DOCSLIB.ORG

Rock Around the Clock Musical2

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

The Birth of Rock n’ Roll! ! ! CAST:! ! CAST:! CAST:! Lead1*! ! Duke Ellington Buddy Holly! Lead2! ! Robert Johnson! The Big Bopper! Friend 1! ! Ray Charles! Ritchie Valens! Friend 2! ! Beatles:! (Hippies)! (Teacher/ Class)! ! John, Paul, Hippie #1! Elvis Presley*! ! George, Ringo! Hippie #2! (Prisoners)! ! Chuck Berry! Joey Ramone! Lead Prisoner ! ! Little Richard! Tommy Ramone! Lead Belly! ! Wanda Jackson! ! Jimmie Rodgers! ! Bill Haley! Stage Manager! Trixie Smith! ! The Coasters (4)! Curtain Engineer Robert Palmer*! ! Fats Domino ! ! ! ! ! SET:! • 2-4 Pedestals for statues! • Standing Arch with big sign [ROCK n’ ROLL MUSEUM] with working door/ OPEN/CLOSED sign.! !• Risers! ! ! ACT ONE - SCENE ONE - INTRO! Class and teacher are at the last exhibit of the ROCK AND ROLL MUSEUM. As the teacher is lining !the kids up to leave she takes a head count. After she counts the last student! [CURTAIN]! Music starts and curtain opens: Kiss’s I WANT TO ROCK AND ROLL ALL NIGHT! Students roam around the stage chatting and looking at an Elvis statue on a pedestal. ! TEACHER: ! [The second the music stops -shouting] C’mon class! We need to shake a leg or we will miss the bus!! Teacher leads the class towards the exit.! TEACHER: !Alright students, partner up -PARTNER-UP!! Students start lining up and joining their partners, teacher assists. Students and teacher’s backs are to the statue! ELVIS !! [statue sings and thrusts his pelvis] [Sung] Well it’s one for the money! No one notices but LEAD 1! LEAD 1:! [nudges his/her friend] Hey! Did you see that?! LEAD 2: ! See what? You’re so weird, just listen to the teacher will you?!! ELVIS: ! [Sung and moves to the beat] Two for the show!! Still, no one notices. The LEAD walks over to ELVIS,! LEAD: !SEE! Did you see it then? Did you hear it? Elvis just moved!! FRIEND: ! Seriously? you’re losing it. ! [Teacher and class exit the museum, LEAD 1, LEAD 2, FRIEND, stay behind]! LEAD 2: !! Yea, you didn’t even pay attention to anything on this trip, I’m surprised you even ! know his name!! FRIEND: ! See you on the bus [runs out of the museum]! !ELVIS: ! [Sung] Three to get ready now GO CAT GO!! LEAD 1 grabs LEAD 2 and runs over to ELVIS as his/her class exits the museum. ! LEAD 1: ! [Shouts at Elvis] Hey, YOU!! ELVIS: ! … [stays frozen]! LEAD 1: !I heard you sing. I saw you dance! Are you alive?! LEAD 2:! [turns to LEAD 1] Are you crazy?! LEAD 1:! [Pokes Elvis’s shoulder] C’mon man, say it again! [Turns to LEAD 2] I’m NOT crazy!! !Stage Manager- turns the OPEN sign to CLOSED and slams the door.! !After the door closes LEAD 2 notices and runs over to open the door and it’s locked.! ELVIS:!! Hey Mama! I noticed your ride left ya.! LEAD 2:! [turns toward the door] OH NO! The bus?! … [Runs for the door then stops, pauses, take a long curious look at Elvis]! LEAD 1:! [Excitedly!] You CAN talk!? ! ELVIS:!Listen partner, I know you’re all shook up! I can talk, and you can walk… and there is only ONE way out of this museum. You’ve got to go back to the beginning and learn about Rock and Roll. ! LEAD 1: !I already know all about Rock and Roll!! LEAD 2:! [shoves LEAD 1] NO YOU DON’T - You were talking and fooling around all day.! LEAD 1:!Noooooo - I am an expert on Rock n’ Roll!! ELVIS:!! Oh yea?! Then who’s THE KING?! HI - YA![kicks a high karate kick and strikes a karate pose]! LEAD 1:!Uh? What? I don’t get it.! LEAD 2:! [bows head and shakes it in disappointment] ! ELVIS: ! [Disappointingly] Oh boy. The Exit is closed [points to the door] You have to go back to the entrance - that way! [points to the door] Don’t be lonesome tonight, my friends will keep you company. ! LEAD 2: !Thanks Elvis!! ELVIS: ! I should mention, that my friends are a little that you weren’t paying attention to! day. They will probably want to educate you on 100 years of Rock n’ Roll History before they let you leave!! LEAD 2:!Oh brother…! !ELVIS: !Thank you, Thank you very much! ![CURTAIN] REMOVE ALL SCENERY - 4th Grade Prisoners take the stage! [In front of curtain -LEAD 1/LEAD 2 at STAGE RIGHT walking across to STAGE LEFT]! LEAD 1:! [walking] I wonder who we’ll meet first! This is exciting.! LEAD 2:!You’re ridiculous - First off, you should know who we’ll meet first! It was the first exhibit?! LEAD 1:! [Shrugs]! LEAD 2: ! Uh, the early blues - call and response sung by prisoners on the chain gang? I can’t believe I am stuck here with you. My mom is probably worried sick! [Drags ! LEAD 1 off stage]! ! SCENE TWO - BLUES! !SONGS: I’ve Been Working On the Railroad, Rock Island Line, In the Jailhouse Now, Jailhouse Rock! [CURTAIN]! 4th grade prisoners (Teachers are police) with “pick axes” chopping at the ground in time ! [UP DOWN UP DOWN]! LEAD PRISONER: [Chanting] I’ve been working on the railroad.! 4th grade CHAIN GANG: [Respond] I’ve been working on the railroad.! LEAD PRISONER: [Chanting] All the live long day.! 4th grade CHAIN GANG: [Respond] All the live long day.! !GUARDs/TEACHER: I CAN’T HEAR YOU!! [A Capella] I’ve been workin' on the railroad, Just to pass the time away.! !!Don't you hear the whistle blowing? Rise up so early in the morn.! !!Don't you hear the captain shouting, "Dinah, blow your horn?”! Dinah won't you blow, Dinah won’t you blow, Dinah won’t you blow your horn,! Dinah won't you blow, Dinah won’t you blow, Dinah won’t you blow your horn!! Someone’s in the kitchen with Dinah, someone’s in the kitchen I know,! ! Someone’s in the kitchen with Dinah! Strummin’ on the ole banjo!! Chain Gang continues “working” without singing.! LEAD PRISONER: [Steps out to the front] In the 1800s, Americans could hear slave and prison work songs contained elements of spiritual music. Spirituals are an important relative of the blues; and the although we don’t know an exact date when the blues began, we do know that it is the earliest root of Rock and Roll!! Many of these blues elements, such as the call-and-response format, can be traced back to the music of Africa.! Leadbelly with acoustic guitar OR ukulele walks on the stage! LEAD BELLY:!Hello, I’m Huddie William Ledbetter but everybody calls me LEAD BELLY. I am a Blues and Folk songwriter and musician. My music covered a wide range of top- ics, including gospel; blues about women, liquor, prison life, and racism; and folk songs about cowboys, prison, work, sailors, cattle herding, and dancing.! In 1988 I was inducted into the Rock and Roll Hall of Fame as an early influence to Rock and Roll. My songs tell stories and mix blues with folk and country style music. I’ve influenced songwriters from John Lennon to Kurt Cobain.! !!Please join me in a song.! LEAD BELLY & CHAIN GANG (Sing): !! ! On the Rock Island Line, there's a mighty good road On the Rock Island Line, it's a road to ride On the Rock Island Line, there's a mighty good road If you want to ride, you gotta ride it like you find it !Get your ticket at the station on the Rock Island Line Yes, the A B C -W X Y Z !Cats in the cupboard but they can't see me On the Rock Island Line, it's a mighty good road On the Rock Island Line, it's a road to ride On the Rock Island Line, it's a mighty good road If you want to ride, you gotta ride it like you find it !Get your ticket at the station on the Rock Island Line I may be right and I may be wrong !You know you’re gonna miss me when I'm gone On the Rock Island Line, there's a mighty good road On the Rock Island Line, it's a road to ride On the Rock Island Line, there's a mighty good road If you want to ride, you gotta ride it like you find it ! Get your ticket at the station on the Rock Island Line Another “man” walks in with an acoustic guitar! JIMMIE RODGERS: Howdy Ya’ll Jailbirds and Little Kids, I’m the singing brakeman, Jimmy Rodgers. I’ve been called the FATHER OF COUNTRY MUSIC and my music has in- fluenced artists like U2, Willie Nelson, Bob Dylan, even ELVIS PRESLEY and THE ! BEATLES!! !Jimmie Rodgers, Lead Belly & CHAIN GANG (Sing): !! ! I had a friend named Ramblin' Bob Who used to steal gamble and rob He thought he was he was the smartest guy around But I found out last Monday That Bob got locked up Sunday They've got him in the jailhouse way down town He's in the jailhouse now - he’s in the jailhouse now I told him once or twice stop playin' cards and shootin' dice !He's in the jailhouse now Bob liked to play his Poker, Pinochle (pea-knuckle), Whist and Euchre (yoka) But shootin' dice was his favorite game Well, he got throwed in jail, with nobody to go his bail The judge done said that he refused a fine He's in the jailhouse now he's in the jailhouse now I told him once or twice quit playin' cards and shootin' dice He's in the jailhouse now ! ![CURTAIN] (prisoners stay onstage behind curtain) (leads stay in front) ELVIS runs on stage out of breath! ELVIS: ! Now that’s alright mama! I was just running all over the museum alerting my friends that you’ll be coming to see them.
Recommended publications
  • PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 and 1991 Bradley C. Klypchak a Dissertation Submitted to the Graduate

    PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 and 1991 Bradley C. Klypchak a Dissertation Submitted to the Graduate

    PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 AND 1991 Bradley C. Klypchak A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2007 Committee: Dr. Jeffrey A. Brown, Advisor Dr. John Makay Graduate Faculty Representative Dr. Ron E. Shields Dr. Don McQuarie © 2007 Bradley C. Klypchak All Rights Reserved iii ABSTRACT Dr. Jeffrey A. Brown, Advisor Between 1984 and 1991, heavy metal became one of the most publicly popular and commercially successful rock music subgenres. The focus of this dissertation is to explore the following research questions: How did the subculture of heavy metal music between 1984 and 1991 evolve and what meanings can be derived from this ongoing process? How did the contextual circumstances surrounding heavy metal music during this period impact the performative choices exhibited by artists, and from a position of retrospection, what lasting significance does this particular era of heavy metal merit today? A textual analysis of metal- related materials fostered the development of themes relating to the selective choices made and performances enacted by metal artists. These themes were then considered in terms of gender, sexuality, race, and age constructions as well as the ongoing negotiations of the metal artist within multiple performative realms. Occurring at the juncture of art and commerce, heavy metal music is a purposeful construction. Metal musicians made performative choices for serving particular aims, be it fame, wealth, or art. These same individuals worked within a greater system of influence. Metal bands were the contracted employees of record labels whose own corporate aims needed to be recognized.
  • Time Songs (PDF)

    Time Songs (PDF)

    Time Songs Clocks Hickory Dickory Dock Hickory Dickory Dock, The mouse ran up the clock. Hickory Dickory Dock, The clock struck one, The cat ran round the clock, The mouse ran down! The clock struck seven 7, Hickory Dickory Dock. She wanted to get 'em, Hickory Dickory Dock! Hickory Dickory Dock, The bird looked at the clock, Hickory Dickory Dock, The clock struck two 2, The horse jumped over the clock, Away she flew, The clock struck eight 8, Hickory Dickory Dock! He ate some cake, Hickory Dickory Dock! Hickory Dickory Dock, The dog barked at the clock, Hickory Dickory Dock, The clock struck three 3, The cow danced on the clock, Fiddle-de-dee, The clock struck nine 9, Hickory Dickory Dock! She felt so fine, Hickory Dickory Dock! Hickory Dickory Dock, The bear slept by the clock, Hickory Dickory Dock, The clock struck four 4, The pig oinked at the clock, He ran out the door, The clock struck ten 10, Hickory Dickory Dock! She did it again, Hickory Dickory Dock! Hickory Dickory Dock, The bee buzzed round the clock, Hickory Dickory Dock, The clock struck five 5, The duck quacked at the clock She went to her hive, The clock struck eleven 11, Hickory Dickory Dock! The duck said 'oh heavens!' Hickory Dickory Dock! Hickory Dickory Dock, The hen pecked at the clock, Hickory Dickory Dock, The clock struck six 6, The mouse ran up the clock Oh, fiddle-sticks, The clock struck noon Hickory Dickory Dock! He's here too soon! Hickory Dickory Dock! We're Gonna Rock Around the Clock What time is it, Mr Wolf? Bill Haley & His Comets by Richard Graham One,
  • Rolling Stone Magazine's Top 500 Songs

    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.
  • Page 1 ED 333 726 AUTHOR TITLE INSTITUTION SPONS AGENCY

    Page 1 ED 333 726 AUTHOR TITLE INSTITUTION SPONS AGENCY

    DOCUXENT REM= ED 333 726 FL 019 215 AUTHOR Weiser, Ernest V., Ed.; And Others TITLE Foreign Languages: Improving and Expanding Instruction. A Compendium of Teacher-Authored Activities for Foreign Language Classes. INSTITUTION Florida Atlantic Univ., Boca Raton. SPONS AGENCY Department of Education,Washington, DC. PUB DATE May 90 NOTE 295p. PUB TYPE Guides - Classroom Use -Teaching Guides (For Teacher) (052) EDRS PRICE MF01/PC12 Plus Postage. DESCRIPTORS Audiovisual Aids; *Classroom Communication; Classroom Techniques; *Communicative Competence (Languages); Inservice Teacher Education; Instructional Improvement; Intermediate Grades; *Lesson Plans; Secondary Education; *Second Lenguage Instruction; *Teacher Developed Materials ABSTRACT This collection of 98 lesson plans for foreign language instruction is the result of a series of eight Saturday workshops focusing on ways that language teachers can develop their own communicative activities for application in the classroom. The ).essons wert produced by 30 foreign language teachers, each of whom was required to write a brief report on how techniques and methods of instruction covered in each workshop session could be incorporated into lesson planning, and to create an actual lesson plan based on the report. Most were successfully implemented before inclusion in the collection. While the reports and plans are language-specific, the activities can be adapted for any modern language. Strategies on which the lessons are built include confidence-building, student-centered communication, use of audio-visual materials, development of oral/aural skills, increasing motivation, introducing and stimulating cultural awareness and appreciation, and evaluating skill development. Some lesson plans are illust.rated or contain reproducible materials. (MSE) illeft*********************A*********************************************** Reproductions supplied by EDRS are the best that can be made from the original document.
  • 100 Years: a Century of Song 1950S

    100 Years: a Century of Song 1950S

    100 Years: A Century of Song 1950s Page 86 | 100 Years: A Century of song 1950 A Dream Is a Wish Choo’n Gum I Said my Pajamas Your Heart Makes / Teresa Brewer (and Put On My Pray’rs) Vals fra “Zampa” Tony Martin & Fran Warren Count Every Star Victor Silvester Ray Anthony I Wanna Be Loved Ain’t It Grand to Be Billy Eckstine Daddy’s Little Girl Bloomin’ Well Dead The Mills Brothers I’ll Never Be Free Lesley Sarony Kay Starr & Tennessee Daisy Bell Ernie Ford All My Love Katie Lawrence Percy Faith I’m Henery the Eighth, I Am Dear Hearts & Gentle People Any Old Iron Harry Champion Dinah Shore Harry Champion I’m Movin’ On Dearie Hank Snow Autumn Leaves Guy Lombardo (Les Feuilles Mortes) I’m Thinking Tonight Yves Montand Doing the Lambeth Walk of My Blue Eyes / Noel Gay Baldhead Chattanoogie John Byrd & His Don’t Dilly Dally on Shoe-Shine Boy Blues Jumpers the Way (My Old Man) Joe Loss (Professor Longhair) Marie Lloyd If I Knew You Were Comin’ Beloved, Be Faithful Down at the Old I’d Have Baked a Cake Russ Morgan Bull and Bush Eileen Barton Florrie Ford Beside the Seaside, If You were the Only Beside the Sea Enjoy Yourself (It’s Girl in the World Mark Sheridan Later Than You Think) George Robey Guy Lombardo Bewitched (bothered If You’ve Got the Money & bewildered) Foggy Mountain Breakdown (I’ve Got the Time) Doris Day Lester Flatt & Earl Scruggs Lefty Frizzell Bibbidi-Bobbidi-Boo Frosty the Snowman It Isn’t Fair Jo Stafford & Gene Autry Sammy Kaye Gordon MacRae Goodnight, Irene It’s a Long Way Boiled Beef and Carrots Frank Sinatra to Tipperary
  • The Forgotten Revolution of Female Punk Musicians in the 1970S

    The Forgotten Revolution of Female Punk Musicians in the 1970S

    Peace Review 16:4, December (2004), 439-444 The Forgotten Revolution of Female Punk Musicians in the 1970s Helen Reddington Perhaps it was naive of us to expect a revolution from our subculture, but it's rare for a young person to possess knowledge before the fact. The thing about youth subcultures is that regardless how many of their elders claim that the young person's subculture is "just like the hippies" or "just like the mods," to the committed subculturee nothing before could possibly have had the same inten- sity, importance, or all-absorbing life commitment as the subculture they belong to. Punk in the late 1970s captured the essence of unemployed, bored youth; the older generation had no comprehension of our lack of job prospects and lack of hope. We were a restless generation, and the young women among us had been led to believe that a wonderful Land of Equality lay before us (the 1975 Equal Opportunities Act had raised our expectations), only to find that if we did enter the workplace, it was often to a deep-seated resentment that we were taking men's jobs and depriving them of their birthright as the family breadwinner. Few young people were unaware of the angry sound of the Sex Pistols at this time—by 1977, a rash of punk bands was spreading across the U.K., whose aspirations covered every shade of the spectrum, from commercial success to political activism. The sheer volume of bands caused a skills shortage, which led to the cooption of young women as instrumentalists into punk rock bands, even in the absence of playing experience.
  • Performing Femininities and Doing Feminism Among Women Punk Performers in the Netherlands, 1976-1982

    Performing Femininities and Doing Feminism Among Women Punk Performers in the Netherlands, 1976-1982

    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Erasmus University Digital Repository Accepted manuscript of: Berkers, Pauwke. 2012. Rock against gender roles: Performing femininities and doing feminism among women punk performers in the Netherlands, 1976-1982. Journal of Popular Music Studies 24(2): 156-174. http://onlinelibrary.wiley.com/doi/10.1111/j.1533-1598.2012.01323.x/full Rock against Gender Roles: Performing Femininities and Doing Feminism among Women Punk Performers in the Netherlands, 1976-1982 Pauwke Berkers ([email protected]) Department of Art and Culture Studies (ESHCC), Erasmus University Rotterdam, the Netherlands On November 8, 1980, a collective of women—inspired by the Rock Against Sexism movement in the U.K.—organized the Rock tegen de Rollen festival (“Rock Against Gender Roles”) the Netherlands’s city of Utrecht. The lineup consisted of six all-women punk and new wave bands (the Nixe, the Pin-offs, Pink Plastic & Panties,i the Removers, the Softies and the Broads) playing for a mixed gender audience. Similar to the Ladyfests two decades later, the main goal was to counteract the gender disparity of musical production (Aragon 77; Leonard, Gender 169). The organizers argued that: popular music is a men’s world as most music managers, industry executives and band members are male. Women are mainly relegated to the roles of singer or eye candy. However, women’s emancipation has also affected popular music as demonstrated by an increasing number of all-women bands playing excellent music. To showcase and support such bands we organized the Rock tegen de Rollen festival.
  • Rock Around the Clock Choreographed by Tony Chapman

    Rock Around the Clock Choreographed by Tony Chapman

    Rock Around The Clock www.learn2dance4fun.com Choreographed by Tony Chapman Description: 48 count, 4 wall, beginner line dance Music: Rock Around The Clock by Bill Haley & His Comets (175 bpm) Start dancing on lyrics TOE POINT RIGHT, TOGETHER, TOE POINT RIGHT, HOLD, WEAVE, HOLD 1-2 Touch right toe to side, touch right toe together 3-4 Touch right toe to side, hold 5-6 Cross right behind left, step left to side 7-8 Cross right over left, hold TOE POINT LEFT, TOGETHER, TOE POINT LEFT, HOLD, WEAVE, HOLD 1-2 Touch left toe to side, touch left toe together 3-4 Touch left toe to side, hold 5-6 Cross left behind right, step right to side 7-8 Cross left over right, hold FORWARD MAMBO STEP, HOLD, BACKWARD LOCK STEP, HOLD 1-2 Rock right forward, recover to left 3-4 Step right back, hold 5-6 Step left back, lock right over left 7-8 Step left back, hold MAMBO STEP BACKWARD, HOLD, FORWARD LOCK STEP, HOLD 1-2 Rock right back, recover to left 3-4 Step right forward, hold 5-6 Step left forward, lock right behind left 7-8 Step left forward, hold RIGHT SUGAR FOOT, CROSS, HOLD, LEFT SUGAR FOOT, CROSS, HOLD 1-2 Touch right toe together, touch right heel together 3-4 Cross right over left, hold 5-6 Touch left toe together, touch left heel together 7-8 Cross left over right, hold COASTER STEP, HOLD, ¾ TURN LEFT, HOLD 1-2 Step right back, Step left next to right 3-4 Step right forward, hold 5-6 Turn ¼ left and step left forward, turn ¼ left and step right to side 7-8 Turn ¼ left and step left together, hold REPEAT .
  • The Rolling Stones and Performance of Authenticity

    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.
  • Marc Shapiro

    Marc Shapiro

    ADELE The Biography MARC SHAPIRO ST. MARTIN’S GRIFFIN NEW YORK adele. Copyright © 2012 by Marc Shapiro. All rights reserved. Printed in the United States of America. For information, address St. Martin’s Press, 175 Fifth Avenue, New York, N.Y. 10010. www .stmartins .com Design by Steven Seighman ISBN 978- 1- 250- 02516- 6 (trade paperback) ISBN 978- 1- 250- 02547- 0 (hardcover) ISBN 978- 1- 250- 02515- 9 (e-book) First Edition: July 2012 10 9 8 7 6 5 4 3 2 1 10. NO BALLAD, NO CRY dele began writing new material for her follow- up record in April 2009. But not before she agreed to take a fl yer as an actress with a guest shot on the hit tele vi- sion sitcom Ugly Betty. It seemed like a harm- Aless diversion from all the drama and pressure in her life. She reasoned, how hard could it be to play herself? In the episode, Betty is dancing with her husband at their wedding when the couple is suddenly interrupted by Adele. Th ere is some harmless banter and the next thing we know Adele is up on stage singing the song “Right As Rain.” Adele realized that that kind of promotion in America was well worth the eff ort, but would later acknowledge in Vogue that the Ugly Betty experience cured her of any future acting aspirations. “I can’t watch it. I was so uncomfortable. I am the worst actress of all time.” But Adele was thankful for the momentary respite from Marc Shapiro her day job as singer-songwriter on the rise.
  • 3 Monday Midnights by Jamal Gerald PART 1

    3 Monday Midnights by Jamal Gerald PART 1

    3 Monday Midnights by Jamal Gerald Mojuba Esu Modupe Open the doors, let's have some fun. I want to be known as troublesome. Ase Ase Ase. PART 1 Elvis, known as the King of Rock ‘n’ Roll. It’s time for a new story to be told. Banish away his catalogue and show the world a new dialogue. Burn his legacy and create a new destiny. Let a Queen astonish and let the King be demolished. It's Monday at midnight. I'm looking out the window like I'm waiting for a message from God, but I’m only waiting for my takeaway. It’ll be here in an hour. I’m thinking of God’s opposition, Lucifer. First off, what a beautiful name. I’ve always been fascinated by him. Yes, he’s evil. But there are some traits I find admirable. I love his rebellious nature. And I do love me a problematic fave. My subconscious leads me to the crossroads, where I sit and meditate with a blue waxing crescent smiling: the incense flickers and the smoke twirls. My spirit rises. But my meditation has been electrocuted by a white man singing about his white guilt. Eurgh. His liquorice tears are staining his charity shop clothing. Oh, what do you know? It's Elvis, the former King of Rock ‘n’ Roll. And yes, I said ‘former’. Elvis doesn't look like Elvis Presley. Natural blonde hair and eyebrows. No trace of black shoe polish in use. He has no care for being clean-shaven, looks similar to a caveman.
  • Mood Music Programs

    Mood Music Programs

    MOOD MUSIC PROGRAMS MOOD: 2 Pop Adult Contemporary Hot FM ‡ Current Adult Contemporary Hits Hot Adult Contemporary Hits Sample Artists: Andy Grammer, Taylor Swift, Echosmith, Ed Sample Artists: Selena Gomez, Maroon 5, Leona Lewis, Sheeran, Hozier, Colbie Caillat, Sam Hunt, Kelly Clarkson, X George Ezra, Vance Joy, Jason Derulo, Train, Phillip Phillips, Ambassadors, KT Tunstall Daniel Powter, Andrew McMahon in the Wilderness Metro ‡ Be-Tween Chic Metropolitan Blend Kid-friendly, Modern Pop Hits Sample Artists: Roxy Music, Goldfrapp, Charlotte Gainsbourg, Sample Artists: Zendaya, Justin Bieber, Bella Thorne, Cody Hercules & Love Affair, Grace Jones, Carla Bruni, Flight Simpson, Shane Harper, Austin Mahone, One Direction, Facilities, Chromatics, Saint Etienne, Roisin Murphy Bridgit Mendler, Carrie Underwood, China Anne McClain Pop Style Cashmere ‡ Youthful Pop Hits Warm cosmopolitan vocals Sample Artists: Taylor Swift, Justin Bieber, Kelly Clarkson, Sample Artists: The Bird and The Bee, Priscilla Ahn, Jamie Matt Wertz, Katy Perry, Carrie Underwood, Selena Gomez, Woon, Coldplay, Kaskade Phillip Phillips, Andy Grammer, Carly Rae Jepsen Divas Reflections ‡ Dynamic female vocals Mature Pop and classic Jazz vocals Sample Artists: Beyonce, Chaka Khan, Jennifer Hudson, Tina Sample Artists: Ella Fitzgerald, Connie Evingson, Elivs Turner, Paloma Faith, Mary J. Blige, Donna Summer, En Vogue, Costello, Norah Jones, Kurt Elling, Aretha Franklin, Michael Emeli Sande, Etta James, Christina Aguilera Bublé, Mary J. Blige, Sting, Sachal Vasandani FM1 ‡ Shine