WORKING CLASS EXPRESSION THROUGH KARAOKE SONG SELECTION Mark T. Gerolami a Thesis Submitted To
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Brevard Live January 2016
Brevard Live January 2016 - 1 2 - Brevard Live January 2016 Brevard Live January 2016 - 3 4 - Brevard Live January 2016 Brevard Live January 2016 - 5 6 - Brevard Live January 2016 Contents January 2016 FEATURES DAVE MASON Columns CARROT TOP COMES HOME Meet Dave Mason for an evening of If you ever have the chance to see Car- rock music history as he retraces the ear- Charles Van Riper rot Top’s show, either on the road or in liest days of his career with Traffic and 20 Political Satire Vegas - make sure you do. It’s a laugh a later the classic recordings that launched minute riot from beginning to end, and his solo career. Calendars he never pumps the breaks once. Page 17 25 Live Entertainment, Page 11 Concerts, Festivals ATLANTA RHYTHM SECTION TRAVIS TRITT With 15 albums of outstanding song- Local Download He has received two Grammys and four writing and entertaining live perfor- 33 by Andy Harrington CMA Awards. Tritt has also charted mances, Atlanta Rhythm Section em- Local Music Scene more than 40 times on the Hot Coun- bodies all that the phrase “classic rock” try Songs charts, including five number implies - despite of being labeled as a Behind The Scene ones: “Help Me Hold On,” “Anymore,” southern rock band. MIFF Scenes by “Can I Trust You with My Heart,” “Fool- 34 Page 18 Charles & Lissa ish Pride”, and “Best of Intentions.” Page 12 JOHN MASSUNG Flori-duh! The work of John Massung takes the 36 by Charles Knight ABBA MANIA viewer, quite literally, above and beyond Billed as the world’s number one tour- the standard perception of our local par- The Dope Doctor ing ABBA tribute concert, Abba Mania adise. -
Songs by Artist
Reil Entertainment Songs by Artist Karaoke by Artist Title Title &, Caitlin Will 12 Gauge Address In The Stars Dunkie Butt 10 Cc 12 Stones Donna We Are One Dreadlock Holiday 19 Somethin' Im Mandy Fly Me Mark Wills I'm Not In Love 1910 Fruitgum Co Rubber Bullets 1, 2, 3 Redlight Things We Do For Love Simon Says Wall Street Shuffle 1910 Fruitgum Co. 10 Years 1,2,3 Redlight Through The Iris Simon Says Wasteland 1975 10, 000 Maniacs Chocolate These Are The Days City 10,000 Maniacs Love Me Because Of The Night Sex... Because The Night Sex.... More Than This Sound These Are The Days The Sound Trouble Me UGH! 10,000 Maniacs Wvocal 1975, The Because The Night Chocolate 100 Proof Aged In Soul Sex Somebody's Been Sleeping The City 10Cc 1Barenaked Ladies Dreadlock Holiday Be My Yoko Ono I'm Not In Love Brian Wilson (2000 Version) We Do For Love Call And Answer 11) Enid OS Get In Line (Duet Version) 112 Get In Line (Solo Version) Come See Me It's All Been Done Cupid Jane Dance With Me Never Is Enough It's Over Now Old Apartment, The Only You One Week Peaches & Cream Shoe Box Peaches And Cream Straw Hat U Already Know What A Good Boy Song List Generator® Printed 11/21/2017 Page 1 of 486 Licensed to Greg Reil Reil Entertainment Songs by Artist Karaoke by Artist Title Title 1Barenaked Ladies 20 Fingers When I Fall Short Dick Man 1Beatles, The 2AM Club Come Together Not Your Boyfriend Day Tripper 2Pac Good Day Sunshine California Love (Original Version) Help! 3 Degrees I Saw Her Standing There When Will I See You Again Love Me Do Woman In Love Nowhere Man 3 Dog Night P.S. -
1 Analysis of Emotional Tones in Top Hit Song Lyrics in Relation To
Analysis of Emotional Tones in Top Hit Song Lyrics in Relation to Economic Cycles from 1990-2010 Honors Undergraduate Thesis Presented in Partial Fulfillment of the Requirements for the Business Administration Degree with Honors Research Distinction in the Fisher College of Business at The Ohio State University By Sharon Yeh Undergraduate Degree in Business Administration with an Operations & Logistics Specialization The Ohio State University 2019 Thesis Committee: Dr. Roger Bailey Dr. Hyunwoo Park Dr. Elliot Bendoly 1 Copyright by Sharon Yeh 2018 2 Abstract While music preferences in society have always changed throughout the decades, we recognize that various external factors and trends—including the economic environment-- affect the type of music we listen to. To this end, we seek to explore the relationship between economic measures and musical preferences in order to better understand how our external environment can affect the emotions that we choose to express and consume. This research analyzes the ways in how economic conditions (expansionary or contractionary periods) can be related to the tone of music that we listen to (such as joy, anger, and sadness). In this analysis, I found that in times of economic contractions, song lyrics were more likely to exhibit analytical and confidence tones, while in economic expansions’ lyrics tend to show more tones of sadness and anger. In understanding how something as external as economic cycles can influence something as internal as musical preferences, we can continue to seek out how our microenvironment affects our microenvironment. While this research can have practical application (such as providing insight to the music industry for forecasting musical preferences), I believe, more importantly, that this research can help society uncover and contemplate how their external environment influences and shapes their preferences, beliefs, and identity across generations. -
I Know. I Want. I Dream
I KNOW. I WANT. I DREAM. GIRLS’ INSIGHTS FOR BUILDING A BETTER WORLD GIRL INSIGHTS REPORT The International Center for Research on Women (ICRW) 2CV is a research agency that gives people a voice so works to empower women, advance gender equality and they can influence the world around them. 2CV designs fight poverty in the developing world. To accomplish this, research to help change happen; using innovative, immersive ICRW works with partners in the public and private sectors methodologies, and sensitivity for people and cultures, to and civil society to conduct empirical research, build capacity uncover inspiring truths. 2CV works with NGO, public and and advocate for evidence-based practical ways to change private organizations to explore opportunities for change. policies and programs. TABLE OF CONTENTS 7 FOREWORD 9 ABOUT THE CONTRIBUTORS 11 ACKNOWLEDGEMENTS 13 EXECUTIVE SUMMARY 16 INTRODUCTION 16 BACKGROUND A The Significance of Adolescence B Now is the Moment: Building Momentum for the Adolescent Girl Development Agenda 19 AMPLIFYING GIRLS’ VOICES: THE GIRL DECLARATION A Technical Working Group B Post-2015 Adolescent Girl Consultations 23 FINDINGS FROM POST-2015 ADOLESCENT GIRL CONSULTATIONS A The Voices of Girls: Key Similarities B The Voices of Girls: Key Differences C Findings by Theme GIRLS’ IDENTITY Legal Identity Social Identity Marriage Implications Of Findings On Girls’ Identity GIRLS’ ENVIRONMENTS Social Support Safety And Security Local Environment Implications Of Findings On Girls’ Environments GIRLS’ ASSETS AND OPPORTUNITIES Health Girls’ Emotions Education Jobs And Money Implications Of Findings On Girls’ Assets And Opportunities 66 CONCLUSION 68 ENDNOTES GIRL INSIGHTS REPORT FOREWORD | 7 FOREWORD In 2009, ICRW published Girls Speak: A New Voice in Global Development as the fourth report of the Girls Count report series. -
All Things Country with Rowena Playlist for September 5, 2020
All Things Country Playlist September 5, 2020 Mel Street Walk Softly On The Bridges Greatest Hits GRT Connie Moore Just Love Me Twice As Hard Tomorrow 45rpm single Spur Don Williams She Never Knew Me Harmony Dot LP The Wilders Honky Tonk Habit Throw Down Rural Grit George Morgan I'll Furnish The Shoulder You Cry On Candy Kisses Bear Family Gretchen Wilson Red Neck Woman Here For The Party Epic Tanya Tucker The Day My Heart Goes Still While I'm Livin' Fantasy Chris Scruggs Sober Up And Think Honky Tonkin' Lifestyle self Eddie Rabbitt Drivin' My Life Away Horizon Elektra Mary Battiata & Little Pink Things You Say And Don't Say The Heart, Regardless self Merle Haggard Man From Another Time Chill Factor Epic Buddy Jewell Dyess Arkansas Times Like These Sony Carol Johnson According To Law Meet The Pearls: Juke Box Pearls Bear Family Curtis Wright I Can't Stand To Watch My Old Flame Burn Curtis Wright Liberty Patty Loveless Daniel Prayed Mountain Soul Epic George Jones Old Brush Arbors Walk Through This World With Me: Bear Family Complete Musicor Recordings, Vol. 1 Hoppers Yes I Am Power Spring Hill Music Rani Arbo & Daisy Mayhem Joy Comes Back Big Old Life Signature Sounds Aussie Bush Band Aussie Bbq Bush Songs From The Australian Outback Collectables Shavonne Make Me One Promise single self Ricky Van Shelton Living Proof Loving Proof Columbia Waylon Jennings & Willie Nelson Just To Satisfy You Waylon & Company RCA Victor LP Amber Digby A Man I Hardly Know Music From The Honky Tonks Heart Of Texas Jerry Reed She Got The Gold Mine (I Got The Shaft) The Essential Jerry Reed Sony Legacy Tim Wilson I Married A Woman Who Talks Like Jerry Reed Tuned Up Southern Tracks Dale Watson A Couple Of Beers Ago The Essential Dale Watson Cjub Entertainment Dale Watson No Fussin', No Cussin', Mama's Hungry Preachin' To The Choir: Live At The Continental Song City Eyes, Another Day Another Dollar, Call It Borderline A Night John England & The Western Swingers Deep Water Swinging Broadway self Asleep At The Wheel, feat. -
Narrative Representations of Gender and Genre Through Lyric, Music, Image, and Staging in Carrie Underwood’S Blown Away Tour
COUNTRY CULTURE AND CROSSOVER: Narrative Representations of Gender and Genre Through Lyric, Music, Image, and Staging in Carrie Underwood’s Blown Away Tour Krisandra Ivings A Thesis Presented In Partial Fulfillment of the Requirement for the Degree Master of Arts in Music with Specialization in Women’s Studies University of Ottawa © Krisandra Ivings, Ottawa, Canada, 2016 Abstract This thesis examines the complex and multi-dimensional narratives presented in the work of mainstream female country artist Carrie Underwood, and how her blending of musical genres (pop, rock, and country) affects the narratives pertaining to gender and sexuality that are told through her musical texts. I interrogate the relationships between and among the domains of music, lyrics, images, and staging in Underwood’s live performances (Blown Away Tour: Live DVD) and related music videos in order to identify how these gendered narratives relate to genre, and more specifically, where these performances and videos adhere to, expand on, or break from country music tropes and traditions. Adopting an interlocking theoretical approach grounded in genre theory, gender theory, narrative theory in the context of popular music, and happiness theory, I examine how, as a female artist in the country music industry, Underwood uses genre-blending to construct complex gendered narratives in her musical texts. Ultimately, I find that in her Blown Away Tour: Live DVD, Underwood uses diverse narrative strategies, sometimes drawing on country tropes, to engage techniques and stylistic influences of several pop and rock styles, and in doing so explores the gender norms of those genres. ii Acknowledgements A great number of people have supported this thesis behind the scenes, whether financially, academically, or emotionally. -
Music 18145 Songs, 119.5 Days, 75.69 GB
Music 18145 songs, 119.5 days, 75.69 GB Name Time Album Artist Interlude 0:13 Second Semester (The Essentials Part ... A-Trak Back & Forth (Mr. Lee's Club Mix) 4:31 MTV Party To Go Vol. 6 Aaliyah It's Gonna Be Alright 5:34 Boomerang Aaron Hall Feat. Charlie Wilson Please Come Home For Christmas 2:52 Aaron Neville's Soulful Christmas Aaron Neville O Holy Night 4:44 Aaron Neville's Soulful Christmas Aaron Neville The Christmas Song 4:20 Aaron Neville's Soulful Christmas Aaron Neville Let It Snow! Let It Snow! Let It Snow! 2:22 Aaron Neville's Soulful Christmas Aaron Neville White Christmas 4:48 Aaron Neville's Soulful Christmas Aaron Neville Such A Night 3:24 Aaron Neville's Soulful Christmas Aaron Neville O Little Town Of Bethlehem 3:56 Aaron Neville's Soulful Christmas Aaron Neville Silent Night 4:06 Aaron Neville's Soulful Christmas Aaron Neville Louisiana Christmas Day 3:40 Aaron Neville's Soulful Christmas Aaron Neville The Star Carol 2:13 Aaron Neville's Soulful Christmas Aaron Neville The Bells Of St. Mary's 2:44 Aaron Neville's Soulful Christmas Aaron Neville Tell It Like It Is 2:42 Billboard Top R&B 1967 Aaron Neville Tell It Like It Is 2:41 Classic Soul Ballads: Lovin' You (Disc 2) Aaron Neville Don't Take Away My Heaven 4:38 The Grand Tour Aaron Neville I Owe You One 5:33 The Grand Tour Aaron Neville Don't Fall Apart On Me Tonight 4:24 The Grand Tour Aaron Neville My Brother, My Brother 4:59 The Grand Tour Aaron Neville Betcha By Golly, Wow 3:56 The Grand Tour Aaron Neville Song Of Bernadette 4:04 The Grand Tour Aaron Neville You Never Can Tell 2:54 The Grand Tour Aaron Neville The Bells 3:22 The Grand Tour Aaron Neville These Foolish Things 4:23 The Grand Tour Aaron Neville The Roadie Song 4:41 The Grand Tour Aaron Neville Ain't No Way 5:01 The Grand Tour Aaron Neville The Grand Tour 3:22 The Grand Tour Aaron Neville The Lord's Prayer 1:58 The Grand Tour Aaron Neville Tell It Like It Is 2:43 Smooth Grooves: The 60s, Volume 3 L.. -
Toby Keith Concert at the Ohio State Fair Optional Trip to Scioto Downs Casino Monday, July 29, 2019
P. O. Box 109 210 W. Market St. Celina, OH 45822 Choice Travel 419-586-3144 [email protected] Make the best choice – travel with us! www.TravelWithChoice.com Toby Keith Concert at the Ohio State Fair Optional trip to Scioto Downs Casino Monday, July 29, 2019 Please eat lunch prior to departure or feel free to bring lunch along on the bus 10:45 -11:45 am Approximate pickup time depending upon your pickup location. Pickups will be in either Coldwater or Celina, St. Marys, and Wapak. Exact pickup times and locations will be determined approximately 30 days prior to trip departure. 1:20 pm Approximate time to arrive at the Fair to drop passengers that want to spend the entire time at the fair 1:45 pm Approximate time to arrive at Scioto Downs Casino 5:45 pm Pick up passengers at Scioto Downs and bring them to the fair. All passengers will be at the fair at this time. 7:00 pm Toby Keith concert begins. With his own record label partnership, restaurant chain and an enormous string of No. 1 hits, he's virtually a one-man empire. His hits include 'Should've Been a Cowboy,' 'Red Solo Cup', 'I Love This Bar,' Courtesy of the Red, White and Blue' and 'American Soldier.' He has received numerous awards include several Entertainer of the Year awards and he has played for numerous presidents. 9:15 pm Approximate time to depart fair 11:00 - Midnight Approximate time to return home depending upon your pickup location. Cost includes motorcoach transportation, admission to fair, and reserved seat for concert Cost per person - $118.00 Deposit: $20.00 per person REGISTRATION DEADLINE 06/29/19 • Make checks payable to Choice Travel, and mail to P. -
Andy Arleo Université De Nantes (CRINI)
LAURA NYRO’S ELI AND THE THIRTEENTH CONFESSION: TRANSCENDING THE DICHOTOMIES OF THE WOODSTOCK YEARS Andy Arleo Université de Nantes (CRINI) As Wavy Gravy says, if you can remember the sixties, you weren't really there (Van Ronk 141) Introduction1 As a member of the so-called Woodstock Generation, I am aware of the potential pitfalls of writing about this period. As Dave Van Ronk points out in his quote from Merry Prankster Wavy Gravy (Hugh Romney), memories of those times tend to be hazy. On the other hand, research on memory has shown that there is a “reminiscence bump,” that is “people tend to remember disproportionately more events from the period between their adolescence and early adulthood” (Foster 64). In any case, it is clear that memory, whether it is individual and collective, reconstructs past experience, and that my own experience of the era has inevitably flavored the content of this article, making it impossible to aspire completely to the traditional ideals of scholarly distance and detachment. Future generations of cultural analysts will no doubt reassess the Woodstock Years through different lenses. The name “Laura Nyro” may not ring a bell for many readers, as it did not for many of my students, colleagues and friends whom I have informally surveyed. This is understandable since, unlike other singer-songwriter icons of the period (e.g., Bob Dylan, Joni Mitchell, James Taylor), Nyro was never really in the mainstream, although her songs have often been covered by a broad spectrum of singers and bands in a remarkable variety of musical styles, sometimes achieving a fair amount of commercial success. -
MIC Buzz Magazine Article 10402 Reference Table1 Cuba Watch 040517 Cuban Music Is Caribbean Music Not Latin Music 15.Numbers
Reference Information Table 1 (Updated 5th June 2017) For: Article 10402 | Cuba Watch NB: All content and featured images copyrights 04/05/2017 reserved to MIC Buzz Limited content and image providers and also content and image owners. Title: Cuban Music Is Caribbean Music, Not Latin Music. Item Subject Date and Timeline Name and Topic Nationality Document / information Website references / Origins 1 Danzon Mambo Creator 1938 -- One of his Orestes Lopez Cuban Born n Havana on December 29, 1911 Artist Biography by Max Salazar compositions, was It is known the world over in that it was Orestes Lopez, Arcano's celloist and (Celloist and pianist) broadcast by Arcaño pianist who invented the Danzon Mambo in 1938. Orestes's brother, bassist http://www.allmusic.com/artist/antonio-arcaño- in 1938, was a Israel "Cachao" Lopez, wrote the arrangements which enables Arcano Y Sus mn0001534741/biography Maravillas to enjoy world-wide recognition. Arcano and Cachao are alive. rhythmic danzón Orestes died December 1991 in Havana. And also: entitled ‘Mambo’ In 29 August 1908, Havana, Cuba. As a child López studied several instruments, including piano and cello, and he was briefly with a local symphony orchestra. His Artist Biography by allmusic.com brother, Israel ‘Cachao’ López, also became a musician and influential composer. From the late 20s onwards, López played with charanga bands such as that led by http://www.allmusic.com/artist/orestes-lopez- Miguel Vásquez and he also led and co-led bands. In 1937 he joined Antonio mn0000485432 Arcaño’s band, Sus Maravillas. Playing piano, cello and bass, López also wrote many arrangements in addition to composing some original music. -
Marygold Manor DJ List
Page 1 of 143 Marygold Manor 4974 songs, 12.9 days, 31.82 GB Name Artist Time Genre Take On Me A-ah 3:52 Pop (fast) Take On Me a-Ha 3:51 Rock Twenty Years Later Aaron Lines 4:46 Country Dancing Queen Abba 3:52 Disco Dancing Queen Abba 3:51 Disco Fernando ABBA 4:15 Rock/Pop Mamma Mia ABBA 3:29 Rock/Pop You Shook Me All Night Long AC/DC 3:30 Rock You Shook Me All Night Long AC/DC 3:30 Rock You Shook Me All Night Long AC/DC 3:31 Rock AC/DC Mix AC/DC 5:35 Dirty Deeds Done Dirt Cheap ACDC 3:51 Rock/Pop Thunderstruck ACDC 4:52 Rock Jailbreak ACDC 4:42 Rock/Pop New York Groove Ace Frehley 3:04 Rock/Pop All That She Wants (start @ :08) Ace Of Base 3:27 Dance (fast) Beautiful Life Ace Of Base 3:41 Dance (fast) The Sign Ace Of Base 3:09 Pop (fast) Wonderful Adam Ant 4:23 Rock Theme from Mission Impossible Adam Clayton/Larry Mull… 3:27 Soundtrack Ghost Town Adam Lambert 3:28 Pop (slow) Mad World Adam Lambert 3:04 Pop For Your Entertainment Adam Lambert 3:35 Dance (fast) Nirvana Adam Lambert 4:23 I Wanna Grow Old With You (edit) Adam Sandler 2:05 Pop (slow) I Wanna Grow Old With You (start @ 0:28) Adam Sandler 2:44 Pop (slow) Hello Adele 4:56 Pop Make You Feel My Love Adele 3:32 Pop (slow) Chasing Pavements Adele 3:34 Make You Feel My Love Adele 3:32 Pop Make You Feel My Love Adele 3:32 Pop Rolling in the Deep Adele 3:48 Blue-eyed soul Marygold Manor Page 2 of 143 Name Artist Time Genre Someone Like You Adele 4:45 Blue-eyed soul Rumour Has It Adele 3:44 Pop (fast) Sweet Emotion Aerosmith 5:09 Rock (slow) I Don't Want To Miss A Thing (Cold Start) -
"The Who Sings My Generation" (Album)
“The Who Sings My Generation”—The Who (1966) Added to the National Registry: 2008 Essay by Cary O’Dell Original album Original label The Who Founded in England in 1964, Roger Daltrey, Pete Townshend, John Entwistle, and Keith Moon are, collectively, better known as The Who. As a group on the pop-rock landscape, it’s been said that The Who occupy a rebel ground somewhere between the Beatles and the Rolling Stones, while, at the same time, proving to be innovative, iconoclastic and progressive all on their own. We can thank them for various now- standard rock affectations: the heightened level of decadence in rock (smashed guitars and exploding drum kits, among other now almost clichéd antics); making greater use of synthesizers in popular music; taking American R&B into a decidedly punk direction; and even formulating the idea of the once oxymoronic sounding “rock opera.” Almost all these elements are evident on The Who’s debut album, 1966’s “The Who Sings My Generation.” Though the band—back when they were known as The High Numbers—had a minor English hit in 1964 with the singles “I’m the Face”/”Zoot Suit,” it wouldn’t be until ’66 and the release of “My Generation” that the world got a true what’s what from The Who. “Generation,” steam- powered by its title tune and timeless lyric of “I hope I die before I get old,” “Generation” is a song cycle worthy of its inclusive name. Twelve tracks make up the album: “I Don’t Mind,” “The Good’s Gone,” “La-La-La Lies,” “Much Too Much,” “My Generation,” “The Kids Are Alright,” “Please, Please, Please,” “It’s Not True,” “The Ox,” “A Legal Matter” and “Instant Party.” Allmusic.com summarizes the album appropriately: An explosive debut, and the hardest mod pop recorded by anyone.