21 Bab Ii Profil Dan Pengaruh George Harrison Di The
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John Lennon from ‘Imagine’ to Martyrdom Paul Mccartney Wings – Band on the Run George Harrison All Things Must Pass Ringo Starr the Boogaloo Beatle
THE YEARS 1970 -19 8 0 John Lennon From ‘Imagine’ to martyrdom Paul McCartney Wings – band on the run George Harrison All things must pass Ringo Starr The boogaloo Beatle The genuine article VOLUME 2 ISSUE 3 UK £5.99 Packed with classic interviews, reviews and photos from the archives of NME and Melody Maker www.jackdaniels.com ©2005 Jack Daniel’s. All Rights Reserved. JACK DANIEL’S and OLD NO. 7 are registered trademarks. A fine sippin’ whiskey is best enjoyed responsibly. by Billy Preston t’s hard to believe it’s been over sent word for me to come by, we got to – all I remember was we had a groove going and 40 years since I fi rst met The jamming and one thing led to another and someone said “take a solo”, then when the album Beatles in Hamburg in 1962. I ended up recording in the studio with came out my name was there on the song. Plenty I arrived to do a two-week them. The press called me the Fifth Beatle of other musicians worked with them at that time, residency at the Star Club with but I was just really happy to be there. people like Eric Clapton, but they chose to give me Little Richard. He was a hero of theirs Things were hard for them then, Brian a credit for which I’m very grateful. so they were in awe and I think they had died and there was a lot of politics I ended up signing to Apple and making were impressed with me too because and money hassles with Apple, but we a couple of albums with them and in turn had I was only 16 and holding down a job got on personality-wise and they grew to the opportunity to work on their solo albums. -
The Apple Label with the Capitol Logo
The Apple Label With the Capitol Logo When Apple label introduced itself to the world in 1968, the brand featured a label design from the Gene Mahon agency. Reportedly, Neil Aspinall of Apple contacted Gene Mahon personally and told him that they would like for Mahon to shoot photographs of apples. His idea was to have a full apple on one side with no writing whatsoever, and a sliced apple on the other side containing all of the information about the record. With the way that the laws were written, EMI were reluctant to cram all of the information onto one label (which might also pose logistical problems on an album label). Mahon selected Paul Castell to take the photographs. Some apple photos later, and the famous Apple record label was born. The rim area around the label was left blank, to allow each EMI affiliate the ability to print whatever manufacturing information they desired (or what might be required by law). The art department at Capitol Records decided to keep the print to a minimum. At the bottom of the sliced side, they placed the words “Mfd. by Apple Records, Inc.” That was all that needed to be said. A few months later, Capitol decided to mark the labels differently for artists who had contracts with Capitol. At the time, this basically meant the Beatles themselves, whose singles were numbered as part of the Capitol series (in the 2000s). Records that were from artists whose discs were in the Apple series (the 1800s) and who had contracts through Apple alone would continue to be marked with “Mfd. -
The Inner Light: the Beatles, India, Gurus, and the Legacy
The Inner Light: The Beatles, India, Gurus, and the Legacy John Covach Institute for Popular Music, University of Rochester Arthur Satz Department of Music Eastman School of Music Main Points The Beatles’ “road to India” is mostly navigated by George Harrison John Lennon was also enthusiastic, Paul somewhat, Ringo not so much Harrison’s “road to India” can be divided into two kinds of influence: Musical influences—the actual sounds and structures of Indian music Philosophical and spiritual influences—elements that influence lyrics and lifestyle The musical influences begin in April 1965, become focused in fall 1966, and extend to mid 1968 The philosophical influences begin in late 1966 and continue through the rest of Harrison’s life Note: Harrison began using LSD in the spring of 1965 and discontinued in August 1967 Songs by other Beatles, Lennon especially, also reflect Indian influences The Three “Indian” songs of George Harrison “Love You To” recorded April 1966, released on Revolver, August 1966 “Within You Without You” recorded March, April 1967, released on Sgt Pepper, June 1967 “The Inner Light” recorded January, February 1968, released as b-side to “Lady Madonna,” March 1968 Three Aspects of “Indian” characteristics Use of some aspect of Indian philosophy or spirituality in the lyrics Use of Indian musical instruments Use of Indian musical features (rhythmic patterns, drone, texture, melodic elements) Musical Influences Ravi Shankar is principal influence on Harrison, though he does not enter the picture until mid 1966 April 1965: Beatles film restaurant scene for Help! Harrison falls in love with the sitar, buys one cheap Summer 1965: Beatles in LA hear about Shankar from McGuinn, Crosby (meet Elvis, discuss Yogananda) October 1965: “Norwegian Wood” recorded, released in December on Rubber Soul. -
Für Sonntag, 21
GEORGE HARRISON-Box THE APPLE YEARS Um zu bestellen, einfach Abbildung anklicken Abbildungen: Box; Kollage mit Box, Booklet und CDs. Freitag, 19. September 2014: Box (7 CDs & 1 DVD) GEORGE HARRISON - THE APPLE YEARS. 84,90 € inkl. Versand und gut verpackt Inhalt der Box: CD WONDERWALL MUSIC, CD ELECTRONIC SOUND, Doppel-CD ALL THINGS MUST PASS, CD LIVING IN THE MATERIAL WORLD, CD DARK HORSE, CD EXTRA TEXTURE (READ ALL ABOUT IT), DVD, Booklet. Die CDs sind auch einzeln erhältlich jeweils mit den 20-Seiten-Booklet. Die DVD und das zusätzliche Büchlein gibt es nicht einzeln sondern nur in der Box. Freitag, 19. September 2014: CD (remastert) mit 20-Seiten-Booklet WONDERWALL MUSIC BY GEORGE HARRISON. Apple / Universal, Europa. Freitag, 1. November 1968: Vinyl-LP WONDERWALL MUSIC BY GEORGE HARRISON. Apple TCSAPCOR 1 (geplant STAP 1), Großbritannien. *Dezember 1967: EMI Abbey Road Studios, London, Großbritannien und **Dienstag, 9. - Montag, 15. Januar 1968: EMI Recording Studios, Universal Insurance Building, Phirozeshah Mehta Road, Fort, Bombay 400001, Indien: Track 1: Microbes (George Harrison) (3:39). Track 2: Red Lady Too (George Harrison) (1:53). Track 3: Table And Pakavaj (George Harrison) (1:04). Track 4: In The Park (George Harrison) (4:08). Track 5: Drilling A Home (George Harrison) (3:07). Track 6: Guru Vandana (George Harrison) (1:04). Track 7: Greasy Legs (George Harrison) (1:27). Track 8: Ski-ing And Gat Kirwani (George Harrison) (3:06). Track 9: Dream Scene (George Harrison) (5:27). Track 10: Party Seacombe (George Harrison) (4:34): Track 11: Love Scene (George Harrison) (4:16). Track 12: Crying (George Harrison) (1:14). -
Measuring the Cultural Evolution of Music: with Case Studies of British-American and Japanese Folk, Art, and Popular Music
Measuring the cultural evolution of music: With case studies of British-American and Japanese folk, art, and popular music Patrick Evan SAVAGE This is an English version of my Japanese Ph.D. dissertation (Ph.D. conferred on March 27, 2017). The final Japanese version of record was deposited in the Japanese National Diet Library in June 2017. #2314910 Ph.D. entrance year: 2014 2016 academic year Tokyo University of the Arts, Department of Musicology Ph.D. dissertation Supervisor: UEMURA Yukio Supervisory committee: TSUKAHARA Yasuko MARUI Atsushi Hugh DE FERRANTI i English abstract Student number: 2314910 Name: Patrick Evan SAVAGE Title: Measuring the cultural evolution of music: With case studies of British-American and Japanese folk, art, and popular music Darwin's theory of evolution provided striking explanatory power that has come to unify biology and has been successfully extended to various social sciences. In this dissertation, I demonstrate how cultural evolutionary theory may also hold promise for explaining diverse musical phenomena, using a series of quantitative case studies from a variety of cultures and genres to demonstrate general laws governing musical change. Chapter one describes previous research and debates regarding music and cultural evolution. Drawing on major advances in the scientific understanding of cultural evolution over the past three decades, I clarify persistent misconceptions about the roles of genes and progress in definitions of evolution, showing that neither is required or assumed. I go on to review older and recent literature relevant to musical evolution at a variety of levels, from Lomax's macroevolutionary interpretation of global patterns of song-style to microevolutionary mechanisms by which minute melodic variations give rise to large tune families. -
US Apple LP Releases
Apple by the Numbers U.S. album releases From the collection of Andre Gardner of NY, NY SWBO‐101 The Beatles The Beatles Released: 22 Nov. 1968 (nicknamed "The White Album") In stark contrast to the cover to Sgt. Pepper's LHCB, the cover to this two record set was plain white, with writing only on the spine and in the upper right hand corner of the back cover (indicating that the album was in stereo). This was the first Beatles US album release which was not available in mono. The mono mix, available in the UK, Australia, and several other countries, sounds quite different from the stereo mix. The album title was embossed on the front cover. Inserts included a poster and four glossy pictures (one of each Beatle). The pictures were smaller in size than those issued with the UK album. A tissue paper separator was placed between the pictures and the record. Finally, as in every EMI country, the albums were numbered. In the USA, approximately 3,200,000 copies of the album were numbered. These albums were numbered at the different Capitol factories, and there are differences in the precise nature of the stamping used on the covers. Allegedly, twelve copies with east‐coast covers were made that number "A 0000001". SI = 2 ST 3350 Wonderwall Music George Harrison Released: 03 Dec. 1968 issued with an insert bearing a large Apple on one side. Normal Copy: SI = 2 "Left opening" US copy or copy with Capitol logo: SI = 7 T‐5001 Two Virgins John Lennon & Yoko Ono Released: January, 1969 (a.k.a. -
Apple Label Discography
Apple Label Discography 100-800 series (Capitol numbering series) Apple Records was formed by John Lennon, Paul McCartney, George Harrison and Ringo Starr in 1968. The Apple label was intended as a vehicle for the Beatles, their individual recordings and the talent they discovered. A great deal of what appeared on Apple was pretty self indulgent and experimental but they did discover a few good singers and groups. James Taylor recorded his first album on the label. Doris Troy recorded a good soul album and there are 2 albums by John Lewis and the Modern Jazz Quartet. The Beatlesque group Badfinger also issued several albums on the label, the best of which was “Straight Up”. Apple Records fell apart in management chaos in 1974 and 1975 and a bitter split between the Beatles over the management of the company. Once the lawyers got involved everybody was suing everybody else over the collapse. The parody of the Beatles rise and the disintegration of Apple is captured hilariously in the satire “All You Need Is Cash: the story of the Rutles”. The Apple label on side 1 is black with a picture of a green apple on it, black printing. The label on side 2 is a picture of ½ an apple. From November 1968 until early 1970 at the bottom of the label was “MFD. BY CAPITOL RECORDS, INC. A SUBSIDIARY OF CAPITOL INDUSTRIES INC. USA”. From Early 1970 to late 1974, at the bottom of the label is “MFD. BY APPLE RECORDS” From late 1974 through 1975, there was a notation under the “MFD. -
Cena: 82.680,00 Rsd
Firma: Player Plus doo logoImage not found or type unknown Adresa: Svetogorska 9 Telefon: +381 11 3347 442 Fax: +381 11 3347 615 PIB: 106966344 E-mail: [email protected] PRO-JECTImage not found LP Georgeor type unknown Harrison Vinl Box PRO-JECT LP George Harrison Vinl Box Šifra: 12155 Kategorija prozivoda: Gramofoni Proizvođač: Pro-Ject Cena: 82.680,00 rsd. Presenting the magnificent George Harrison 16LP box set, Paul Rigby undertakes a detailed sound test and talks to the mastering engineers behind it, Lurssen Mastering’s Gavin Lurssen and Reuben Cohen George Harrison’s two CD/SACD box sets, covering his solo discography, have been on the shelf for some time (they were released in 2004 and 2014, respectively). I wondered if we’d ever see a vinyl box set of the same and, if it did appear, whether it would follow a similar two part template. Just the one, it appears because UMC has now released a single 16LP vinyl box set, The George Harrison Vinyl Collection. With the albums also being made available as standalone releases, the collection has been pressed on 180gm vinyl mastered from the original analogue tapes and cut at Capitol studios. Buyers will notice immediately that the slipcase box features…movement. Via the lenticular cover, showing two faces of Harrison as he matured during his solo years. The full contents list for the set includes: Wonderwall Music (1968), Electronic Sound (1969), All Things Must Pass (1970), Living In The Material World (1973), Dark Horse (1974), Extra Texture (1975), Thirty Three & 1/3 (1976), George Harrison (1979), Somewhere In England (1981), Gone Troppo (1982), Cloud Nine (1987), Live In Japan (1992) and Brainwashed (2002). -
George Harrison Recordplayer Limited Edition Turntable MSRP 499 € (Incl
PRODUCT INFORMATION George Harrison Recordplayer Limited edition turntable MSRP 499 € (incl. VAT) � Special edition of Essential III Speed: 33, 45 (manual speed change) � Limited to 2.500 pieces worldwide Drive principle: belt drive � Artwork by streetartist Shepard Fairey Speed variance: 33: 0,70% 45: 0,60% � Acrylic platter Wow and flutter: 33: 0,21% 45: 0,19% � Belt drive with synchronous motor and silicone belt Platter: 300mm acrylic platter • Diamond cut aluminium drive pulley Main platter bearing spindle: stainless steel • Chassis made of resonance in-sensitive MDF Tonearm: 8,6”, aluminium • Integrated DC-powered motor control minimizes Effective arm length: 218,5 mm motor vibration and guarantees speed stability Overhang: 22,0mm • Low tolerance platter bearing & stainless steel spindle Effective tonearmmass: 8,0 g • 8,6” aluminium tonearm with sapphire bearings Suitable cartridge mass: 3 - 5,5g • Ortofon OM10 cartridge pre-mounted Tracking force: 0 - 25mn (recommended for OM10 18mn) • High-quality semi-balanced Connect it E phono Included accessory: power supply, dust cover, felt mat Power consumption: 4,5 watts max interconnect with gold-plated RCA connectors included Dimensions: 420 x 112 x 330mm (WxHxD) • Special decoupling feet Weight: 5,0 kg net • Dust cover included PRO-JECT AUDIO SYSTEMS Technical data and price changes reserved. www.project-audio.com Seite 1/3 PRODUCT INFORMATION George Harrison Recordplayer - a true collector‘s item! This special collaboration between Pro-Ject Audio Systems and the Universal Music Group features one of the most influencing artists of modern history, former Beatles member George Harrison! The turntable used is Essential III, the evolution of a milestone. -
Almanzapérezdiegomauricio2020
ANÁLISIS DE TRES COMPOSICIONES DEL BAJISTA JONAS HELLBORG BASADAS EN ELEMENTOS MUSICALES DEL SUR DE LA INDIA DIEGO MAURICIO ALMANZA PÉREZ Trabajo de grado Tutor JUAN CARLOS CASTILLO Modalidad MONOGRAFÍA UNIVERSIDAD DISTRITAL FRANCISCO JOSÉ DE CALDAS FACULTAD DE ARTES – ASAB PROYECTO CURRICULAR DE ARTES MUSICALES BOGOTÁ D.C. 2020 A la consciencia divina que lo hace todo posible. A mis padres, hermanas, sobrinos, amigos y maestros. Tabla de contenido 1. Planteamiento Del Problema ...................................................................................................... 2 1.1 Antecedentes ...................................................................................................................... 2 1.2 Justificación ......................................................................................................................... 3 1.3 Pregunta Problema ............................................................................................................. 4 1.4 Objetivos ............................................................................................................................. 4 1.4.1 Objetivo general .......................................................................................................... 4 1.4.2 Objetivos específicos ................................................................................................... 4 2. Metodología ................................................................................................................................ 4 3. Marco -
The Case for Rethinking Music Copyright Protection, 10 Mich
Michigan Telecommunications and Technology Law Review Volume 10 | Issue 2 2004 Musical Musings: The aC se for Rethinking Music Copyright Protection J. Michael Keyes Gonzaga University School of Law Follow this and additional works at: http://repository.law.umich.edu/mttlr Part of the Entertainment, Arts, and Sports Law Commons, Intellectual Property Law Commons, and the Legal History Commons Recommended Citation J. M. Keyes, Musical Musings: The Case for Rethinking Music Copyright Protection, 10 Mich. Telecomm. & Tech. L. Rev. 407 (2004). Available at: http://repository.law.umich.edu/mttlr/vol10/iss2/3 This Article is brought to you for free and open access by the Journals at University of Michigan Law School Scholarship Repository. It has been accepted for inclusion in Michigan Telecommunications and Technology Law Review by an authorized editor of University of Michigan Law School Scholarship Repository. For more information, please contact [email protected]. MUSICAL MUSINGS: THE CASE FOR RETHINKING MUSIC COPYRIGHT PROTECTION J. Michael Keyes* Cite as: J. Michael Keyes, Musical Musings: The Case for Rethinking Music Copyright Protection, 10 MICH. TELECOMM. TECH. L. REV. 407 (2004), availableat http://www.mttlr.org/volten/Keyes.pdf IN TRODUCTION ...................................................................................... 408 I. A HISTORICAL SKETCH OF MUSIC COPYRIGHT ........................ 410 A. The Nascent Years of Music Copyright, 1800-1850 .......... 410 B. The Music Industry Gains Steam, 1850-1900 .................. -
Whose Music Is It Anyway?: How We Came to View Musical Expression As a Form of Property – Part I
CORE Metadata, citation and similar papers at core.ac.uk Provided by Villanova University School of Law: Digital Repository Working Paper Series Villanova University Charles Widger School of Law Year 2003 Whose Music Is It Anyway?: How We Came To View Musical Expression As A Form Of Property { Part I Michael W. Carroll Villanova University School of Law, [email protected] This paper is posted at Villanova University Charles Widger School of Law Digital Repository. http://digitalcommons.law.villanova.edu/wps/art2 WHOSE MUSIC IS IT ANYWAY?: HOW WE CAME TO VIEW MUSICAL EXPRESSION AS A FORM OF PROPERTY Michael W. Carroll* I. INTRODUCTION The year 2003 marked the end of the first decade of the “digital revolution.”1 Of the many changes wrought by developments in digital * Assistant Professor of Law, Villanova University School of Law. Thanks to Oren Bracha, Douglas Galbi, Jacqueline Lipton, Jessica Litman, and Michael Madison for insightful comments. I also received helpful comments on oral presentations of this Article at the Cyberlaw Retreat convened by Harvard Law School’s Berkman Center for Internet and Society and at the June 2003 Law and Society Annual Meeting. I thank the participants in both fora for their thoughts. The Villanova community has done much to support this project. For helpful and supportive comments, I thank my colleagues Michelle Anderson, Leslie Book, Ann Juliano, Greg Magarian, and Michele Pistone. For enthusiastic research assistance, I thank Christopher Nickels and Elizabeth Pulbratek; for unswerving administrative support, I thank Joan Delong; and for cheerful and efficient processing of numerous inter-library loan requests, I thank the reference librarians at the Villanova University School of Law.