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LEGISLATIVE RESOLUTION Paying Tribute to the Life and Many Accomplish- Ments of Ellie Greenwich, One of the Greatest Songwriters of All Time
LEGISLATIVE RESOLUTION paying tribute to the life and many accomplish- ments of Ellie Greenwich, one of the greatest songwriters of all time WHEREAS, It is the custom of this Legislative Body to honor and pay tribute to the memory of those individuals whose creative talents contributed to the entertainment and cultural enrichment of the citizens of the State of New York; and WHEREAS, Attendant to such concern, and in full accord with its long- standing traditions, it is the sense of this Legislative Body, repres- enting the people of the State of New York, to pay tribute to the life and many accomplishments of Ellie Greenwich, one of the greatest song- writers of all time, who died on Wednesday, August 26, 2009, at the age of 68; and WHEREAS, Born on October 23, 1940, in Brooklyn, New York, Ellie Green- wich was instrumental in shaping and popularizing the "girl group" sound of the early 1960s that included such acts as the Ronettes, the Shan- gri-Las and the Crystals, becoming, in the process, one of the most respected pop songwriters of the era; and WHEREAS, She met budding songwriter Jeff Barry and, following a release as Ellie Gee And The Jets, the couple formed the Raindrops in 1963; the group enjoyed a US Top 20 hit with "The Kind Of Boy You Can't Forget"; and WHEREAS, Ellie Greenwich and Jeff Barry enjoyed a sustained period of success with a series of notable compositions, including "Do Wah Diddy Diddy" (the Exciters/Manfred Mann), "I Wanna Love Him So Bad" (the Jelly Beans) and "Hanky Panky" (Tommy James And The Shondells); and -
The Heart of Rock and Soul by Dave Marsh
The Heart of Rock and Soul by Dave Marsh 20 BE MY BABY, The Ronettes Produced by Phil Spector; written by Phil Spector, Ellie Greenwich, and Jeff Barry Philles 116 1963 Billboard: #2 DA DOO RON RON, The Crystals Produced by Phil Spector; written by Phil Spector, Ellie Greenwich, and Jeff Barry Philles 112 1963 Billboard: #3 CHRISTMAS (BABY PLEASE COME HOME), Darlene Love Produced by Phil Spector; written by Phil Spector, Ellie Greenwich, and Jeff Barry Philles 119 1963 Did not make pop charts To hear folks talk, Phil Spector made music out of a solitary vision. But the evidence of his greatest hits insists that he was heavily dependent on a variety of assistance. Which makes sense: Record making is fundamentally collaborative. Spector associates like engineer Larry Levine, arranger Jack Nitzsche, and husband-wife songwriters Jeff Barry and Ellie Greenwich were simply indispensable to his teen-art concoctions. Besides them, every Spector track featured a dozen or more musicians. The constant standouts were' drummer Hal Blaine, one of the most inventive and prolific in rock history, and saxophonist Steve Douglas. Finally, there were vast differences among Spector's complement of singers. An important part of Spector's genius stemmed from his ability to recruit, organize, and provide leadership within such a musical community. Darlene Love (who also recorded for Spector with the Crystals and Bob B. Soxx and the Blue Jeans) ranks just beneath Aretha Franklin among female rock singers, and "Christmas" is her greatest record, though it was never a hit. (The track probably achieved its greatest notice in the mid-eighties, when it was used over the opening credits of Joe Dante's film, Gremlins.) Spector's Wall of Sound, with its continuously thundering horns and strings, never seemed more massive than it does here. -
Edward “Kid” Ory
Edward “Kid” Ory Mr. Edward “Kid” Ory was born in Woodland Plantation near La Place, Louisiana on December 25, 1886. As a child he started playing music on his own homemade instruments. He played the banjo during his youth but his love was playing the trombone. However, the banjo helped him develop “tailgate” a particular style of playing the trombone. By the time he was a teenager, Ory was the leader of a well-regarded band in southeast Louisiana. In his early twenty’s, he moved to New Orleans with his band where he became one of the most talented trombonists of early jazz from 1912 to 1919. In 1919, Ory relocated to Los Angeles, California for health reasons. He assembled a new group of New Orleans musicians on the West Coast and played regularly under the name of Kid Ory’s Creole Orchestra. There, he recorded the 1920s classics “Shine,” “Tiger Rag,” “Muskrat Ramble,” and “Maryland, My Maryland.” In 1922, he became the first African American jazz bank from New Orleans to record a studio album. In 1925, Ory moved to Chicago and took interest in working on radio broadcasts and recording with names such musicians as Louis Armstrong, Jelly Roll Morton, Johnny Dodds, and many others. During the Great Depression, Ory left music but returned in 1943 to lead one of the top New Orleans style bands of the period until 1961. It was about 1966 when Ory retired and spent his last years in Hawaii. He did, however, play occasionally for special events. One of his last performances was in 1971 when he surprised everyone by coming back to the New Orleans Jazz and Heritage Festival. -
Songwriter Mike O'reilly
Interviews with: Melissa Sherman Lynn Russwurm Mike O’Reilly, Are You A Bluegrass Songwriter? Volume 8 Issue 3 July 2014 www.bluegrasscanada.ca TABLE OF CONTENTS BMAC EXECUTIVE President’s Message 1 President Denis 705-776-7754 Chadbourn Editor’s Message 2 Vice Dave Porter 613-721-0535 Canadian Songwriters/US Bands 3 President Interview with Lynn Russworm 13 Secretary Leann Music on the East Coast by Jerry Murphy 16 Chadbourn Ode To Bill Monroe 17 Treasurer Rolly Aucoin 905-635-1818 Open Mike 18 Interview with Mike O’Reilly 19 Interview with Melissa Sherman 21 Songwriting Rant 24 Music “Biz” by Gary Hubbard 25 DIRECTORS Political Correctness Rant - Bob Cherry 26 R.I.P. John Renne 27 Elaine Bouchard (MOBS) Organizational Member Listing 29 Gord Devries 519-668-0418 Advertising Rates 30 Murray Hale 705-472-2217 Mike Kirley 519-613-4975 Sue Malcom 604-215-276 Wilson Moore 902-667-9629 Jerry Murphy 902-883-7189 Advertising Manager: BMAC has an immediate requirement for a volunteer to help us to contact and present advertising op- portunities to potential clients. The job would entail approximately 5 hours per month and would consist of compiling a list of potential clients from among the bluegrass community, such as event-producers, bluegrass businesses, music stores, radio stations, bluegrass bands, music manufacturers and other interested parties. You would then set up a systematic and organized methodology for making contact and presenting the BMAC program. Please contact Mike Kirley or Gord Devries if you are interested in becoming part of the team. PRESIDENT’S MESSAGE Call us or visit our website Martha white brand is due to the www.bluegrassmusic.ca. -
2021 Jimmy Awards Qualifying Roles
2021 Jimmy Awards Qualifying Roles SHOWS FOR WHICH MORE THAN 6 ROLES ARE ELIGIBLE DUE TO THE ENSEMBLE NATURE OF THE MATERIAL Show Name Actor Actress Olive Ostrovsky, Logainne 25th Annual Putnam County Spelling Leaf Coneybear, Chip Tolentino, William Shwartzandgrubenierre, Marcy Park, Rona Bee, The Barfee Lisa Peretti Gomez Addams, Uncle Fester, Pugsley Morticia Addams, Wednesday Addams, Addams Family, The Addams, Lucas Beineke, Mal Beineke Alice Beineke Woman 1, Woman 2, Woman 3 (cast may Man 1, Man 2, Man 3 (cast may be expanded As Thousands Cheer be expanded to include as many roles as to include as many roles as desired) desired) Kate Monster, Christmas Eve, Gary Avenue Q Princeton, Brian, Rod, Nicky Coleman Michael, Feargal, Billy, Corey Junior, Corey Tiffany, Cyndi, Eileen, Laura, Debbie, Miss Back to the 80's Senior, Mr. Cocker, Featured Male Brannigan Nun, Prioress, The Sweetheart, Wife of Canterbury Tales Chaucer, Clerk, Host, Miller, Squire, Steward Bath Children's Letters to God Ensemble Cast Ensemble Cast First Date Aaron, Man 1, Man 2, Man 3 Casey, Woman 1, Woman 2 Edna Turnblad, Link Larken, Seaweed, Corny Hairspray Tracy Turnblad, Velma, Motormouth Collins Norma Valverde, Heather Stovall, Kelli Hands on a Hardbody JD Drew, Benny Perkins, Greg Wilhote Mangrum Vanessa, Nina, Camila, Abuela Claudia, In the Heights Usnavi, Benny, Kevin Rosario Daniela Into the Woods Baker, Jack, The Wolf/Cinderella's Prince Baker's Wife, Witch, Cinderella, Little Red Is There Life After High School? Ensemble Ensemble Les Misérables Jean Valjean, Javert, Marius, Thenardier Fantine, Eponine, Cosette Frederick Egerman, Carl Magnus, Henrik Desiree Armfeldt, Madame Armfeldt, Little Night Music, A Egerman Charlotte, Anne Egerman, Petra Prince Dauntless, Sir Harry, The Jester, The Queen Aggravain, Princess Winnifred, Once Upon a Mattress Minstrel Lady Larkin Prom, The Barry Glickman, Trent Oliver, Mr. -
Songs by Title Karaoke Night with the Patman
Songs By Title Karaoke Night with the Patman Title Versions Title Versions 10 Years 3 Libras Wasteland SC Perfect Circle SI 10,000 Maniacs 3 Of Hearts Because The Night SC Love Is Enough SC Candy Everybody Wants DK 30 Seconds To Mars More Than This SC Kill SC These Are The Days SC 311 Trouble Me SC All Mixed Up SC 100 Proof Aged In Soul Don't Tread On Me SC Somebody's Been Sleeping SC Down SC 10CC Love Song SC I'm Not In Love DK You Wouldn't Believe SC Things We Do For Love SC 38 Special 112 Back Where You Belong SI Come See Me SC Caught Up In You SC Dance With Me SC Hold On Loosely AH It's Over Now SC If I'd Been The One SC Only You SC Rockin' Onto The Night SC Peaches And Cream SC Second Chance SC U Already Know SC Teacher, Teacher SC 12 Gauge Wild Eyed Southern Boys SC Dunkie Butt SC 3LW 1910 Fruitgum Co. No More (Baby I'm A Do Right) SC 1, 2, 3 Redlight SC 3T Simon Says DK Anything SC 1975 Tease Me SC The Sound SI 4 Non Blondes 2 Live Crew What's Up DK Doo Wah Diddy SC 4 P.M. Me So Horny SC Lay Down Your Love SC We Want Some Pussy SC Sukiyaki DK 2 Pac 4 Runner California Love (Original Version) SC Ripples SC Changes SC That Was Him SC Thugz Mansion SC 42nd Street 20 Fingers 42nd Street Song SC Short Dick Man SC We're In The Money SC 3 Doors Down 5 Seconds Of Summer Away From The Sun SC Amnesia SI Be Like That SC She Looks So Perfect SI Behind Those Eyes SC 5 Stairsteps Duck & Run SC Ooh Child SC Here By Me CB 50 Cent Here Without You CB Disco Inferno SC Kryptonite SC If I Can't SC Let Me Go SC In Da Club HT Live For Today SC P.I.M.P. -
The Singles Chart
ALPHABETICAL LISTING 1 201 SINGLES CHART THE SINGLES CHART PRODUCER, PUBLISHER, LICENSEE AT SEVENTEEN Brooks Arthur (Mine/ MIDNIGHT BLUE Vini Poncia April, ASCAP) 77 (New York Times/Roumanian ATTITUDE DANCING Richard Perry Pickleworks, BMA) 14 15 (C'est/Maya, ASCAP) 47 MISTY Ray Stevens (Vernon, ASCAP) 23 BABY THAT'S BACKATCHA Smokey MORNIN' BEAUTIFUL Hank Medress & Dave Robinson (Bertram, ASCAP) 42 Appell (Apple Cider/Music of the Times, ASCAP; Little Max/New York JULY 5, 1975 BAD LUCK Gamble-Huff (Mighty Three, Times, BMI) 37 BMI) 39 JULY JUNE OLD DAYS James William Guercio BAD TIME Jimmy lenner (Cram Renraff, 5 28 (Make Me Smile/Big Elk, ASCAP) 52 BMI) 31 ONE OF THESE NIGHTS Bill Szymczyk 101 101 FUNNY HOW LOVE CAN BE FIRST CLASS-UK 5N 59033 (London) BALLROOM BLITZ Phil Wainman (Benchmark/Kicking Bear, ASCAP) 12 (Southern, ASCAP) (Chinnichap/RAK, BMI) 93 ONLY WOMEN Bob Ezrin BEFORE THE NEXT TEARDROP FALLS 102 110 DREAM MERCHANT NEW BIRTH-Buddah 470 (Saturday, BMI) (Ezra/Early Frost, BMI) 16 Huey Meaux (Shelby Singleton, BMI) 28 103 107 HONEY TRIPPIN' MYSTIC MOODS-Soundbird 5002 (Sutton Miller) ONLY YESTERDAY Richard Carpenter BLACK FRIDAY Gary Katz (American (Ginseng/Medallion Avenue, ASCAP) (Almo/Sweet Harmony/Hammer & Broadcasting, ASCAP) 43 Nails, ASCAP) 48 104 103 AIN'T NO USE COOK E. JARR & HIS KRUMS-Roulette 20426 BLACK SUPERMAN-MUHAMMAD ALI PHILADELPHIA FREEDOM Gus Dudgeon Robin Blanchflower Boy, BMI) 95 (Adam R. Levy & Father/Missile, BMI) (Drummer (Big Pig/Leeds, ASCAP) 54 105 104 IT'S ALL UP TO YOU JIM CAPALDI-Island D25 (Ackee, ASCAP) BURNIN' THING Gary Klein PLEASE MR. -
World Digipak Comp B.Indd
MOTOWN Around the World Visas Entries/Entrées Departures/Sorties 1 Visas Visas Entries/Entrées Departures/Sorties Entries/Entrées Departures/Sorties THE SOUND OF YOUNG AMERICA an outpouring. At Mrs. Edwards’ urging, Motown IL SUONO DELL’GIOVANE AMERICA complemented these bold moves with several recordings DER TON VON JUNGEM AMERIKA in German, Spanish, Italian, and, unknown to the public at LE BRUIT DE LA JEUNE AMÉRIQUE EL SONIDO DE AMÉRICA JOVEN the time, French. by Andrew Flory & Harry Weinger “We thought it would be hard to do, but learning the words and making the tracks work was enjoyable,” said Berry Gordy, Jr. founded Motown with the idea that his the Temptations’ Otis Williams, humming “Mein Girl” with a artists would cross borders, real and intangible. smile. “The people fl own in to teach us made it easy, and His bold idea would bloom in late 1964, when the we got it down just enough to be understood.” Supremes’ “Baby Love” hit No. 1 in the U.K., and “The Sound Of Young America,” as Motown later billed itself, spread around the world. Audiences who didn’t know English knew the words to Motown songs. The Motortown Revue went to Europe. Fan letters in every language showed up at West Grand Boulevard. Behind the infectious beat, inroads had been made overseas as early as spring 1963, when Mr. Gordy, along with Motown executives Esther Gordy Edwards and Barney Ales, made unprecedented sales visits to Italy, Germany, Belgium, Holland, France, Norway, Sweden and England. Two years later EMI U.K. created the Tamla Motown imprint, an international umbrella for the company’s multi-label output. -
The Lubbock Texas Quartet and Odis 'Pop' Echols
24 TheThe LubbockLubbock TexasTexas QuartetQuartet andand OdisOdis “Pop”“Pop” Echols:Echols: Promoting Southern Gospel Music on the High Plains of Texas Curtis L. Peoples The Original Stamps Quartet: Palmer Wheeler, Roy Wheeler, Dwight Brock, Odis Echols, and Frank Stamps. Courtesy of Crossroads of Music Archive, Southwest Collection/Special Collections Library, Texas Tech University, Lubbock, Texas, Echols Family Collection, A Diverse forms of religious music have always been important to the cultural fabric of the Lone Star State. In both black and white communities, gospel music has been an influential genre in which many musicians received some of their earliest musical training. Likewise, many Texans have played a significant role in shaping the national and international gospel music scenes. Despite the importance of gospel music in Texas, little scholarly attention has been devoted to this popular genre. Through the years, gospel has seen stylistic changes and the 25 development of subgenres. This article focuses on the subgenre of Southern gospel music, also commonly known as quartet music. While it is primarily an Anglo style of music, Southern gospel influences are multicultural. Southern gospel is performed over a wide geographic area, especially in the American South and Southwest, although this study looks specifically at developments in Northwest Texas during the early twentieth century. Organized efforts to promote Southern gospel began in 1910 when James D. Vaughn established a traveling quartet to help sell his songbooks.1 The songbooks were written with shape-notes, part of a religious singing method based on symbols rather than traditional musical notation. In addition to performing, gospel quartets often taught music in peripatetic singing schools using the shape-note method. -
Final Environmental Impact Statement Sublette County, Wyoming
United States Department of Agriculture Final Environmental Forest Service Impact Statement November 2005 Cottonwood II Vegetation Management Project Big Piney Ranger District, Bridger-Teton National Forest, Wyoming The U.S. Department of Agriculture (USDA) prohibits discrimination in all its programs and activities on the basis of race, color, national origin, gender, religion, age, disability, political beliefs, sexual orientation, or marital or family status. (Not all prohibited bases apply to all programs.) Persons with disabilities who require alternative means for communication of program information (Braille, large print, audiotape, etc.) should contact USDA’s TARGET Center at (202) 720-2600 (voice and TDD). To file a complaint of discrimination, write USDA, Director, Office of Civil Rights, Room 326-W, Whitten Building, 14th and Independence Avenue, SW, Washington, DC 20250-9410 or call (202) 720-5964 (voice and TDD). USDA is an equal opportunity provider and employer. Cottonwood II Vegetation Management Project Final Environmental Impact Statement Sublette County, Wyoming Lead Agency: USDA Forest Service Cooperating Agencies: U.S. Fish and Wildlife Service Responsible Official: Gregory Clark District Ranger Bridger-Teton National Forest P.O. Box 218 Big Piney, WY 83113 For Information Contact: Jeff Laub P.O. Box 218 Big Piney, WY 83113 307.276.3375 Abstract: This Final Environmental Impact Statement (EIS) was prepared to evaluate and disclose the environmental impacts of alternative vegetation management strategies to manage vegetation resources in the North and South Cottonwood Creeks drainages on the Big Piney Ranger District, Bridger-Teton National Forest (B-TNF). The Big Piney Ranger District is proposing to implement vegetation management in the North and South Cottonwood Creeks drainages over the next 5 to 10 years. -
View Playbill
MARCH 1–4, 2018 45TH ANNIVERSARY SEASON 2017/2018 Great Artists. Great Audiences. Hancher Performances. WORK LIGHT PRODUCTIONS PRESENTS BOOK BY BERRY GORDY MUSIC AND LYRICS FROM THE LEGENDARY MOTOWN CATALOG BASED UPON THE BOOK TO BE LOVED: MUSIC BY ARRANGEMENT WITH THE MUSIC, THE MAGIC, THE MEMORIES SONY/ATV MUSIC PUBLISHING OF MOTOWN BY BERRY GORDY MOTOWN® IS USED UNDER LICENSE FROM UMG RECORDINGS, INC. STARRING KENNETH MOSLEY TRENYCE JUSTIN REYNOLDS MATT MANUEL NICK ABBOTT TRACY BYRD KAI CALHOUN ARIELLE CROSBY ALEX HAIRSTON DEVIN HOLLOWAY QUIANA HOLMES KAYLA JENERSON MATTHEW KEATON EJ KING BRETT MICHAEL LOCKLEY JASMINE MASLANOVA-BROWN ROB MCCAFFREY TREY MCCOY ALIA MUNSCH ERICK PATRICK ERIC PETERS CHASE PHILLIPS ISAAC SAUNDERS JR. ERAN SCOGGINS AYLA STACKHOUSE NATE SUMMERS CARTREZE TUCKER DRE’ WOODS NAZARRIA WORKMAN SCENIC DESIGN COSTUME DESIGN LIGHTING DESIGN SOUND DESIGN PROJECTION DESIGN DAVID KORINS EMILIO SOSA NATASHA KATZ PETER HYLENSKI DANIEL BRODIE HAIR AND WIG DESIGN COMPANY STAGE SUPERVISION GENERAL MANAGEMENT EXECUTIVE PRODUCER CHARLES G. LAPOINTE SARAH DIANE WORK LIGHT PRODUCTIONS NANSCI NEIMAN-LEGETTE CASTING PRODUCTION MANAGEMENT TOUR BOOKING AGENCY TOUR MARKETING AND PRESS WOJCIK | SEAY CASTING PORT CITY TECHNICAL THE BOOKING GROUP ALLIED TOURING RHYS WILLIAMS MOLLIE MANN ORCHESTRATIONS MUSIC DIRECTOR/CONDUCTOR DANCE MUSIC ARRANGEMENTS ADDITIONAL ARRANGEMENTS ETHAN POPP & BRYAN CROOK MATTHEW CROFT ZANE MARK BRYAN CROOK SCRIPT CONSULTANTS CREATIVE CONSULTANT DAVID GOLDSMITH & DICK SCANLAN CHRISTIE BURTON MUSIC SUPERVISION AND ARRANGEMENTS BY ETHAN POPP CHOREOGRAPHY RE-CREATED BY BRIAN HARLAN BROOKS ORIGINAL CHOREOGRAPHY BY PATRICIA WILCOX & WARREN ADAMS STAGED BY SCHELE WILLIAMS DIRECTED BY CHARLES RANDOLPH-WRIGHT ORIGNALLY PRODUCED BY KEVIN MCCOLLUM DOUG MORRIS AND BERRY GORDY The Temptations in MOTOWN THE MUSICAL. -
Music Preferences of Geriatric Clients Within Three Sub-Populations Janelle Sikora
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2013 Music Preferences of Geriatric Clients within Three Sub-Populations Janelle Sikora Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC MUSIC PREFERENCES OF GERIATRIC CLIENTS WITHIN THREE SUB-POPULATIONS By JANELLE SIKORA A Thesis submitted to the College of Music in partial fulfillment of the requirements for the degree of Master of Music Degree Awarded: Summer Semester, 2013 Janelle Sikora defended this thesis on July 15, 2013. The members of the supervisory committee were: Kimberly VanWeelden Professor Directing Thesis Jayne Standley Committee Member Dianne Gregory Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the thesis has been approved in accordance with university requirements. ii I dedicate this to my loving parents, Victor and Pat Sikora, who have supported me throughout college. They are generous, kind, and always there for me. They are my rock. iii ACKNOWLEDGMENTS I would like to thank Dr. Kimberly VanWeelden for her guidance, support, and motivation throughout this process. Dr. VanWeelden’s research is what inspired me to conduct this study and I am grateful to have been fortunate enough to work with her. I thank Dr. Jayne Standley and Professor Dianne Gregory for being on my committee, educating me, and preparing me to be a professional. I thank both Dr. Farbman and Cindy Smith from AMTA for their help and taking the time to locate contacts for this study.