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Off the Beaten Track
Off the Beaten Track To have your recording considered for review in Sing Out!, please submit two copies (one for one of our reviewers and one for in- house editorial work, song selection for the magazine and eventual inclusion in the Sing Out! Resource Center). All recordings received are included in “Publication Noted” (which follows “Off the Beaten Track”). Send two copies of your recording, and the appropriate background material, to Sing Out!, P.O. Box 5460 (for shipping: 512 E. Fourth St.), Bethlehem, PA 18015, Attention “Off The Beaten Track.” Sincere thanks to this issue’s panel of musical experts: Richard Dorsett, Tom Druckenmiller, Mark Greenberg, Victor K. Heyman, Stephanie P. Ledgin, John Lupton, Angela Page, Mike Regenstreif, Seth Rogovoy, Ken Roseman, Peter Spencer, Michael Tearson, Theodoros Toskos, Rich Warren, Matt Watroba, Rob Weir and Sule Greg Wilson. that led to a career traveling across coun- the two keyboard instruments. How I try as “The Singing Troubadour.” He per- would have loved to hear some of the more formed in a variety of settings with a rep- unusual groupings of instruments as pic- ertoire that ranged from opera to traditional tured in the notes. The sound of saxo- songs. He also began an investigation of phones, trumpets, violins and cellos must the music of various utopian societies in have been glorious! The singing is strong America. and sincere with nary a hint of sophistica- With his investigation of the music of tion, as of course it should be, as the Shak- VARIOUS the Shakers he found a sect which both ers were hardly ostentatious. -
{Download PDF} Cultural Traditions in the United Kingdom
CULTURAL TRADITIONS IN THE UNITED KINGDOM PDF, EPUB, EBOOK Lynn Peppas | 32 pages | 24 Jul 2014 | Crabtree Publishing Co,Canada | 9780778703136 | English | New York, Canada Cultural Traditions in the United Kingdom PDF Book Retrieved 11 July It was designed by Sir Giles Gilbert Scott in and was launched by the post office as the K2 two years after. Under the Labour governments of the s and s most secondary modern and grammar schools were combined to become comprehensive schools. Due to the rise in the ownership of mobile phones among the population, the usage of the red telephone box has greatly declined over the past years. In , scouting in the UK experienced its biggest growth since , taking total membership to almost , We in Hollywood owe much to him. Pantomime often referred to as "panto" is a British musical comedy stage production, designed for family entertainment. From being a salad stop to housing a library of books, ingenious ways are sprouting up to save this icon from total extinction. The Tate galleries house the national collections of British and international modern art; they also host the famously controversial Turner Prize. Jenkins, Richard, ed. Non-European immigration in Britain has not moved toward a pattern of sharply-defined urban ethnic ghettoes. Media Radio Television Cinema. It is a small part of the tartan and is worn around the waist. Help Learn to edit Community portal Recent changes Upload file. At modern times the British music is one of the most developed and most influential in the world. Wolverhampton: Borderline Publications. Initially idealistic and patriotic in tone, as the war progressed the tone of the movement became increasingly sombre and pacifistic. -
The Beatles on Film
Roland Reiter The Beatles on Film 2008-02-12 07-53-56 --- Projekt: transcript.titeleien / Dokument: FAX ID 02e7170758668448|(S. 1 ) T00_01 schmutztitel - 885.p 170758668456 Roland Reiter (Dr. phil.) works at the Center for the Study of the Americas at the University of Graz, Austria. His research interests include various social and aesthetic aspects of popular culture. 2008-02-12 07-53-56 --- Projekt: transcript.titeleien / Dokument: FAX ID 02e7170758668448|(S. 2 ) T00_02 seite 2 - 885.p 170758668496 Roland Reiter The Beatles on Film. Analysis of Movies, Documentaries, Spoofs and Cartoons 2008-02-12 07-53-56 --- Projekt: transcript.titeleien / Dokument: FAX ID 02e7170758668448|(S. 3 ) T00_03 titel - 885.p 170758668560 Gedruckt mit Unterstützung der Universität Graz, des Landes Steiermark und des Zentrums für Amerikastudien. Bibliographic information published by Die Deutsche Bibliothek Die Deutsche Bibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available on the Internet at http://dnb.ddb.de © 2008 transcript Verlag, Bielefeld This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 License. Layout by: Kordula Röckenhaus, Bielefeld Edited by: Roland Reiter Typeset by: Roland Reiter Printed by: Majuskel Medienproduktion GmbH, Wetzlar ISBN 978-3-89942-885-8 2008-12-11 13-18-49 --- Projekt: transcript.titeleien / Dokument: FAX ID 02a2196899938240|(S. 4 ) T00_04 impressum - 885.p 196899938248 CONTENTS Introduction 7 Beatles History – Part One: 1956-1964 -
The A-Z of Brent's Black Music History
THE A-Z OF BRENT’S BLACK MUSIC HISTORY BASED ON KWAKU’S ‘BRENT BLACK MUSIC HISTORY PROJECT’ 2007 (BTWSC) CONTENTS 4 # is for... 6 A is for... 10 B is for... 14 C is for... 22 D is for... 29 E is for... 31 F is for... 34 G is for... 37 H is for... 39 I is for... 41 J is for... 45 K is for... 48 L is for... 53 M is for... 59 N is for... 61 O is for... 64 P is for... 68 R is for... 72 S is for... 78 T is for... 83 U is for... 85 V is for... 87 W is for... 89 Z is for... BRENT2020.CO.UK 2 THE A-Z OF BRENT’S BLACK MUSIC HISTORY This A-Z is largely a republishing of Kwaku’s research for the ‘Brent Black Music History Project’ published by BTWSC in 2007. Kwaku’s work is a testament to Brent’s contribution to the evolution of British black music and the commercial infrastructure to support it. His research contained separate sections on labels, shops, artists, radio stations and sound systems. In this version we have amalgamated these into a single ‘encyclopedia’ and added entries that cover the period between 2007-2020. The process of gathering Brent’s musical heritage is an ongoing task - there are many incomplete entries and gaps. If you would like to add to, or alter, an entry please send an email to [email protected] 3 4 4 HERO An influential group made up of Dego and Mark Mac, who act as the creative force; Gus Lawrence and Ian Bardouille take care of business. -
Where to Next? a Dynamic Model of User Preferences
Where To Next? A Dynamic Model of User Preferences Francesco Sanna Passino∗ Lucas Maystre Dmitrii Moor Imperial College London Spotify Spotify [email protected] [email protected] [email protected] Ashton Anderson† Mounia Lalmas University of Toronto Spotify [email protected] [email protected] ABSTRACT 1 INTRODUCTION We consider the problem of predicting users’ preferences on on- Online platforms have transformed the way users access informa- line platforms. We build on recent findings suggesting that users’ tion, audio and video content, knowledge repositories, and much preferences change over time, and that helping users expand their more. Over three decades of research and practice have demon- horizons is important in ensuring that they stay engaged. Most strated that a) learning users’ preferences, and b) personalizing existing models of user preferences attempt to capture simulta- users’ experience to match these preferences is immensely valuable neous preferences: “Users who like 퐴 tend to like 퐵 as well”. In to increase engagement and satisfaction. To this end, recommender this paper, we argue that these models fail to anticipate changing systems have emerged as essential building blocks [3]. They help preferences. To overcome this issue, we seek to understand the users find their way through large collections of items and assist structure that underlies the evolution of user preferences. To this them in discovering new content. They typically build on user pref- end, we propose the Preference Transition Model (PTM), a dynamic erence models that exploit correlations across users’ preferences. model for user preferences towards classes of items. The model As an example within the music domain, if a user likes The Beatles, enables the estimation of transition probabilities between classes of that user might also like Simon & Garfunkel, because other users items over time, which can be used to estimate how users’ tastes are who listen to the former also listen to the latter. -
The Chart Book – the Specials Record Mirror Singles 1955-1962
The Chart Book – The Specials Record Mirror Singles 1955-1962 Compiled by Lonnie Readioff Chart History For Record Mirror Single Charts Between 22 January 1955 and 17 March 1962 Entry Peak Weeks on chart, Title (Number 1 Number) (Awards symbols, if any for this record in this period) (Composer) Full artist credit (if different) B-Side (Or EP/Album track listing if any charted on this chart) Label (Catalogue Number) Duration. Notes are presented below the title for some entries. Entries are sorted by artist, then by entry date and finally, in the event of ties, by peak position and finally weeks on chart. All re-entries are shown as separate entries, but track listings of any albums or EP's which re-entered the chart are not shown for their re-entries. Fats Domino (Continued) 19.12.1959 12 5 Be My Guest (Tommy Boyce / Fats Domino / John Marascalco) I've Been Around London 7": HLP 9005 02:16 30.01.1960 15 4 Be My Guest (Re-entry 1) (Tommy Boyce / Fats Domino / John Marascalco) I've Been Around London 7": HLP 9005 02:16 09.04.1960 18 1 Country Boy (Dave Bartholomew / Fats Domino) If You Need Me London 7": HLP 9073 02:10 Lonnie Donegan Entry: 07.01.1956 Hits: 27 Peak: 1 Weeks: 211 07.01.1956 6 12 Rock Island Line (Lonnie Donegan) The Lonnie Donegan Skiffle Group John Henry Decca 7": 45FJ 10647 02:30 07.04.1956 15 3 Rock Island Line (Re-entry 1) (Lonnie Donegan) The Lonnie Donegan Skiffle Group John Henry Decca 7": 45FJ 10647 02:30 28.04.1956 2 16 Lost John (Lonnie Donegan) The Lonnie Donegan Skiffle Group Stewball Pye Nixa 78: N 15036 02:13 -
Antinuclear Politics, Atomic Culture, and Reagan Era Foreign Policy
Selling the Second Cold War: Antinuclear Cultural Activism and Reagan Era Foreign Policy A dissertation presented to the faculty of the College of Arts and Sciences of Ohio University In partial fulfillment of the requirements for the degree Doctor of Philosophy William M. Knoblauch March 2012 © 2012 William M. Knoblauch. All Rights Reserved. 2 This dissertation titled Selling the Second Cold War: Antinuclear Cultural Activism and Reagan Era Foreign Policy by WILLIAM M. KNOBLAUCH has been approved for the Department of History and the College of Arts and Sciences by __________________________________ Chester J. Pach Associate Professor of History __________________________________ Howard Dewald Dean, College of Arts and Sciences 3 ABSTRACT KNOBLAUCH, WILLIAM M., Ph.D., March 2012, History Selling the Second Cold War: Antinuclear Cultural Activism and Reagan Era Foreign Policy Director of Dissertation: Chester J. Pach This dissertation examines how 1980s antinuclear activists utilized popular culture to criticize the Reagan administration’s arms buildup. The 1970s and the era of détente marked a decade-long nadir for American antinuclear activism. Ronald Reagan’s rise to the presidency in 1981 helped to usher in the “Second Cold War,” a period of reignited Cold War animosities that rekindled atomic anxiety. As the arms race escalated, antinuclear activism surged. Alongside grassroots movements, such as the nuclear freeze campaign, a unique group of antinuclear activists—including publishers, authors, directors, musicians, scientists, and celebrities—challenged Reagan’s military buildup in American mass media and popular culture. These activists included Fate of the Earth author Jonathan Schell, Day After director Nicholas Meyer, and “nuclear winter” scientific-spokesperson Carl Sagan. -
The Memory of Slavery in Liverpool in Public Discourse from the Nineteenth Century to the Present Day
The Memory of Slavery in Liverpool in Public Discourse from the Nineteenth Century to the Present Day Jessica Moody PhD University of York Department of History April 2014 Abstract This thesis maps the public, collective memory of slavery in Liverpool from the beginning of the nineteenth century to the present day. Using a discourse-analytic approach, the study draws on a wide range of ‘source genres’ to interrogate processes of collective memory across written histories, guidebooks, commemorative occasions and anniversaries, newspapers, internet forums, black history organisations and events, tours, museums, galleries and the built environment. By drawing on a range of material across a longue durée, the study contributes to a more nuanced understanding of how this former ‘slaving capital of the world’ has remembered its exceptional involvement in transatlantic slavery across a two hundred year period. This thesis demonstrates how Liverpool’s memory of slavery has evolved through a chronological mapping (Chapter Two) which places memory in local, national and global context(s). The mapping of memory across source areas is reflected within the structure of the thesis, beginning with ‘Mapping the Discursive Terrain’ (Part One), which demonstrates the influence and intertextuality of identity narratives, anecdotes, metaphors and debates over time and genre; ‘Moments of Memory’ (Part Two), where public commemorative occasions, anniversaries and moments of ‘remembrance’ accentuate issues of ‘performing’ identity and the negotiation of a dissonant past; and ‘Sites of Memory’ (Part Three), where debate and discourse around particular places in Liverpool’s contested urban terrain have forged multiple lieux de memoire (sites of memory) through ‘myths’ of slave bodies and contestations over race and representation. -
1 the Jack Hylton Archive, Lancaster University: a Report on Its Current
The Jack Hylton Archive, Lancaster University: A Report on its Current State and the Potential Research, Performance and Educational Opportunities (April 2007) Adam Greig, Deborah M awer 1. Introduction: brief history The Jack Hylton Archive contained within the Rare Books Archive of Lancaster University‘s Library is ostensibly the largest collection of materials and memorabilia pertaining to the bandleader‘s life, work and phenomenal success. This Archive was presented to the University by the Jack Hylton Estate some time following Hylton‘s death in 1965; prior to this the collection had been housed in the Theatre Royal, Drury Lane.1 The connection between Lancaster University and the Hylton name is also strengthened by the Jack Hylton Music Room, presented to the University with funds raised by The Stars Shine for Jack concert on 28 May 1965.2 The collection arrived unsorted, and remained that way until completion of the Rare Book Archive in 1997 when it was transferred to its current housing and work began on assembling a usable, catalogued source. Although work on the Archive has been continuous since being relocated, it is still far from being entirely sorted; nonetheless it is already possible to use the Archive for research purposes, and to ascertain the potential that it may offer when cataloguing is complete. 2. Archive contents The physical materials within the Archive include: music arrangements, newspaper cuttings, programmes, appointment diaries, 78 rpm and 12“ records, photographs, libretti, publicity flyers and posters, and memorabilia. 2.1 M anuscript band arrangements 0or the purposes of the Hylton Project (December 2006-April 2007), involving Dr Deborah Mawer as Principal Investigator and Adam Grieg as part-time Research Assistant (funded by PALATINE buy-out), the most pertinent source has been the 1 Materials relating Jack Hylton and the Adelphi Theatre, as well as some of the materials associated with circus, and funfair management are still held in the Theatre Museum, London. -
1 Ralph Edwards ALL ARTICLES/IMAGES ARE
December 2017 December 100 In association with "AMERICAN MUSIC MAGAZINE" ALL ARTICLES/IMAGES ARE COPYRIGHT OF THEIR RESPECTIVE AUTHORS. FOR REPRODUCTION, PLEASE CONTACT ALAN LLOYD VIA TFTW.ORG.UK Ralph Edwards 1 Tales From The Woods would like to thank all our loyal readers for supporting us, particularly those who have been with us from the start. From a humble newsletter whose basic purpose was to inform our followers of forthcoming events, it has evolved into something much, much more. None of this would have been possible without our dedicated band of contributors whose writings you read in every issue, ably supported by those who have appeared only once or just a few times through our history. Thank you all, and here’s to our continued success together. Mr Angry fades from view Keith talks to Charlie Gracie Memories of Fats Domino from our readers We “borrow” more stuff from Nick Cobban Jazz Junction, Soul Kitchen, Blues Rambling And more.... 2 Someone quite important sends a message and says: “ HOLD THE THIRD PAGE! ” Greetings Gang, Welcome to the Christmas edition of Tales From The Woods magazine. As you can tell from Ralph Edwards’ wonderful sketch on the cover this is our one hundredth edition, so before we go any further let’s give Ralph a big round of applause, ladies and gentlemen, not just for his skill, imagination, wit, but for his time too. Ralph's sketches have graced these pages before; those of you who have been with us from our earliest days will remember his musical recollections being serialised in this magazine long before we went on-line, when this esteemed tome was barely out of nappies, cheaply photocopied and stapled. -
Tony Papard Gets Confused Mr Angry Admits His Failure Ken Major Bakes
April 2019 April 108 In association with "AMERICAN MUSIC MAGAZINE" ALL ARTICLES/IMAGES ARE COPYRIGHT OF THEIR RESPECTIVE AUTHORS. FOR REPRODUCTION, PLEASE CONTACT ALAN LLOYD VIA TFTW.ORG.UK To get you in the mood for our show in June, here is a shot of Doug Kershaw from the New Orleans Jazz Festival in 2006 Our thanks to Paul Harris for always having a picture when we need it. Doug Kershaw © Paul Harris Tony Papard gets confused Mr Angry admits his failure Ken Major bakes up another dozen We “borrow” more stuff from Nick Cobban Jazz Junction, Soul Kitchen, Blues Rambling And more.... 1 2 Captain Biggles says “I've just listened to ‘Video Killed the Radio Star’ by The Buggles and my mind boggles at the advances in music since my day so HOLD THE THIRD PAGE! ” Hi Gang, What a great night we all had at Gerry’s back on 7th February, certainly the most successful yet of what are proving to be hugely popular ‘soirees’ at this long established Soho theatrical/show business watering hole, deep in the heart of Soho. Ken Major, our illustrious hard working membership secretary, coined the perfect phrase whilst enthusiastically describing the evening thus - “Heart and Soul Of Tales From The Woods” - that folks shall head all future advertising art work for what we sincerely hope will be many twice/thrice annually events. Whilst in the surrounding streets, the hoi polloi were crowding and shoving inside pubs and bars, shouting above a predictable canned soundtrack, or clung on to their glasses amongst the cacophony and pollution of the city streets outside the establishments of their choice, not for us Woodies; we were inside in comfort, recreating an age now sadly past when live music rang from countless venues in this historical, vibrant and sometimes seedy area of London. -
Beatles History – Part One: 1956–1964
BEATLES HISTORY – PART ONE: 1956–1964 January 1956–June 1957: The ‘Skiffle Craze’ In January 1956, Lonnie Donegan’s recording of “Rock Island Line” stormed into the British hit parade and started what would become known as the ‘skiffle craze’ in Great Britain (vgl. McDevitt 1997: 3). Skiffle was originally an amateur jazz style comprising elements of blues, gospel, and work songs. The instrumentation resembled New Or- leans street bands called ‘spasms,’ which relied on home-made instru- ments. Before skiffle was first professionally recorded by American jazz musicians in the 1920s and 1930s, it had been performed at ‘rent parties’ in North American cities like Chicago and Kansas City. Many African- American migrant workers organized rent parties in order to raise money for their monthly payments (vgl. Garry 1997: 87). Skiffle provided the musical entertainment at these parties, as everybody was able to partici- pate in the band, which usually consisted of home-made acoustic guitars or a piano backed by a rhythm section of household instruments, such as a washboard, a washtub bass, and a jug (vgl. McDevitt 1997:16). Jazz trumpeter and guitarist Ken Colyer pioneered the skiffle scene in Great Britain. In 1949, he formed the Crane River Jazz Band in Cran- ford, Middlesex, together with Ben Marshall (guitar), Pat Hawes (wash- board), and Julian Davies (bass). Their repertoire included skiffle songs “to illustrate aspects of the roots of jazz and to add variety to a pro- gramme” (Dewe 1998: 4). After leaving the group in 1951, Colyer mi- grated to the United States to work with jazz musicians in New Orleans.