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Danward.Ch [email protected] Dan Ward – 100 Cover Songs Facebook.Com/Danwardsongwriter
danward.ch [email protected] Dan Ward – 100 Cover Songs facebook.com/danwardsongwriter # Artist Song # Artist Song # Artist Song 1. Avicii / Aloe Blacc Wake Me Up 35. Jack Johnson Good People 69. Steelers Wheel Stuck in the Middle with You 2. Babybird You're Gorgeous 36. Jack Johnson Taylor 70. The 5, 6, 7, 8s Woo Hoo 3. Bill Withers Ain't No Sunshine 37. Jake Bugg Lightning Bolt 71. The Beatles Twist n Shout 4. Bob Dylan / Jimi Hendrix All Along the Watchtower 38. Jason Mraz I'm Yours 72. The Black Keys Lonely Boy 5. Bob Marley Three Little Birds 39. John Lennon Imagine 73. The Clash Should I Stay or Should I Go? 6. Bob Marley Redemption Song 40. Johnny Cash Folsom Prison Blues 74. The Cure Friday I'm in Love 7. Bob Marley Small Axe 41. Johnny Cash Hurt 75. The Doors Love Me Two Times 8. Bobby Helms Jingle Bell Rock 42. Johnny Cash Man in Black 76. The Doors People Are Strange 9. Brenda Lee Rocking Around the Xmas Tree 43. Johnny Cash Ring of Fire 77. The Eels Mr E's Beautiful Blues 10. Bruce Springstein Santa Claus is Coming To Town 44. Kings of Leon Use Somebody 78. The Jam That's Entertainment 11. Buddy Rich The Beat Goes On 45. Led Zeppelin Stairway To Heaven 79. The Highwaymen The Highwayman 12. Chuck Berry Johnny B. Goode 46. Linkin Park Castle of Glass 80. The Killers Mr Brightside 13. Dean Martin Let It Snow 47. Lou Reed Satellite of Love 81. -
Tenor Saxophone Mouthpiece When
MAY 2014 U.K. £3.50 DOWNBEAT.COM MAY 2014 VOLUME 81 / NUMBER 5 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Associate Editor Davis Inman Contributing Editors Ed Enright Kathleen Costanza Art Director LoriAnne Nelson Contributing Designer Ara Tirado Bookkeeper Margaret Stevens Circulation Manager Sue Mahal Circulation Assistant Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] Advertising Sales Associate Pete Fenech 630-941-2030 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, John McDonough Atlanta: Jon Ross; Austin: Kevin Whitehead; Boston: Fred Bouchard, Frank- John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D. Jackson, Jimmy Katz, Jim Macnie, Ken Micallef, Dan Ouellette, Ted Panken, Richard Seidel, Tom Staudter, -
Lesbian and Gay Music
Revista Eletrônica de Musicologia Volume VII – Dezembro de 2002 Lesbian and Gay Music by Philip Brett and Elizabeth Wood the unexpurgated full-length original of the New Grove II article, edited by Carlos Palombini A record, in both historical documentation and biographical reclamation, of the struggles and sensi- bilities of homosexual people of the West that came out in their music, and of the [undoubted but unacknowledged] contribution of homosexual men and women to the music profession. In broader terms, a special perspective from which Western music of all kinds can be heard and critiqued. I. INTRODUCTION TO THE ORIGINAL VERSION 1 II. (HOMO)SEXUALIT Y AND MUSICALIT Y 2 III. MUSIC AND THE LESBIAN AND GAY MOVEMENT 7 IV. MUSICAL THEATRE, JAZZ AND POPULAR MUSIC 10 V. MUSIC AND THE AIDS/HIV CRISIS 13 VI. DEVELOPMENTS IN THE 1990S 14 VII. DIVAS AND DISCOS 16 VIII. ANTHROPOLOGY AND HISTORY 19 IX. ACKNOWLEDGEMENTS 24 X. EDITOR’S NOTES 24 XI. DISCOGRAPHY 25 XII. BIBLIOGRAPHY 25 I. INTRODUCTION TO THE ORIGINAL VERSION 1 What Grove printed under ‘Gay and Lesbian Music’ was not entirely what we intended, from the title on. Since we were allotted only two 2500 words and wrote almost five times as much, we inevitably expected cuts. These came not as we feared in the more theoretical sections, but in certain other tar- geted areas: names, popular music, and the role of women. Though some living musicians were allowed in, all those thought to be uncomfortable about their sexual orientation’s being known were excised, beginning with Boulez. -
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. -
David Goodis: Five Noir Novels of the 1940S and 50S Pdf, Epub, Ebook
DAVID GOODIS: FIVE NOIR NOVELS OF THE 1940S AND 50S PDF, EPUB, EBOOK David Goodis, Robert Polito | 848 pages | 16 Oct 2014 | The Library of America | 9781598531480 | English | New York, United States David Goodis: Five Noir Novels of the 1940s and 50s PDF Book To see what your friends thought of this book, please sign up. My impression, and I'm nowhere near the end of reading all of Goodis, is that he is a kind of American Sartre, a two-fisted Dante being backed into a solid wall of desperation and doubt. It will allow future generations to plunge into the luxurious sensation one experiences when reading a Goodis novel, even though it never lasts for long, and is accompanied by the dismal knowledge that it will soon be over. Robert Polito Editor. Parry steps into the room, and addresses his best friend:. May 27, Ben rated it liked it. Goodis is more like a Mickey Spillane with a soul. Robin Friedman I don't feel that this is a fault, however, because I believe Goodis's surrealism is intentional. One of the problems with this is clunky plotting. How to read this? Project support for this volume was provided by the Geoffrey C. He is overly reliant on coincidence and often having a character overhear long sections of dialogue. I much-loved the anthology, especially "Street of No Return. Nicholson Baker. No trackbacks yet. And then the reach for the lever that opens the strongbox and While hitchhiking he is picked up by a woman named Irene Janney. -
The Rolling Stones and Performance of Authenticity
University of Kentucky UKnowledge Theses and Dissertations--Art & Visual Studies Art & Visual Studies 2017 FROM BLUES TO THE NY DOLLS: THE ROLLING STONES AND PERFORMANCE OF AUTHENTICITY Mariia Spirina University of Kentucky, [email protected] Digital Object Identifier: https://doi.org/10.13023/ETD.2017.135 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Spirina, Mariia, "FROM BLUES TO THE NY DOLLS: THE ROLLING STONES AND PERFORMANCE OF AUTHENTICITY" (2017). Theses and Dissertations--Art & Visual Studies. 13. https://uknowledge.uky.edu/art_etds/13 This Master's Thesis is brought to you for free and open access by the Art & Visual Studies at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Art & Visual Studies by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. -
“What Happened to the Post-War Dream?”: Nostalgia, Trauma, and Affect in British Rock of the 1960S and 1970S by Kathryn B. C
“What Happened to the Post-War Dream?”: Nostalgia, Trauma, and Affect in British Rock of the 1960s and 1970s by Kathryn B. Cox A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Music Musicology: History) in the University of Michigan 2018 Doctoral Committee: Professor Charles Hiroshi Garrett, Chair Professor James M. Borders Professor Walter T. Everett Professor Jane Fair Fulcher Associate Professor Kali A. K. Israel Kathryn B. Cox [email protected] ORCID iD: 0000-0002-6359-1835 © Kathryn B. Cox 2018 DEDICATION For Charles and Bené S. Cox, whose unwavering faith in me has always shone through, even in the hardest times. The world is a better place because you both are in it. And for Laura Ingram Ellis: as much as I wanted this dissertation to spring forth from my head fully formed, like Athena from Zeus’s forehead, it did not happen that way. It happened one sentence at a time, some more excruciatingly wrought than others, and you were there for every single sentence. So these sentences I have written especially for you, Laura, with my deepest and most profound gratitude. ii ACKNOWLEDGMENTS Although it sometimes felt like a solitary process, I wrote this dissertation with the help and support of several different people, all of whom I deeply appreciate. First and foremost on this list is Prof. Charles Hiroshi Garrett, whom I learned so much from and whose patience and wisdom helped shape this project. I am very grateful to committee members Prof. James Borders, Prof. Walter Everett, Prof. -
1. Early Years: Maria Before La Callas 2. Metamorphosis
! 1. EARLY YEARS: MARIA BEFORE LA CALLAS Maria Callas was born in New York on 2nd December 1923, the daughter of Greek parents. Her name at birth was Maria Kalogeropoulou. When she was 13 years old, her parents separated. Her mother, who was ambitious for her daughter’s musical talent, took Maria and her elder sister to live in Athens. There Maria made her operatic debut at the age of just 15 and studied with Elvira de Hidalgo, a Spanish soprano who had sung with Enrico Caruso. Maria, an intensely dedicated student, began to develop her extraordinary potential. During the War years in Athens the young soprano sang such demanding operatic roles as Tosca and Leonore in Beethoven’s Fidelio. In 1945, Maria returned to the USA. She was chosen to sing Turandot for the inauguration of a prestigious new opera company in Chicago, but it went bankrupt before the opening night. Yet fate turned out to be on Maria’s side: she had been spotted by the veteran Italian tenor, Giovanni Zenatello, a talent scout for the opera festival at the Verona Arena. Callas made her Italian debut there in 1947, starring in La Gioconda by Ponchielli. Her conductor, Tullio Serafin, was to become a decisive force in her career. 2. METAMORPHOSIS After Callas’ debut at the Verona Arena, she settled in Italy and married a wealthy businessman, Giovanni Battista Meneghini. Her influential conductor from Verona, Tullio Serafin, became her musical mentor. She began to make her name in grand roles such as Turandot, Aida, Norma – and even Wagner’s Isolde and Brünnhilde – but new doors opened for her in 1949 when, at La Fenice opera house in Venice, she replaced a famous soprano in the delicate, florid role of Elvira in Bellini’s I puritani. -
Composition Catalog
1 LEONARD BERNSTEIN AT 100 New York Content & Review Boosey & Hawkes, Inc. Marie Carter Table of Contents 229 West 28th St, 11th Floor Trudy Chan New York, NY 10001 Patrick Gullo 2 A Welcoming USA Steven Lankenau +1 (212) 358-5300 4 Introduction (English) [email protected] Introduction 8 Introduction (Español) www.boosey.com Carol J. Oja 11 Introduction (Deutsch) The Leonard Bernstein Office, Inc. Translations 14 A Leonard Bernstein Timeline 121 West 27th St, Suite 1104 Straker Translations New York, NY 10001 Jens Luckwaldt 16 Orchestras Conducted by Bernstein USA Dr. Kerstin Schüssler-Bach 18 Abbreviations +1 (212) 315-0640 Sebastián Zubieta [email protected] 21 Works www.leonardbernstein.com Art Direction & Design 22 Stage Kristin Spix Design 36 Ballet London Iris A. Brown Design Boosey & Hawkes Music Publishers Limited 36 Full Orchestra Aldwych House Printing & Packaging 38 Solo Instrument(s) & Orchestra 71-91 Aldwych UNIMAC Graphics London, WC2B 4HN 40 Voice(s) & Orchestra UK Cover Photograph 42 Ensemble & Chamber without Voice(s) +44 (20) 7054 7200 Alfred Eisenstaedt [email protected] 43 Ensemble & Chamber with Voice(s) www.boosey.com Special thanks to The Leonard Bernstein 45 Chorus & Orchestra Office, The Craig Urquhart Office, and the Berlin Library of Congress 46 Piano(s) Boosey & Hawkes • Bote & Bock GmbH 46 Band Lützowufer 26 The “g-clef in letter B” logo is a trademark of 47 Songs in a Theatrical Style 10787 Berlin Amberson Holdings LLC. Deutschland 47 Songs Written for Shows +49 (30) 2500 13-0 2015 & © Boosey & Hawkes, Inc. 48 Vocal [email protected] www.boosey.de 48 Choral 49 Instrumental 50 Chronological List of Compositions 52 CD Track Listing LEONARD BERNSTEIN AT 100 2 3 LEONARD BERNSTEIN AT 100 A Welcoming Leonard Bernstein’s essential approach to music was one of celebration; it was about making the most of all that was beautiful in sound. -
The Rolling Stones Pontiac Silverdome 1981
The rolling stones pontiac silverdome 1981 Live at The Silverdome, Pontiac, Michigan, November 30th, , mixed with soundboard audio. Extracted. Get the The Rolling Stones Setlist of the concert at Pontiac Silverdome, Pontiac, MI, USA on December 1, from the Tattoo You Tour and. I saw Iggy open for them in at the Pontiac Silverdome north of .. Rumors in Detroit afterwards said that the Rolling Stones had the flu,and Stones Wardrobes. The Rolling Stones Silverdome Pontiac, MI Dec 1, - Mick Jagger - vocals, guitar, keyboards, harmonica; Keith Richards - guitars, vocals;. The Rolling Stones Silverdome Pontiac, MI Nov 30, - Mick Jagger - vocals, guitar, keyboards, harmonica; Keith Richards - guitars, vocals;. Pontiac Silverdome. Address: Featherstone Road. City: Pontiac. Region: Michigan The Rolling Stones · 11/30/ · The Rolling Stones · Iggy Pop. The Rolling Stones' American Tour was a concert tour of stadiums and arenas in the . 30 November , Pontiac · Pontiac Silverdome, , / , (%), $2,, 1 December 5 December , New Orleans. What is your favorite Rolling Stones concert in Michigan? I did eventually see the Stones Dec at the Pontiac Silverdome in Michigan. concert page for The Rolling Stones at Pontiac Silverdome (Detroit) on Dec. 1, Discuss the gig, get concert tickets, see who's attending, find similar. Find a The Rolling Stones - Live At Silverdome, Pontiac, Michigan, Dec. 1, first pressing or reissue. Complete your The Rolling Stones. The Rolling Stones' December 1st show in Pontiac, Michigan was the second of two at the Silverdome and occurs near the end of the long. Were You at 'The Stones-Dome' Silverdome Concerts in ? your memories about the ROLLING STONES-SANTANA-IGGY concerts I decided Jim Johnson was sent to the Pontiac Airport and caught the guys landing. -
Poetry in America for Teachers: the City from Whitman to Hip Hop
Poetry in America for Teachers: The City from Whitman to Hip Hop SYLLABUS | Spring 2017 Course Team Instructor Elisa New, PhD, Powell M. Cabot Professor of American Literature, Harvard University Teaching Staff Carra Glatt, PhD, Harvard University Christopher Spaide, Doctoral Candidate, Harvard University Josephine Reece, Doctoral Candidate, Harvard University Khriseten Bellows, National Board Certified Master Teacher Course Developers Adrienne Raphel, Course Developer and Doctoral Candidate, Harvard University Emily Silk, Course Developer and Doctoral Candidate, Harvard University Caitlin Ballotta Rajagopalan, Course Manager, Poetry in America Leah Reis-Dennis, Producer, Poetry in America Course Overview Poetry in America for Teachers is a course designed specifically for secondary school educators interested in developing their expertise as readers and teachers of literature. In this course, available for Professional Development, undergraduate credit, or graduate credit, we will consider those American poets whose themes, forms, and voices have given expression to visions of the city since 1850. Beginning with Walt Whitman, the great poet of nineteenth-century New York, we will explore the diverse and ever-changing environment of the modern city – from Chicago to Washington, DC, from San Francisco to Detroit – through the eyes of such poets as Carl Sandburg, Emma Lazarus, Edna St. Vincent Millay, Langston Hughes, Marianne Moore, Frank O’Hara, Gwendolyn Brooks, Allen Ginsberg, Robert Hayden, and Robert Pinsky, as well as contemporary hip hop and spoken word artists. For a preview of what you can expect in this course, watch our trailer at http://bit.ly/PoetryCityPreview. Course Objectives This course will develop teaching expertise relevant to the Common Core English Language Arts (ELA) standards in grades 6-12. -
Bellini's Norma
Bellini’s Norma - A discographical survey by Ralph Moore There are around 130 recordings of Norma in the catalogue of which only ten were made in the studio. The penultimate version of those was made as long as thirty-five years ago, then, after a long gap, Cecilia Bartoli made a new recording between 2011 and 2013 which is really hors concours for reasons which I elaborate in my review below. The comparative scarcity of studio accounts is partially explained by the difficulty of casting the eponymous role, which epitomises bel canto style yet also lends itself to verismo interpretation, requiring a vocalist of supreme ability and versatility. Its challenges have thus been essayed by the greatest sopranos in history, beginning with Giuditta Pasta, who created the role of Norma in 1831. Subsequent famous exponents include Maria Malibran, Jenny Lind and Lilli Lehmann in the nineteenth century, through to Claudia Muzio, Rosa Ponselle and Gina Cigna in the first part of the twentieth. Maria Callas, then Joan Sutherland, dominated the role post-war; both performed it frequently and each made two bench-mark studio recordings. Callas in particular is to this day identified with Norma alongside Tosca; she performed it on stage over eighty times and her interpretation casts a long shadow over. Artists since, such as Gencer, Caballé, Scotto, Sills, and, more recently, Sondra Radvanovsky have had success with it, but none has really challenged the supremacy of Callas and Sutherland. Now that the age of expensive studio opera recordings is largely over in favour of recording live or concert performances, and given that there seemed to be little commercial or artistic rationale for producing another recording to challenge those already in the catalogue, the appearance of the new Bartoli recording was a surprise, but it sought to justify its existence via the claim that it authentically reinstates the integrity of Bellini’s original concept in matters such as voice categories, ornamentation and instrumentation.