165 Years of Scottish Rite Masonry in Pittsburgh

Total Page:16

File Type:pdf, Size:1020Kb

165 Years of Scottish Rite Masonry in Pittsburgh 165 Years of Scottish Rite Masonry in Pittsburgh VOL. XXVI NO. 3 H H H March 2017 VVaalllleeyy ooff PPTeachingiitttts schildrenbbuu withrr dyslexiagghh he men and organizations pictured to the right are those who have made a $10,000T or more commitment to support the Valley of Pittsburgh Children’s Dyslexia Center Endowment Fund. As Freemasons, we have always been Demosthenes Agoris benevolent and charitable. For Scottish Rite Edward & Joan Robert & Janice Emery & Carol David & Carol Masons, our Charity is to teach children with Aiello Amend Anden Bagaley dyslexia how to read. It is important in giving them social confidence. The teaching method is the Orton-Gilling- ham program. It is a one tutor –one student ratio. This method is very expensive but extremely effective. It costs approximately $5,000 a year for each child. Our goal is to raise $2,500,000 to endow the Children’s Raymond & Lynn Fred & Kathy Robert Eckbreth James Ecker & James & Ellen Dyslexia Center for the future. Dietz Donatelli Donna Murtha Flanigan To make it easier to make this commitment, you can spread out your $10,000 donation over a ten year period. Call Bro. Ray Dietz, 33°, at 412-369-9500 for information. The future of our children is our most important mission. I encourage each of you to have your picture on this page and be a BUILDER of this Masonic benevolence. Benjamin Henderson Raymond & Dorothy James & Lisa Robert & P.J. Paul & Penny Your donation is tax-deductible. Thomas K. Sturgeon, 33° James Jenkins Jones Kappel Deputy for Pennsylvania Builders Council Enrollment Form I pledge the sum of: $10,000 $15,000 John L. McCain John & Judy Roy & Sara Jane John McCutcheon Jay & Joanne $20,000 $25,000 McCombs McCullough McElravy With payments in equal installments over a period of: 3 years 5 years 10 years. This pledge will be payable: Annually Semi-annually Quarterly *Monthly *Monthly payments may be made only by credit card. First payment of $ is enclosed. Deduct my pledge from my credit card when due: Bruce A. Robinson Richard & Bette Don & Ginny Joseph A. Schrock, Jr. James W. Seel MasterCard Visa American Express Rodibaugh Sauer Discover Other . Number Exp. date Name you would prefer in recognition: This gift is anonymous. Signature Bob & Charlene James & Anetta James & Jill John & Jerry Jeff & Sharon Name Wells West West Williams Wonderling Address Classic Valley Valley Supreme City State Zip Valley of Council Group Ph. ( ) Date of of Pittsburgh Mail to: Valley of Builders Council, 3579 Masonic Way, Legion of Pittsburgh, PA 15237-2700. Uniontown Pittsburgh Pittsburgh Car Club Honor toBB readuu –i oneill childddee at arr time!ss CCoouunncciill Robert & Jacqueline Jeff & Susan Mark & Patty George H. Cox Rick & Renee James & Eda Mario & Linda Bill & Heather Beatty Biddle Bliler Cross Dean DeBlasio Dickey Howard & Sharon Donald & Debra Wally & Leah Erich & Raylene Harvey & Carol John & Ruth Leland A. Hale, Jr. Jeff & Lauren Flynn Green Grossett Gumto Gumto Habel Heiger Paul & Jackie David & Sandy David & Judy John Kovac George & Judith William & Barbara Frank R. Mangery Jack Marsh Kauffman Kearns Kielman Lewis Magnotti, Jr. Glenn & Mary Dr. Glenn & Roberta Jack & Carol Donald & Barbara John & Valerie Raymond & Joy Ronald & Karen D. William Roberts Miller Miller Miller Murphy Nicklas Nicklas Plesh William Shaw William Slater, II Samuel & Judy Thomas & Joan Kurt & Nancy Gregory Triko George & Norma S. Timothy Warco Spanos Sturgeon Tesche Vance Oakdale Avalon Homestead Amity Chartiers Infinity Lodge Lodge No.669 Washington 30th McCandles Lodge No. 657 Lodge No. 297 Lodge No. 546 No. 45 In Memory of Lodge No. 164 Masonic Lodge No. 582 W. Robert & F. & A.M. F. & A.M. F. & A.M. F. & A.M. F. & A.M. Marion Jones F. & A.M. District “We make a living by what we get, but we make a life by what we give.” – Bro. Winston Churchill Pittsburgh Unified Commandery You’re Lodge, Club, or Name could be here! No. 1 Lodge No. 2 Call 412-939-3579. Knights IOOF Templar H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H VALLEY OF PITTSBURGH OFFICERS August 1, 2015 - July 31, 2016 In This Issue GOURGAS LODGE OF PERFECTION 14° Message from the Deputy . 5 by Thomas K. Sturgeon, 33° Robert B. Ruff, 32° . Thrice Potent Master Sam H. Jessee, 32° . .Deputy Master Message from the Commander-in-Chief . 7 Shawn P. Lang, 32° . .Senior Warden by David W. Morgans, 33° Brian T. Wilding, 32° . Junior Warden Wonderling Wonders . 8 Branden T. Plesh, 32° . .Orator Zack S. Morgans, 32° . Master of Ceremonies by Jeffrey M. Wonderling, 33° Jeffrey R. Jones, 32°. Guard PENNSYLVANIA COUNCIL, PRINCES OF JERUSALEM Message from the Thrice Potent Master . .9 by Sam Jessee, 32° Larry D. Horath, 32° . Sovereign Prince The Modern Vitruvian . 10 William J. Wiker, 32° . High Priest Erastus Z. Allen, 32° . Senior Warden by P. J. Roup, 33° Joseph G. Whitaker, 32° . Junior Warden Upon the Checkered Pavement . 12 Robert M. Polander, 32° . Master of Ceremonies by D. Todd Ballenger, 33° Charles H. King, 32° . Master of Entrances PITTSBURGH CHAPTER OF ROSE CROIX 18° Message from the Sovereign Prince . 15 by William J. Wiker, 32° Rodney E. Boyce, 33° . Most Wise Master Robert B. Malwitz, 32° . Senior Warden Your Health . 18 James C. Mayes, 32° . Junior Warden by Glenn D. Miller, II, 33° Joshua S. Freeman, 32° . .Orator From the Desk of the Valley Secretary . 20 Charles J. Anthony, 32° . Master of Ceremonies David B. Firda, 32° . Guard by Donald M. Murphy, 33° PENNSYLVANIA CONSISTORY 32° Message from the Most Wise Master . 21 Donald W. Boehm, 33° . Commander-in-Chief by Robert D. Malwitz, 32° David W. Morgans, 33° . 1st. Lt. Commander Masonic Services Directory . 22 Jeffrey M. Wonderling, 33° . 2nd Lt. Commander David L. Moore, 32° . Orator Directing Dickens . 23 Joshua L. Miller, 32° . Chancellor by D. Todd Ballenger, 33° Mitchell D. Goldstein, 32° . Master of Ceremonies Enchanted Evening . 24 Richard H. Kucera, 32° . Engineer & Seneschal Eric S. Teasdale, 32° . Standard Bearer Calendar . 30 Matthew A. Boice, 32° . .Guard Paul J. Roup, 33° . Treasurer Donald M. Murphy, 33° . Secretary In Memoriam Vito A. Urso, 33° . Hospitaler Dennis R. Johnston, 33° . Tiler Peter A. Leary, 32°, Joseph G. Whitaker, 32° . Masonic Fund Society May it be his portion to hear from Him Charles M. Bombich, 32° . Representatives EXECUTIVE COMMITTEE who sitteth as the Judge Supreme Donald W. Boehm, 33°, Chairman “Well Done, Good and Faithful Brother” Rodney E. Boyce, 33° . Larry D. Horath, 32° Sam H. Jessee, 32° . Robert B. Malwitz, 32° Since our last issue, the following brethren have been called home. David W. Morgans, 33° . .Donald M. Murphy, 33° Carl L. Anderson Laurence W. Jones Jr. James W. Rutledge Paul J. Roup, 33° . Robert B. Ruff, 32° William J. Wilker, 32° . Jeffrey M. Wonderling, 33° Kevin D. Bork James H. Jordan William R. Vito A. Urso, 33°,Trustee . .Thomas K. Sturgeon, 33°, Active Nicholas C. Bruich Robert M. Kass Schwartzmiller TRUSTEES Samuel E. Buckingham William V. Keselich Adam L. Snyder Vito A. Urso, 33°, Chairman William M. Cipkala Daniel Koch William E. Snyder Jeff A. Biddle, 33° . Donald W. Boehm, 33° John A. Cole William W. Kottner Sr. William F. Spicher Rodney E. Boyce, 33° . Keith J. Caito, 33° Donald E. Dukstein Paul M. Kunst Carl H. Swanson Jr. Thomas M. Gasmire, 33° . Larry D. Horath, 32° Donald M. Murphy, 33° . George W. Polnar, 33° John O. Dulaney Leo W. Martin George R. Taylor Richard A. Rodibaugh, 33° Paul J. Roup, 33° Robert B. Ruff, 32° Charles F. Fox John S. McKean Edgar R. Taylor Jr. TRUSTEES EMERITUS Roy A. Gilliland Jr. Robert L. McNall William H. Thomas Patrick G. Blackwwell, 33° . Donald H. Coester, 33° Timothy P. Gorant Clyde E. Miller Melvin Trkula Charles W. Doege, Jr., 33° . Robert E. Dunkelman, 33° George H. Gray Jr. Gerald E. Miller Joseph E. Turpin William J. Ebertshauser, 33° . Edward H. Fowler, Jr., 33° Dallas E. Haun Jr. Jacob R. Minsinger George G. Weddell Stephen A. George, 33° . Robert R. Havers, Sr., 33° William K. Henley Jr. Frank L. Moore Jr. John W. Hisiro, 33° . Dennis R. Johnston, 33° Robert L. Williams Sr. Albert L. Kappeler, Jr., 33° Robert Mellon, 33° Donald E. Sauer, 33° George C. Hipsley Jr. George S. Morgan Russel M. Winter Walter L. Sykes, 33° . Kurt R. Tesche, 33° John W. Hoak Jr. Robert A. Mousseau Earl E. Wood SECRETARY EMERITUS TREASURER EMERITUS William J. Hoegel Carl T. Oberg Roy E. Worthy Elwood R. Schultise, 33° D. William Roberts, 33° Dean E. Hughes ALLEGIANCE Edward P. Prihode Paul J. Wright Jr. Stanley Ivosevic William W. Reese Jr. Robert V. Yanssens The bodies of the Scottish Rite, sitting in the Valley of Pittsburgh, State Edwin R. Reynolds of Pennsylvania, acknowledge and yield allegiance to the Supreme Council, 33°, Ancient Accepted Scottish Rite of Freemasonry for the Northern Masonic Jurisdiction of the United States of America whose Grand East is in Lexington, Massachusetts, and whose Officers are: Ill...John Wm. McNaughton, 33°, Sovereign Grand Commander, Ill...Thomas K. Sturgeon, 33°, Deputy for Pennsylvania. Other Active members for Pennsylvania are: Ill...Jeffrey W. Coy, 33°, Ill...George Nakonetschny, 33°, Ill...Robert J. Bateman, 33°. March 2017 The Rite News Page 4. H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H THOMAS K. STURGEON, 33° Deputy for Pennsylvania Flag Day Wednesday, June 14 Fly the Flag of Freedom am old glory; for more than 9 score years I have been the bannerI of hope and freedom for generation after generation of My Dear Brethren of the Valley of Pittsburgh – Thank You! Americans.
Recommended publications
  • Michael Murphey Blue Sky · Night Thunder Mp3, Flac, Wma
    Michael Murphey Blue Sky · Night Thunder mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock Album: Blue Sky · Night Thunder Country: US Released: 1975 Style: Country Rock MP3 version RAR size: 1660 mb FLAC version RAR size: 1398 mb WMA version RAR size: 1491 mb Rating: 4.7 Votes: 278 Other Formats: DMF MP4 MP3 DXD ASF MMF AIFF Tracklist Hide Credits Wildfire A1 4:47 Written-By – L. Cansler*, M. Murphey* Carolina In The Pines A2 3:54 Written-By – M. Murphey* Desert Rat A3 3:53 Written-By – M. Murphey* Wild Bird A4 2:24 Written-By – M. Murphey* Blue Sky Riding Song A5 3:32 Written-By – M. Murphey* Medicine Man B1 3:49 Written-By – J. Murphy*, M. Murphey* Secret Mountain Hideout B2 3:56 Saxophone [Solo] – Tom ScottWritten-By – J. Murphy*, M. Murphey* Without My Lady There B3 2:33 Written-By – M. Murphey* Night Thunder B4 2:46 Vocals – Tracy NelsonWritten-By – M. Murphey* Rings Of Life B5 3:18 Written-By – G. Nunn*, M. Murphey* Companies, etc. Copyright (c) – CBS Inc. Phonographic Copyright (p) – CBS Inc. Pressed By – Columbia Records Pressing Plant, Santa Maria Manufactured By – Epic Records Manufactured By – CBS Inc. Mastered At – Customatrix Published By – Mystery Music, Inc. Published By – Nunn Publishing Credits Arranged By – Michael Murphey* Backing Vocals – Jeff Hanna, Jimmy Ibbotson Banjo – John McEuen Bass, Backing Vocals – Michael McKinney* Design [Album Cover Design], Photography By – William Matthews Drums – Harry Wilkinson Engineer – Jeff Guercio Engineer [Assistant] – Mark Guercio Guitar – Sam Broussard Guitar, Backing Vocals – Richard Dean Keyboards, Arranged By – Jac Murphy Mandolin – Jerry Mills Photography By [Inner Sleeve] – Gary Thomas Producer – Bob Johnston Technician [Technical Assistance] – Frank Lee Notes This release was pressed by Columbia Records Pressing Plant, Santa Maria denoted by "S" in the runout.
    [Show full text]
  • The History of Rock, a Monthly Magazine That Reaps the Benefits of Their Extraordinary Journalism for the Reader Decades Later, One Year at a Time
    L 1 A MONTHLY TRIP THROUGH MUSIC'S GOLDEN YEARS THIS ISSUE:1969 STARRING... THE ROLLING STONES "It's going to blow your mind!" CROSBY, STILLS & NASH SIMON & GARFUNKEL THE BEATLES LED ZEPPELIN FRANK ZAPPA DAVID BOWIE THE WHO BOB DYLAN eo.ft - ink L, PLUS! LEE PERRY I B H CREE CE BEEFHE RT+NINA SIMONE 1969 No H NgWOMI WI PIK IM Melody Maker S BLAST ..'.7...,=1SUPUNIAN ION JONES ;. , ter_ Bard PUN FIRS1tintFaBil FROM 111111 TY SNOW Welcome to i AWORD MUCH in use this year is "heavy". It might apply to the weight of your take on the blues, as with Fleetwood Mac or Led Zeppelin. It might mean the originality of Jethro Tull or King Crimson. It might equally apply to an individual- to Eric Clapton, for example, The Beatles are the saints of the 1960s, and George Harrison an especially "heavy person". This year, heavy people flock together. Clapton and Steve Winwood join up in Blind Faith. Steve Marriott and Pete Frampton meet in Humble Pie. Crosby, Stills and Nash admit a new member, Neil Young. Supergroups, or more informal supersessions, serve as musical summit meetings for those who are reluctant to have theirwork tied down by the now antiquated notion of the "group". Trouble of one kind or another this year awaits the leading examples of this classic formation. Our cover stars The Rolling Stones this year part company with founder member Brian Jones. The Beatles, too, are changing - how, John Lennon wonders, can the group hope to contain three contributing writers? The Beatles diversification has become problematic.
    [Show full text]
  • Still on the Road 1971 Recording Sessions
    STILL ON THE ROAD 1971 RECORDING SESSIONS JANUARY 6 New York City, New York 1st A. J. Weberman Telephone Conversation 9 New York City, New York 2nd A. J. Weberman Telephone Conversation MARCH 16-19 New York City, New York 1st Greatest Hits recording session AUGUST 1 New York City, New York Bangla Desh Concerts SEPTEMBER 24 New York City, New York 2nd Greatest Hits recording session OCTOBER 5 New York City, New York David Bromberg recording session 30 New York City, New York Allen Ginsberg TV program 31 New York City, New York Jamming with Ginsberg and Amram NOVEMBER 4 New York City, New York George Jackson recording session 9-17, 20 New York City, New York Allen Ginsberg recording sessions Still On The Road: Bob Dylan performances and recording sessions 1971 1885 A. J. Weberman Telephone Conversation New York City, New York 6 January 1971 Notes. Telephone conversation between Bob Dylan and A. J. Weberman. Full conversation printed in The Fiddler Now Upspoke, Volume 1, Desolation Row Promotions, page 137. Unauthorized Releases (The release is unauthorized and is not associated with or approved by Bob Dylan or his current recording label) Released in the UK on THE CLASSIC INTERVIEWS VOLUME 2: THE WEBERMAN TAPES, Chrome Dreams CIS 2005, 1 August 2004. Mono telephone recording, 2 minutes. Session info updated 28 May 2012. Still On The Road: Bob Dylan performances and recording sessions 1971 1890 A. J. Weberman Telephone Conversation New York City, New York 9 January 1971 Notes Telephone conversation between Bob Dylan and A. J. Weberman . Full conversation printed in East Village Other, 19 January 1971 and reprinted in The Fiddler Now Upspoke, Volume 1, Desolation Row Promotions, page 137.
    [Show full text]
  • In Loving Memory of Bob Johnston: Some People Mentor You Directly, in Person
    in loving memory of bob johnston: some people mentor you directly, in person. other times, a person’s body of work mentors you, without their knowledge. for me, bob johnston was such a mentor. it’s impossible to listen to “blonde on blonde” and not learn something…be it about record production, or song writing, or musical arrangements. that record is a master class in creating a timeless work. the same is true of other johnston 1960’s productions…”highway 61”, “songs of love & hate”, “nashville skyline”, “john wesley harding”, “at folsom prison”, “songs from a room”…those records teach you that it’s about songs, and the people in the room playing them, end of story. there is an intimacy to all of those recordings that is staggering. nothing gets in the way between the song & the listener. it feels like the artists are playing those songs for you. that is because of bob Johnston. as a producer, you get paid to intervene…bob johnston had the good sense not to. bob trusted his musicans, and he trusted their songs. this was lesson number one in my mentorship. the unbelievable fact that most of the records we associate with him were made in 2 weeks or less was lesson number two. too much time could be just as much of a curse as too little, often worse in fact. the hallmark of a bob Johnston production is that you can almost hear the musicians listening to each other. that is a product of working quickly. It always felt like johnston took the producer’s version of the hippocratic oath, to do no harm.
    [Show full text]
  • Still on the Road Session Pages 1967
    STILL ON THE ROAD 1967 RECORDING SESSIONS MARCH – MAY Byrdcliffe, New York Red Room, Bob Dylan's Home MAY – OCTOBER West Saugerties, New York Big Pink's Basement, Stoll Road OCTOBER Woodstock, New York Wittenberg Road, Rick Danko's & Levon Helm's Home 17 Nashville, Tennessee Columbia Studio A, 1st John Wesley Harding session NOVEMBER 6 Nashville, Tennessee Columbia Studio A, 2nd John Wesley Harding session 29 Nashville, Tennessee Columbia Studio A, 3rd John Wesley Harding session Bob Dylan recording sessions 1967 1620 Red Room Bob Dylan's Home Byrdcliffe, New York March-May 1967 1. Edge Of The Ocean 2. My Bucket's Got A Hole In It (Clarence Williams) 3. Roll On Train 4. Mr. Blue 5. Spanish Is The Loving Tongue (Charles Badger Clark / Billy Simon) 6. Under Control 7. Ol' Roison The Beau (trad, arr. by Bob Dylan) 8. I'm Guilty Of Loving You 9. Cool Water (Bob Nolan) 10. The Auld Triangle (Brendan Behan) 11. Poor Lazarus (trad, arr. by Bob Dylan) 12. Johnny Todd (trad, arr. by Bob Dylan) 13. Rock, Salt And Nails (Bruce Phillips) 14. Confidential (Dorinda Morgan) 15. Confidential (Dorinda Morgan) 16. 2 Dollars And 99 Cents 17. Jelly Bean 18. Any Time 19. Down By The Station 20. Hallelujah, I've Just Been Moved (trad, arr. by Bob Dylan) 21. That's The Breaks 22. Pretty Mary 23. Will The Circle Be Unbroken (A.P. Carter) 24. King Of France 25. She's On My Mind Again 26. On A Rainy Afternoon 27. I Can't Come In With A Broken Heart 28.
    [Show full text]
  • 1 Bob Dylan's American Journey, 1956-1966 September 29, 2006, Through January 6, 2007 Exhibition Labels Exhibit Introductory P
    Bob Dylan’s American Journey, 1956-1966 September 29, 2006, through January 6, 2007 Exhibition Labels Exhibit Introductory Panel I Think I’ll Call It America Born into changing times, Bob Dylan shaped history in song. “Life’s a voyage that’s homeward bound.” So wrote Herman Melville, author of the great tall tale Moby Dick and one of the American mythmakers whose legacy Bob Dylan furthers. Like other great artists this democracy has produced, Dylan has come to represent the very historical moment that formed him. Though he calls himself a humble song and dance man, Dylan has done more to define American creative expression than anyone else in the past half-century, forming a new poetics from his emblematic journey. A small town boy with a wandering soul, Dylan was born into a post-war landscape of possibility and dread, a culture ripe for a new mythology. Learning his craft, he traveled a road that connected the civil rights movement to the 1960s counterculture and the revival of American folk music to the creation of the iconic rock star. His songs reflected these developments and, resonating, also affected change. Bob Dylan, 1962 Photo courtesy of John Cohen Section 1: Hibbing Red Iron Town Bobby Zimmerman was a typical 1950’s kid, growing up on Elvis and television. Northern Minnesota seems an unlikely place to produce an icon of popular music—it’s leagues away from music birthplaces like Memphis and New Orleans, and seems as cold and characterless as the South seems mysterious. Yet growing up in the small town of Hibbing, Bob Dylan discovered his musical heritage through radio stations transmitting blues and country from all over, and formed his own bands to practice the newfound religion of rock ‘n’ roll.
    [Show full text]
  • The Cutting Edge: New York Singles Sessions, Oct - Nov 1965
    The Cutting Edge: New York Singles Sessions, Oct - Nov 1965 by Roger Ford Dylan’s first recording session following the release of “Highway 61 Revisited” was on October 5 1965, four days after his concert with The Hawks at Carnegie Hall. At this time ‘Like a Rolling Stone’ was finally on its way down the Billboard chart at No. 33, and ‘Positively 4th Street’ was just on its way up at No. 34, but Columbia may already have been keen for Dylan to have a follow-up single ready for late autumn release.1 In fact, three days of sessions were booked in the New York studio diary, on October 4, 5 and 6, but the first and last of these were cancelled, leaving just a six-hour double session on the 5th. It seems unlikely that the studio bookings were entirely Dylan’s idea, as he evidently had no new songs finished and ready to record. But now that he had his own road band, he may have been interested to hear how they would perform in the studio, and so went ahead with the recording date anyway, maybe thinking he’d make something up on the day.2 October 5, 1965 MEDICINE SUNDAY (CO 87183) Collectors have long been familiar with a version of this fragmentary song, which was on the so-called ‘Band session’ tape of half a dozen late 1965 and early 1966 recordings, first circulated around 1971. It turns out that this was Take 2, which in fact nearly made it onto “Biograph”, and later was one of the many ‘hidden’ tracks on 1995’s “Highway 61 Interactive” CD- ROM release.
    [Show full text]
  • View / Open Couch Mfathesis 2017.Pdf
    I CARRY YOU WITH ME: ON REPRESENTATION AND THE BODILY EVENT I CARRY YOU WITH ME: ON REPRESENTATION AND THE BODILY EVENT Chelsea Couch TERmiNAL PROJECT REPORT COmmiTTEE Tannaz Farsi (Chair) Anya Kivarkis Euan Macdonald CONTENTS PART ONE.......12 PART TWO.......28 PART THREE.......54 ACKNOWLEDGMENTS.......85 WORKS ciTED.......87 for M ARY C A I TL I N C OU C H 1 1 “The 1939 film The Women was shot entirely in black and white, with the exception of one Technicolor sequence—a fashion show—which was literally detachable from the rest of the film. The colored reel had no bearing on the plot whatsoever, so the projectionist could choose to insert it as part of the movie or ignore it altogether. Could one imagine a book that functioned similarly, albeit in reverse—a kind of optional, black and white appendage to a larger body of blue.” (Nelson, Bluets, pg. 66) “I’ve exhausted the alphabet. But I’m not writing this for you.”2 2 (Kapil, Humanimal, pg. 63) PART 1 One of the earliest known forms of artistic representation—painting on cave walls—included the literal hand of the artist. Eponymous- ly, Cueva de las Manos in the province of Santa Cruz, Argentina, is the most saturated with these marks. Read as left hands, it is posited that the painters held a spraying pipe with their right hand to com- pose a stenciled mark on the cave walls.3 Rather than representation 3 Although the lack of detail within the negative space could as readily sug- (or a mark of presence), left behind is instead an abstraction (one of gest that the back side of the right hand was placed on the cave walls with absence).
    [Show full text]
  • Still on the Road Session Pages: 1970
    STILL ON THE ROAD 1970 RECORDING SESSIONS MARCH 3 New York City, New York Studio B, Columbia Recording Studios, 5th Self Portrait session 4 New York City, New York Studio B, Columbia Recording Studios, 4th Self Portrait session 5 New York City, New York Studio B, Columbia Recording Studios, 6th Self Portrait session 11 Nashville, Tennessee Columbia Music Row Studios, 1st Self Portrait overdub session 12 Nashville, Tennessee Columbia Music Row Studios, 2nd Self Portrait overdub session 13 Nashville, Tennessee Columbia Music Row Studios, 3rd Self Portrait overdub session 17 Nashville, Tennessee Columbia Music Row Studios, 4th Self Portrait overdub session 26, 27 Los Angeles, California Columbia Studio B, Hollywood, 5th Self Portrait overdub session 30 Nashville, Tennessee Columbia Music Row Studios, 6th Self Portrait overdub session APRIL 2 Nashville, Tennessee Columbia Music Row Studios, 7th Self Portrait overdub session 3 Nashville, Tennessee Columbia Music Row Studios, 8th and last Self Portrait overdub session MAY 1 New York City, New York Columbia Studio B, 1st New Morning session 17 Carmel, New York The Home Of Thomas B. Allen, Earl Scruggs Documentary JUNE 1 New York City, New York Columbia Studio E, 2nd New Morning session 2 New York City, New York Columbia Studio E, 3rd New Morning session 3 New York City, New York Columbia Studio E, 4th New Morning session 4 New York City, New York Columbia Studio E, 5th New Morning session 5 New York City, New York Columbia Studio E, 6th New Morning session 30 New York City, New York Columbia Studio E, 7th New Morning session JULY 13 New York City, New York Columbia Studio E, 1st New Morning overdub session 23 Nashville, Tennessee Columbia Studio E, 2nd New Morning overdub session AUGUST 12 New York City, New York Columbia Studio E, 8th and last New Morning session Still On The Road: Bob Dylan recording sessions 1970 1790 Studio B Columbia Recording Studios New York City, New York 3 March 1970 4th Self Portrait recording session, produced by Bob Johnston.
    [Show full text]
  • Bob Dylan Nashville Skyline Full Album
    1 / 2 Bob Dylan, Nashville Skyline Full Album Zip Feb 20, 2011 — This is actually a gatefold, and you can open it up to get the full length of his suede coat. His hair is a work of art here, but still - would it have killed .... You've got to be silly to record anywhere else. ... Mastering work is being done on the upcoming live LP from Bob Dylan and the Band, tentatively titled "Before the Flood. ... can be adapted for 24-out, two full racks of outboard gear and a 3M 16-track machine. ... DAVID HOUSTON (Epic): Opryland, Nashville, Tenn., June 25.. Bob Dylan, Nashville Skyline Full Album Zip >>> DOWNLOAD (Mirror #1) e31cf57bcd A review of Bob Dylan's Nashville Skyline. Your recently viewed items and .... Loading... Play album. 0:00 ... Bob Dylan. 9 tracks. Released in 1980. Rock. Tracklist. 01. A Satisfied Mind. 02. ... Nashville Skyline / John Wesley Harding · Bob .... Nov 9, 2016 — A new collection of Bob Dylan's lyrics is a chronological, up-to-date collection of ... Full Playlist › ... The lyrics are arranged chronologically by album — including songs that ... Nashville Skyline: 8 + 1 = 9 ... Zip or Postal Code *.. [a 3], Al Kooper recalled that both the album title, Blonde on Blonde, and song titles arrived ... Michael Gray, author of The Bob Dylan Encyclopedia, contended that the ... in which the verse tableaux are sketched ... full of whispering and muttering. ... John Wesley you must be blonde on capri and Nashville Skyline ] Dylan a. Jan 21, 2012 — A version they “recorded” with the late Johnny Cash (ahh, studio magic) appears on Chimes of Freedom: The Songs of Bob Dylan, a new ...
    [Show full text]
  • The Recording Sessions
    Bob Dylan: The Recording Sessions by Michael Krogsgaard, compiled from files available at http://www.punkhart.com/dylan/sessions.html 1 2 Some general information regarding the different sources made available for the study: 1. The Columbia Studios Recording Diaries are books, which for each day of the year (since 1941) list every planned session in the different studios. Information includes: time of the day, name of the studio, name of the producer and the engineers and the name of the artist. For the New York studios one diary is missing, that which covers the period January 1967 to December 1970. For the Nashville studios, the diary for the period 1969 to 1971 is missing. 2. Recording Sheets are lists made during each session and put into each tape box. The sheet records the date, the studio, the artist, which tracks were recorded and the CO number (Columbia's own reference number) for each composition (of which, more later). Each recorded take is marked as complete (C), with a short false start(b) or a long false start (B). It is indicated on these sheet which takes are removed to other tapes for further use. 3. The Tape Boxes themselves also usually contain information about each take and which takes are removed for further use. 4. CO Cards contain information about the CO (CO=Columbia) number and title for each composition and usually also the recording date. The CO numbers are basically a secure identification of each composition but they are not always chronological (for instance: the CO numbers for songs recorded in Nashville are generally higher than CO numbers for songs recorded at the same time in New York), and, confusingly, sometimes one composition has several CO numbers, especially (but not always) if it has been recorded several times at different sessions.
    [Show full text]
  • JOHNNY CASH: out Among the Stars CD
    JOHNNY CASH: Out Among The Stars CD 1 Out Among the Stars, 00:03:00 (Composer Adam Mitchell - Lyricist Adam Mitchell) Performer: Johnny Cash Producer: Billy Sherrill (P) 2014 Sony Music Entertainment 2 Baby Ride Easy, 00:02:41 (Composer Richard Dobson - Lyricist Richard Dobson) Performer: Johnny Cash with June Carter Cash Producer: Billy Sherrill (P) 2014 Sony Music Entertainment 3 She Used to Love Me a Lot, 00:03:09 (Composer Rhonda Fleming / Composer Dennis Morgan / Composer Charles Quillen - ) Performer: Johnny Cash Producer: Billy Sherrill (P) 2014 Sony Music Entertainment 4 After All, 00:02:47 (Composer Sandy Mason / Composer Charles Cochran - ) Performer: Johnny Cash Producer: Billy Sherrill (P) 2014 Sony Music Entertainment 5 I'm Movin' On, 00:03:07 (Composer Clarence E. "Hank" Snow - Lyricist Clarence E. "Hank" Snow) Performer: Johnny Cash with Waylon Jennings Producer: Billy Sherrill (P) 2014 Sony Music Entertainment 6 If I Told You Who It Was, 00:03:03 (Composer Bobby Braddock / Composer Curly Putman - ) Published By: Sony/ATV Tree Publishing Performer: Johnny Cash Special Guest Appearance: Minnie Pearl Producer: Billy Sherrill (P) 2014 Sony Music Entertainment 7 Call Your Mother, 00:03:16 (Composer Johnny Cash - Lyricist Johnny Cash) Performer: Johnny Cash Producer: Billy Sherrill (P) 2014 Sony Music Entertainment 8 I Drove Her Out of My Mind, 00:02:58 (Composer Gary Gentry / Composer Hillman Hall - ) Performer: Johnny Cash Producer: Billy Sherrill (P) 2014 Sony Music Entertainment 9 Tennessee, 00:03:25 (Composer Rick Scott
    [Show full text]