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Culture and Performance by Brynn Wein Shiovitz 2016 © Copyright by Brynn Wein Shiovitz 2016 ABSTRACT OF THE DISSERTATION Masks in Disguise: Exposing Minstrelsy and Racial Representation within American Tap Dance Performances of the Stage, Screen, and Sound Cartoon, 1900-1950 by Brynn Wein Shiovitz Doctor of Philosophy in Culture and Performance University of California, Los Angeles, 2016 Professor Susan Leigh Foster, Chair Masks in Disguise: Exposing Minstrelsy and Racial Representation within American Tap Dance Performances of the Stage, Screen, and Sound Cartoon, 1900-1950, looks at the many forms of masking at play in three pivotal, yet untheorized, tap dance performances of the twentieth century in order to expose how minstrelsy operates through various forms of masking. The three performances that I examine are: George M. Cohan’s production of Little Johnny ii Jones (1904), Eleanor Powell’s “Tribute to Bill Robinson” in Honolulu (1939), and Terry- Toons’ cartoon, “The Dancing Shoes” (1949). These performances share an obvious move away from the use of blackface makeup within a minstrel context, and a move towards the masked enjoyment in “black culture” as it contributes to the development of a uniquely American form of entertainment. In bringing these three disparate performances into dialogue I illuminate the many ways in which American entertainment has been built upon an Africanist aesthetic at the same time it has generally disparaged the black body.
    [Show full text]
  • Billboard 1966-07-23
    JULY 23, 1966 SEVENTY- SECOND YEAR 60 CENTS The International Music -Record Newsweekly Drive Pegged to Give Boot To Background Bootlegging LOS ANGELES -A campaign to halt bootlegging Merrimac's sales manager Neal Ames initiated the of American recording in the background music indus- campaign by sending a registered letter to nine manu- try is being launched by Merrimac music industry, a facturers and Rosell Hyde, the FCC's new chairman, Beverly Hills firm owned by a former major Canadian alleging heavy traffic in bootleg music. rack jobber, Don MacMillian. Ames warned that unless he hears from these manu- facturers to the contrary he would duplicate any or all of their products on master tape and provide this service to whoever wants to buy it. RMR Starts Rack Addressed to RCA, Columbia, Decca, Dot, Liberty, United Artists, A &M, London and Verve, it pointed to a brochure by a West Coast company which freely advertises its products as being dubbed onto tapes Research Service for lease to radio stations. The letter also states: "We NEW YORK -The national field force of Bill- are also aware that this same supplier supplies a back- board's Record Market Research Division went into ground music service for which it charges a fee, action on Monday (18) to start production of data to utilizing their products. Since this company advertises provide continuing reports of record sales through the most blatantly and most thoroughly, we can only nation's rack -serviced retail outlets. infer one of two things: (1) that their practice is illegal; More hits more often," proclaim the Warner Bros.
    [Show full text]