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Spartan Daily, October 16, 2013
SPARTANDAILY.COM INSIDE thespartandaily.tumblr.com facebook.com/spartandaily P. 3 Sports: The scholarly Twitter: @spartandaily fighter: Marti Malloy Instagram: @spartandaily P. 4 A&E: Free comedy show WEATHER Clear SPARTAN DAILY at SJSU 82°F Serving San José State University Hungry for more? since 1934 P. 5 Opinion: Revenge not so 52°F Volume 141 / Issue 21 Special issue coming Thursday! Printed on recycled paper Wednesday, October 16, 2013 sweet in real life SAFETY CAMPUS IMAGE SJSU prepares Branching out in human lifespan to shake it up Information compiled from Ready.gov and FEMA Infographic by Leeta-Rose Ballester | Spartan Daily By Leeta-Rose Ballester ing for up to three days,” she @leetarose said. Phillips said Thursday’s The university is prepar- drill will primarily be a test ing to shake, rattle and roll — of campus communications or at least test its emergency in the event of an emergen- communications in the event cy, although instructors and of an earthquake. administrative departments The Great California are encouraged to partici- Shake Out is a statewide pate in a physical drill. earthquake drill that will “We don’t do the drill in take place precisely at 10:17 the classrooms so as not to Jenny Bennett | Spartan Daily a.m. on Thursday, accord- disrupt,” she said. “We can Peter Im (right), an undeclared sophomore, directs Thao Vy Nguyen (left), a junior health science major, to hug ing to Yvette Phillips, SJSU have people stop, drop, cover a tree near Spartan Complex on Tuesday. Nguyen is blindfolded as part of an activity for a human lifespan class emergency preparedness co- and hold, but the messaging which simulates what it is like to lose the sense of sight. -
REWIND | Artists' Video in the 70S &
REWIND | Artists’ Video in the 70s & 80s Interview with Chris Meigh-Andrews Interview by Dr Jackie Hatfield, 22nd May 2006 JH: Which of your works you consider to be the most important to you and why? CMA: In the period of the 70s and 80s there are some tapes I suppose, that were important to me at any rate, and that were shown around a little bit. The first of them-one of my earliest tapes, was called ‘The Viewer’s Receptive Capacity’ (1978), which was made in collaboration with a woman called Gabrielle Bown, who I’ve lost touch with. We made about three or four tapes together and they were all produced in a television studio- as all my earliest works were. Parallel to that collaborative work, I was also making my own stuff. ‘Horizontal & Vertical’ (1978) was one of four landscape pieces that I made. Then jumping a bit, there’s a tape called ‘The Room with a View’, which was made in 1982. Then ‘An Imaginary Landscape’ made in 1986 and ‘The Stream’, which was made between 1985 and 1988. There were lots of different versions of ‘The Stream’ including several two screen versions, but there was also a single screen version that was completed in 1988. It was at that point that I stopped making single screen tapes because I felt there were limitations on the way I was interested in going. I felt that I needed to move outside of the screen in some sense. I wanted to explore the relationship between the screen and the space and to do that I started working with installations. -
Bibliografia Canterbury Ridotta
Presentazione La scena di Canterbury fu un movimento musicale che si sviluppò tra la fine degli anni Sessanta e la meta dei Settanta nell’omonima cittadina del Kent. Anche se furono molti i gruppi che la composero – alcuni dei quali ancora oggi leggendari come i Soft Machine, i Caravan o i Matching Mole - il numero dei musicisti coinvolti fu sempre molto ridotto, favorendo così un rapporto osmotico tra le varie band anche nelle scelte musicali intraprese. Ciò che caratterizzò la Scena fu infatti una comune idea di arte che possiamo definire – citando Marcus O’Dair, autore della recente biografia di Wyatt – come “un certo stile rock psichedelico venato di jazz, pastorale, very english… con tempi complessi, una preferenza di tastiere rispetto alle chitarre e un modo di cantare convintamente radicato nell’East Kent, là dove i cantanti dell’epoca posavano tutti da Delta bluesman”. Nata con l’album Soft Machine (1968) e conclusa da Rock Bottom (1974) – nonostante i successivi epigoni - la Scena di Canterbury fu sicuramente il momento più alto di tutto il genere Progressive e uno dei movimenti musicali più innovativi (e altrettanto ostici) di tutto il rock. Riascoltato oggi può apparire troppo contorto e scarsamente fruibile, persino nelle sue espressioni più “pop” quali i dischi di Kevin Ayers o dei Caravan, ma in realtà è ancora un’esperienza unica ed entusiasmante per tutti gli ascoltatori disposti a superare le barriere e i tabù che troppo spesso caratterizzano il mondo della musica popolare. Aprile - Maggio 2015 Discografia: Guida all’ascolto Soft machine - Soft machine (1968) Una premessa importante: la Scena di Canterbury fu per sei Soft machine – Two (1969) entusiasmanti anni il fulcro della musica d’avanguardia inglese, Soft machine – Third (1970) proponendo opere spesso di non semplice fruizione che richiedono più Soft machine – Fourth (1971) di un ascolto per essere godute pienamente. -
CATALOGUE WELCOME to NAXOS JAZZ LEGENDS and NAXOS NOSTALGIA, Twin Compendiums Presenting the Best in Vintage Popular Music
NAXOS JAZZ LEGENDS/NOSTALGIA CATALOGUE WELCOME TO NAXOS JAZZ LEGENDS AND NAXOS NOSTALGIA, twin compendiums presenting the best in vintage popular music. Following in the footsteps of Naxos Historical, with its wealth of classical recordings from the golden age of the gramophone, these two upbeat labels put the stars of yesteryear back into the spotlight through glorious new restorations that capture their true essence as never before. NAXOS JAZZ LEGENDS documents the most vibrant period in the history of jazz, from the swinging ’20s to the innovative ’40s. Boasting a formidable roster of artists who forever changed the face of jazz, Naxos Jazz Legends focuses on the true giants of jazz, from the fathers of the early styles, to the queens of jazz vocalists and the great innovators of the 1940s and 1950s. NAXOS NOSTALGIA presents a similarly stunning line-up of all-time greats from the golden age of popular entertainment. Featuring the biggest stars of stage and screen performing some of the best- loved hits from the first half of the 20th century, this is a real treasure trove for fans to explore. RESTORING THE STARS OF THE PAST TO THEIR FORMER GLORY, by transforming old 78 rpm recordings into bright-sounding CDs, is an intricate task performed for Naxos by leading specialist producer-engineers using state-of-the-art-equipment. With vast personal collections at their disposal, as well as access to private and institutional libraries, they ensure that only the best available resources are used. The records are first cleaned using special equipment, carefully centred on a heavy-duty turntable, checked for the correct playing speed (often not 78 rpm), then played with the appropriate size of precision stylus. -
Selected Observations from the Harlem Jazz Scene By
SELECTED OBSERVATIONS FROM THE HARLEM JAZZ SCENE BY JONAH JONATHAN A dissertation submitted to the Graduate School-Newark Rutgers, the State University of New Jersey in partial fulfillment of the requirements for the degree of Master of Arts Graduate Program in Jazz History and Research Written under the direction of Dr. Lewis Porter and approved by ______________________ ______________________ Newark, NJ May 2015 2 Table of Contents Acknowledgements Page 3 Abstract Page 4 Preface Page 5 Chapter 1. A Brief History and Overview of Jazz in Harlem Page 6 Chapter 2. The Harlem Race Riots of 1935 and 1943 and their relationship to Jazz Page 11 Chapter 3. The Harlem Scene with Radam Schwartz Page 30 Chapter 4. Alex Layne's Life as a Harlem Jazz Musician Page 34 Chapter 5. Some Music from Harlem, 1941 Page 50 Chapter 6. The Decline of Jazz in Harlem Page 54 Appendix A historic list of Harlem night clubs Page 56 Works Cited Page 89 Bibliography Page 91 Discography Page 98 3 Acknowledgements This thesis is dedicated to all of my teachers and mentors throughout my life who helped me learn and grow in the world of jazz and jazz history. I'd like to thank these special people from before my enrollment at Rutgers: Andy Jaffe, Dave Demsey, Mulgrew Miller, Ron Carter, and Phil Schaap. I am grateful to Alex Layne and Radam Schwartz for their friendship and their willingness to share their interviews in this thesis. I would like to thank my family and loved ones including Victoria Holmberg, my son Lucas Jonathan, my parents Darius Jonathan and Carrie Bail, and my sisters Geneva Jonathan and Orelia Jonathan. -
Lindsay Cooper: Bassoonist with Henry Cow Advanced Search Article Archive Topics Who Who Went on to Write Film Music 100 NOW TRENDING
THE INDEPENDENT MONDAY 22 SEPTEMBER 2014 Apps eBooks ijobs Dating Shop Sign in Register NEWS VIDEO PEOPLE VOICES SPORT TECH LIFE PROPERTY ARTS + ENTS TRAVEL MONEY INDYBEST STUDENT OFFERS UK World Business People Science Environment Media Technology Education Images Obituaries Diary Corrections Newsletter Appeals News Obituaries Search The Independent Lindsay Cooper: Bassoonist with Henry Cow Advanced search Article archive Topics who who went on to write film music 100 NOW TRENDING 1 Schadenfreudegasm The u ltim ate lis t o f M an ch ester -JW j » United internet jokes a : "W z The meaning of life J§ according to Virginia Woolf 3 Labour's promises and their m h azard s * 4 The Seth Rogen North Korea . V; / film tra ile r yo u secretly w a n t to w atch 5 No, Qatar has not been stripped o f th e W orld Cup Most Shared Most Viewed Most Commented Rihanna 'nude photos' claims emerge on 4Chan as hacking scandal continues Frank Lampard equalises for Manchester City against Her Cold War song cycle ‘ Oh Moscow’ , written with Sally Potter, was performed Chelsea: how Twitter reacted round the world Stamford Hill council removes 'unacceptable' posters telling PIERRE PERRONE Friday 04 October 2013 women which side of the road to walk down # TWEET m SHARE Shares: 51 Kim Kardashian 'nude photos' leaked on 4chan weeks after Jennifer Lawrence scandal In the belated rush to celebrate the 40 th anniversary of Virgin Records there has been a tendency to forget the groundbreaking Hitler’s former food taster acts who were signed to Richard Branson’s label in the mid- reveals the horrors of the W olf s Lair 1970s. -
Wavelength (October 1981)
University of New Orleans ScholarWorks@UNO Wavelength Midlo Center for New Orleans Studies 10-1981 Wavelength (October 1981) Connie Atkinson University of New Orleans Follow this and additional works at: https://scholarworks.uno.edu/wavelength Recommended Citation Wavelength (October 1981) 12 https://scholarworks.uno.edu/wavelength/12 This Book is brought to you for free and open access by the Midlo Center for New Orleans Studies at ScholarWorks@UNO. It has been accepted for inclusion in Wavelength by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. Pipes of Pan Presents ... A best seller. versus the best. icro-Acoustics Bose 301 FRM-3dx *33QOOper patr. *34900per pair Compare these two speakers, and you'd probably expect the one on the left - with the lower price - to be the better seller. You'd be right ... but is it the better value? Before you aecide, it pays to consider how much more a little more money will bu~: Comfare bass. The new FRM-3dx uses a twin-ducted enclosure with thicker cabine panels and larger cubic volume for rich, full bass. Compare highs. The new FRM-3dx1s unique Vari-AxiSTM control system, damped isolated tweeter suspension and rim-damped cone give lifelike h1ghs. Compare warranties. The new FRM-3dx is warrantied twice as long. The Micro-Acoustics new FRM-3dx. When you compare, there's really no com parison. Quality worth a 10-year warranty Micro-Acoustics Reg. $349.00 Bose 301" FRM·3dx Tweeter One, fixed. One, rotatable, rim·damped. Tweeter Attached Isolated from SALE NOW directly to baffle. -
Storyville Films 60003
Part 2 of a survey: Content of all Storyville Films DVD series Storyville Films 60003. “Harlem Roots, Vol. 1” - The Big Bands. Duke Ellington Orch. I Got It Bad And That Ain’t Good (2:54)/Bli Blip (2:50)/Flamingo (3:01)/Hot Chocolate (Cottontail) (3:06)/Jam Session (C Jam Blues) (2:50). Cab Calloway Orch.: Foo A Little Ballyhoo (2:48)/Walkin’ With My Honey (2:35)/Blow Top Blues (2:36)/I Was There When You Left Me (2:43)/We The Cats Shall Hep Ya (2:36)/Blues In The Night (3:12)/The Skunk Song (2:59)/Minnie The Moocher (3:01)/Virginia, Georgia And Caroline (2:57). Count Basie Orch.: Take Me Back Baby (2:39)/Air Mail Special (2:51). Lucky Millinder Orch.: Hello Bill (2:56)/I Want A Big Fat Mama (3:01)/Four Or Five Times (2:33)/Shout Sister, Shout 2:40). All are Soundies. DVD produced in 2004. TT: 0.57. Storyville Films 60013. “Harlem Roots, Vol. 2” - The Headliners. Fats Waller Rhythm: Honeysuckle Rose (2:52)/Your Feet’s Too Big /Ain’t Misbehavin’ (2:59)/The Joint Is Jumpin’ (2:46). Louis Armstrong Orch.: When It’s Sleepy Time Down South (3:07)/Shine (2:52)/I’ll Be Glad When You’re Dead You Rascal You (2:45)/Swinging On Nothing (2:53). Louis Jordan Tympany Five: Five Guys Named Mo (2:44)/Honey Chile (2:41)/GI Jive (2:36)/If You Can‘t Smile And Say Yes (2:45)/Fuzzy Wuzzy (2:49)/Tillie (2:26)/Caldonia (2:50)/Buzz Me (2:48)/Down, Down, Down (3:01)/Jumpin’ At The Jubilee (2:34). -
The Many Faces of “Dinah”: a Prewar American Popular Song and the Lineage of Its Recordings in the U.S
View metadata, citation and similar papers at core.ac.uk brought to you by CORE The Many Faces of “Dinah” The Many Faces of “Dinah”: A Prewar American Popular Song and the Lineage of its Recordings in the U.S. and Japan Edgar W. Pope 「ダイナ」の多面性 ──戦前アメリカと日本における一つの流行歌とそのレコード── エドガー・Ｗ・ポープ 要 約 1925年にニューヨークで作曲された「ダイナ」は、1920・30年代のアメリ カと日本両国におけるもっとも人気のあるポピュラーソングの一つになり、 数多くのアメリカ人と日本人の演奏家によって録音された。本稿では、1935 年までに両国で録音されたこの曲のレコードのなかで、最も人気があり流 行したもののいくつかを選択して分析し比較する。さらにアメリカの演奏家 たちによって生み出された「ダイナ」の演奏習慣を表示する。そして日本人 の演奏家たちが、自分たちの想像力を通してこの曲の新しい理解を重ねる中 で、レコードを通して日本に伝わった演奏習慣をどのように応用していった かを考察する。 1. Introduction “Dinah,” published in 1925, was one of the leading hit songs to emerge from New York City’s “Tin Pan Alley” music industry during the interwar period, and was recorded in the U.S. by numerous singers and dance bands during the late 1920s and 1930s. It was also one of the most popular songs of the 1930s in Japan, where Japanese composers, arrangers, lyricists and performers, inspired in part by U.S. records, developed and recorded their own versions. In this paper I examine and compare a selection of the American and Japanese recordings of this song with the aim of tracing lines ─ 155 ─ 愛知県立大学外国語学部紀要第43号（言語・文学編） of influence, focusing on the aural evidence of the recordings themselves in relation to their recording and release dates. The analysis will show how American recordings of the song, which resulted from complex interactions of African American and European American artists and musical styles, established certain loose conventions of performance practices that were conveyed to Japan and to Japanese artists. It will then show how these Japanese artists made flexible use of American precedents, while also drawing influences from other Japanese recordings and adding their own individual creative ideas. -
Jean-Philippe Rykiel
Jean-Philippe Rykiel Nato cieco nel 1961, Jean-Philippe Rykiel ha imparato a suonare il pianoforte da autodidatta fin da bambino. Anche se la sua passione musicale è nata dall'ascolto di classici come Thelonious Monk, la sua passione si è quasi subito rivolta verso le tastiere. La sua padronanza tecnica e il suo vivace intuito musicale lo hanno portato a collaborare con grandi musicisti sotto diverse vesti: come programmatore (con Vangelis e Vladimir Cosma), come strumentista (con Steve Hillage, Jon Hassell, Didier Malherbe e per numerosi progetti africani) e come arrangiatore (per Xalam, Salif Keita, Leonard Cohen, Youssou N'Dour e molti altri). Nel 1992 ha composto e coprodotto con Youssou N'Dour Eyes Open , una collaborazione che è poi proseguita con l’album Wommat The Guide del 1994 e per una tournée che ha toccato Europa, Africa e Stati Uniti. Il 2002 li vede ancora insieme con Nothing's In Vain (Nonesuch). Parallelamente a queste collaborazioni Rykiel ha proseguito anche la sua personale ricerca sfociata nel suo album solista apparso nel 1982 e in numerose creazioni per spettacoli, cinema e pubblicità, tra cui le musiche per il film Les Pierres Bleues du Désert di Nabil Ayouch e la colonna sonora di L’Enfant Lion di Patrick Grandperret. Nel 1994 ha arrangiato e suonato in The Lama's Chants , un album di preghiere tibetane cantato da Lama Gyurme, disco d'oro in Spagna e brillantemente recensito in tutto il mondo. Nel 2000 collabora nuovamente con Lama Gyurme a Vajra Chants, seguito da una tournée in Europa, Asia e America. -
Vinyl Continuity Being the Queues to Collector Record Cover Versions
spanned an often balladic broad ★ musical palette – the main Vinyl continuity being the queues to Collector record cover versions. by Paul Rigby This 25-track compilation of career highlights is packed with classics, starting with The Troggs (who also covered Anyway That You Want Me – here by Tina Mason) and ending with Taylor’s later forays into country music. In between there are timeless gems such as Out Of Focus debut, Wake Up, which owed more outspoken and Lorraine Ellison’s Try (Just A Wake Up a debt to early UK prog targeted, highlighting religion Little Bit Harder) (later huge for ★★★ outfits, weaving improvised as a particular cause célèbre. Janis Joplin), Merillee Rush’s Sandy Denny Missing Vinyl MV 004 passages through Its follow-up, Four Letter Angel Of The Morning and She Moves Through The Out Of Focus conventional song structure. Monday Afternoon, released Picture Me Gone – originally a Fair ★★★★ The weakest of the three, the same year, presented a hit for Taylor’s protégé Evie ★★★ Missing Vinyl MV 006 Wake Up is, however, still a full-on Soft Machine-like jazz- Sands (present with I Can’t Let Stamford Audio STAMPLP 1003 Four Letter Monday recommended listen, thanks rock fusion, with avant-garde Go) and covered sublimely here Conventional release for the Afternoon to its funk-based grooves touches and more extended by the often-overlooked hardcore fan ★★★★ and a lyrical depth that instrumental experiments. Madeline Bell. Recorded by Denny when she Missing Vinyl MV 005 (2-LP) reflected social and political Across the double album Out Other names include Aretha was just 19 years old, this Lens your ears to this ideas without hitting you over Of Focus, the group were able Franklin, Peggy Lee, Billy Vera, limited, 500-only EP consists prog barrage the head with its tenets. -
Mustang Daily, January 25, 1983
o Mustang DallyUniversity Archives Tuesday, January 25,1983 California Polytechnic State University, San Luis Obispo Volum e 47, N o. 59 Friendship and Poly hosts ‘Enterprise’ engineer Story and photo biii wiil solve by Brian Bullock The show appeared to be the hot alien problem ticket for a rainy Friday night as an early arriving crowd gathered by Mary Hennessy near Chumash Auditorium. They Staff Wiltar were anticipating an evening with the chief engineer of television's The movement of Mexican aliens over the U.S. most popular sci-fi series. border is probably the largest peaceful invasion of a “ Space . .the final frontier. civilized country, a former U.S. ambassador to Mexico These are the voyages of the Star- said during a Thursday night speech in Chumash ship Enterprise. ” was the chant Auditorium. of an overenthusiastic Trekkie "The people that come from Mexico are pioneers,” who happened to be the first per Julian Nava said. “ They are the valuable people that son in the endless line. Mexico would like to keep ahold of.” Many members of the large The former ambassador administered the largest crowd scurried for front row seats American Embassy ever in Mexico with a staff of to get the best possible view of 1,200 p>eople. He has studied in Venezuela, Puerto their intergalactic hero. As the Rico, Spain, Columbia and Mexico. muffled roar of the crowd was Nava, who was an ambassador during both the beginning to subside, a stocky, Carter and Reagan administrations, said an awareness dark-haired man dressed entirely of the two countries' mutual and binding interests is in green walked into the room.