DOCSLIB.ORG

Jumpin Issue 4.Indd

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Jumpin Issue 4.Indd The Quakes OWDY FELLOWS. Sorry, this issue took us longer than expected, but look, it was worth the wait. More than forty pages of rock’n’roll, psychobilly, hillbilly, honky tonk, rockabilly and blues (and more...). First we’ve talked with Paul Roman, singer and guitar player for The Quakes. This interview was scheduled for a stick to your guns Hprevious issue and had to be delayed. On December 2nd, The uakesQ issued their newest output so we thought it was the right time for the interview. Earlier this year I discovered a very talented by fred Turgis singer and songwriter on a compilation album : Marcel Riesco founder of Truly Lover Trio. Once I heard the full album I knew I wanted him for Jumpin’. So here’s the interview with this young he Quakes are one of the first (if not and gifted guy. Cari Lee recently proved she was at ease with both hillbilly and rhythm’n’blues. the first) american psychobilly band. Like their compatriot the Stray Cats She tells us everything about this two kinds of music and her bands The Contenders and The Tthey crossed the sea to find fame in Saddle-Ites. Peter Sandmark aka Slim Sandy played many styles with many bands. The release of Europe where by the time the psychobilly scene was growing bigger and bigger. Roy his solo album “This Is Slim Sandy” gave us the occasion to make him talk about Ray Condo, The williams and nervous record quickly signed Crazy Rhythm Daddies and how to play drums, guitar and harmonica in the same time. What them and released their first album, which soon became a raw psychobilly classic. their would be Jumpin’ from 6 to 6 without a touch of wild rockabilly? Read the interview Rip Carson second record “voice of america” was more gave to Long Tall Dave and learn more about this bigger than life personnality. Last but not least, neo-rockabilly, and stands for me as their best. They then find a big audience in Japan Johnny Dilks. This real honky tonk man answered our questions about his youth and his forth- with sold out shows and albums like quiff coming album soon to be released. And if you don’t know what to buy for Christmas, read our rock and new generation where they mixed the usual rockabilly and psychobilly stuff to reviews, it’ll help you to choose the right record for the right person. Billy Idol and Adam & the ants influences. By Mery Christmas the time you’ll read those lines their newest release “psyops” will be out and available on Fred «Virgil» Turgis their website www.thequakes.com How did you become interested in music ? Jumpin’ from 6 to 6 is A big «thank you» to Dave Stuckey ! Contact I was always interested in music as a kid. Editor : Fred «Virgil» Turgis And a big howdy to Fred Hamet for Don’t hesitate to send us some mail When I was 9 or 10 I started buying re- Collaborator : David «Always late» Phisel hosting me on his website and his new [email protected] cords.I was a big fan of The Beatles- The Layout : Fred Turgis for Shooting Star born son Mathieu. or by snail mail at Rolling Stones- The Kinks- Monkees. I had Design. Fred Turgis - 15 bis rue des Teinturiers older brothers and sisters who left those re- About the pictures 14000 Caen - France cords behind when they moved out. A million Thanks to Well, I must admit I borrowed some and of course you can write a message Rebecca Caraveo for taking time to read pics here and there on the web. Anyway on the forum and correct our English. all pictures are © their authors. If you’re http://launch.groups.yahoo.com/group/ Thanks to the owner of the rights of one of these jumpinfrom6to6/ Marcel Riesco, Paul Roman, Cari Lee, pictures and you have a problem with it we’d be more than happy to hear from Rip Carson, Johnny Dilks, Mel, Lil’ Bit, contact me. you. an interview with Paul Roman Roy Kay In what kind of musical background did that there was this big scene over there, we Even if each album has its own sound, the you grow ? Well the sad reality wanted to be a part of it. We had sent a cou- change between the first one and Voice of My parents always had music on in the ple of demo tapes to Nervous and Roy said America was radical. How do you explain house. My dad was from Poland and he is...if I COULD have we were too slow, so naturally we thought this evolution? liked polka music and my mom would the secret to success is just play fast so that’s Well first and foremost we didn’t have Dave listen to big band stuff. My oldest sounded like Brian what we did.We knew that the Stray cats had Hoy anymore, he was killed in an auto acci- brother had a band and I used to watch them sold all their stuff and moved to London so dent in Buffalo. Any time you get a new guy practice in the garage. Setzer, I probably we were kinda going the same thing. I was in the band, the sound is going to change. 20 Rob was 18 and Dave was 16. We also could play our instruments a lot When did you start playing guitar ? would have. better at that point. After that first record When I was 15 or 16, Dave “the ace” Hoy How was the American scene at that time ? there was no place else to go- I mean..what got an acoustic guitar for Christmas and we When you start playing with the Quakes, Ha ha there was no scene at all, people lau- would we do ? Try to make a faster record ? went out in the garage to jam. I was play- were you aware of the European psychobilly ghed at us ! That’s another reason we wan- We did the monster- graveyard- thing and ing drums on garbage pails because I used scene ? ted to move to London. I could see that- that was no where and to have a snare drum and cymbal when I Well... yes and no- I went to London to try I didn’t want to be one of “those” bands. was 12 but I sold it cause I never played to start a band in the summer of 1985 and Your first album was a graphic reference to I think the stuff on Voice Of America is it.Anyway, we switched instruments and at that time I had heard some psychobilly the first Stray cats album. Why ? more of what we sounded like BEFORE we found that Dave was a better drummer and and I hated it- to me it Because we did what they did by coming to did the first record. I was a better guitar player- that’s how the sounded like punk rockers trying to cash in London and getting a record deal. I thought whole band thing started. on the rockabilly scene- I didn’t understand it was a good Idea- I had seen pictures of the You started to be quite known in Japan, it. I was a real ROCKABILLY GUY :-) Bluecats album that references the Gene even had a deal with a major. Did they try Did someone influence you to choose that Then in 1986 I went to London again to try Vincent album and some Polecats pictures to change your sound ? instrument ? to start a band and I was staying right down that were like the Beatles album cover stan- No they didn’t ! In fact they didn’t care YES! Absolutely- It was Brian Setzer- When the street from the Klubfoot- but I wasn’t ding over the railing. It was a cool idea and about the music at all... For them it was I saw the Stray Cats on MTV I knew what I gonna go there...My friend had just bought it worked for us. about the packaging ! We argued with them want to do! I had the snare drum like I said the first Guana Batz album and I remem- for months about what the cd booklet was and that went no where and then I bought ber I liked the song “Down on the line” but Didn’t that deserve you, due to the fact of going to look like.They wanted to use all a keyboard because I was into New wave I didn’t like the rest of it- I didn’t get it. I stupid people who classified you as Stray this cliché’ stuff like switchblades and dice bands like the B-52’s and Devo etc. but I was hanging out at all the rockin clubs in cats followers ? etc. etc. They also wanted us on the cover lost interest in that to -but when I saw the London listening to Curtis Gordon etc. Well the sad reality is...if I COULD have with our instruments- we were very against Stray Cats it was like I found my thing. When I went back home- sounded like Brian Setzer ,I probably would this. We were trying to cross over into a new I put the Quakes together but we were try- have. We had no choice in the fact that we audience and we didn’t want any obvious I assume you play bass too… ing to be a modern band like the Stray cats- had our own sound-it was that way because references on the cover.
Load more

Recommended publications
  • J. Dennis Thomas. Concert and Live Music Photography. Pro Tips From
    CONCERT AND LIVE MUSIC PHOTOGRAPHY Pro Tips from the Pit J. DENNIS THOMAS Focal Press is an imprint of Elsevier 225 Wyman Street, Waltham, MA 02451, USA The Boulevard, Langford Lane, Kidlington, Oxford, OX5 1GB, UK © 2012 Elsevier Inc. Images copyright J. Dennis Thomas. All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage and retrieval system, without permission in writing from the publisher. Details on how to seek permission, further information about the Publisher’s permissions policies and our arrangements with organizations such as the Copyright Clearance Center and the Copyright Licensing Agency, can be found at our website: www.elsevier.com/permissions. This book and the individual contributions contained in it are protected under copyright by the Publisher (other than as may be noted herein). Notices Knowledge and best practice in this field are constantly changing. As new research and experience broaden our understanding, changes in research methods, professional practices, or medical treatment may become necessary. Practitioners and researchers must always rely on their own experience and knowledge in evaluating and using any information, methods, compounds, or experiments described herein. In using such information or methods they should be mindful of their own safety and the safety of others, including parties for whom they have a professional responsibility. To the fullest extent of the law, neither the Publisher nor the authors, contributors, or editors, assume any liability for any injury and/or damage to persons or property as a matter of products liability, negligence or otherwise, or from any use or operation of any methods, products, instructions, or ideas contained in the material herein.
    [Show full text]
  • So Many Entrepreneurs Dream of Leading a Life of Impact by Creating a Multi-Million Doll
    Laura (00:03): So here's the challenge: so many entrepreneurs dream of leading a life of impact by creating a multi-million dollar brand, but only a tiny percentage of businesses actually scale to that point. On this podcast, we speak openly and authentically about what it takes to scale your business, following the journeys of innovators, disruptors, experts, and leaders, looking at the behind the scenes of their most challenging moments and greatest lessons learned. My name is Laura Meyer and I'm your host. I'm a serial entrepreneur, wife and mom to three. I love talking all things business, especially digging into the mindset and strategies of scaling joyfully to the multi-million dollar mark and beyond. Let's go! (00:49): Hey, hey, welcome back to the Scale with Joy podcast. I'm here with Yuri Elkaim and he is at Healthpreneur. He was a former soccer player, professional soccer player, which is so interesting. He's the CEO and founder of Healthpreneur, a leading coaching and training company that helps health practitioners and coaches grow to seven and eight figures with their coaching business online. So welcome Yuri. It's so nice to connect with you. Yuri (01:19): Yeah. Thanks Laura. Thanks for having me. Yeah. Laura (01:21): And you're also a father of four boys and a husband. That's incredible. Yuri (01:27): Yes. It's busy households, but apparently I love growth cause there's a lot of challenges that come with that and it's great. So yeah, it's fun times.
    [Show full text]
  • 1 Is Austin Still Austin?
    1 IS AUSTIN STILL AUSTIN? A CULTURAL ANALYSIS THROUGH SOUND John Stevens (TC 660H or TC 359T) Plan II Honors Program The University of Texas at Austin May 13, 2020 __________________________________________ Thomas Palaima Department of Classics Supervising Professor __________________________________________ Richard Brennes Athletics Second Reader 2 Abstract Author: John Stevens Title: Is Austin Still Austin? A Cultural Analysis Through Sound Supervisors: Thomas Palaima, Ph. D and Richard Brennes For the second half of the 20th century, Austin, Texas was defined by its culture and unique personality. The traits that defined the city ushered in a progressive community that was seldom found in the South. In the 1960s, much of the new and young demographic chose music as the medium to share ideas and find community. The following decades saw Austin become a mecca for live music. Austin’s changing culture became defined by the music heard in the plethora of music venues that graced the city streets. As the city recruited technology companies and developed its downtown, live music suffered. People from all over the world have moved to Austin, in part because of the unique culture and live music. The mass-migration these individuals took part in led to the downfall of the music industry in Austin. This thesis will explore the rise of music in Austin, its direct ties with culture, and the eventual loss of culture. I aim for the reader to finish this thesis and think about what direction we want the city to go in. 3 Acknowledgments Thank you to my advisor Professor Thomas Palaima and second-reader Richard Brennes for the support and valuable contributions to my research.
    [Show full text]
  • Recent Publications in Music 2010
    Fontes Artis Musicae, Vol. 57/4 (2010) RECENT PUBLICATIONS IN MUSIC R1 RECENT PUBLICATIONS IN MUSIC 2010 Compiled and edited by Geraldine E. Ostrove On behalf of the Pour le compte de Im Auftrag der International l'Association Internationale Internationalen Vereinigung Association of Music des Bibliothèques, Archives der Musikbibliotheken, Libraries Archives and et Centres de Musikarchive und Documentation Centres Documentation Musicaux Musikdokumentationszentren This list contains citations to literature about music in print and other media, emphasizing reference materials and works of research interest that appeared in 2009. It includes titles of new journals, but no journal articles or excerpts from compilations. Reporters who contribute regularly provide citations mainly or only from the year preceding the year this list is published in Fontes Artis Musicae. However, reporters may also submit retrospective lists cumulating publications from up to the previous five years. In the hope that geographic coverage of this list can be expanded, the compiler welcomes inquiries from bibliographers in countries not presently represented. CONTRIBUTORS Austria: Thomas Leibnitz New Zealand: Marilyn Portman Belgium: Johan Eeckeloo Nigeria: Santie De Jongh China, Hong Kong, Taiwan: Katie Lai Russia: Lyudmila Dedyukina Estonia: Katre Rissalu Senegal: Santie De Jongh Finland: Tuomas Tyyri South Africa: Santie De Jongh Germany: Susanne Hein Spain: José Ignacio Cano, Maria José Greece: Alexandros Charkiolakis González Ribot Hungary: Szepesi Zsuzsanna Tanzania: Santie De Jongh Iceland: Bryndis Vilbergsdóttir Turkey: Paul Alister Whitehead, Senem Ireland: Roy Stanley Acar Italy: Federica Biancheri United Kingdom: Rupert Ridgewell Japan: Sekine Toshiko United States: Karen Little, Liza Vick. The Netherlands: Joost van Gemert With thanks for assistance with translations and transcriptions to Kersti Blumenthal, Irina Kirchik, Everett Larsen and Thompson A.
    [Show full text]
  • Deutsche Nationalbibliografie 2015 T 10
    Deutsche Nationalbibliografie Reihe T Musiktonträgerverzeichnis Monatliches Verzeichnis Jahrgang: 2015 T 10 Stand: 28. Oktober 2015 Deutsche Nationalbibliothek (Leipzig, Frankfurt am Main) 2015 ISSN 1613-8945 urn:nbn:de:101-ReiheT10_2015-9 2 Hinweise Die Deutsche Nationalbibliografie erfasst eingesandte Pflichtexemplare in Deutschland veröffentlichter Medienwerke, aber auch im Ausland veröffentlichte deutschsprachige Medienwerke, Übersetzungen deutschsprachiger Medienwerke in andere Sprachen und fremdsprachige Medienwerke über Deutschland im Original. Grundlage für die Anzeige ist das Gesetz über die Deutsche Nationalbibliothek (DNBG) vom 22. Juni 2006 (BGBl. I, S. 1338). Monografien und Periodika (Zeitschriften, zeitschriftenartige Reihen und Loseblattausgaben) werden in ihren unterschiedlichen Erscheinungsformen (z.B. Papierausgabe, Mikroform, Diaserie, AV-Medium, elektronische Offline-Publikationen, Arbeitstransparentsammlung oder Tonträger) angezeigt. Alle verzeichneten Titel enthalten einen Link zur Anzeige im Portalkatalog der Deutschen Nationalbibliothek und alle vorhandenen URLs z.B. von Inhaltsverzeichnissen sind als Link hinterlegt. Die Titelanzeigen der Musiktonträger in Reihe T sind, wie sche Katalogisierung von Ausgaben musikalischer Wer- auf der Sachgruppenübersicht angegeben, entsprechend ke (RAK-Musik)“ unter Einbeziehung der „International der Dewey-Dezimalklassifikation (DDC) gegliedert, wo- Standard Bibliographic Description for Printed Music – bei tiefere Ebenen mit bis zu sechs Stellen berücksichtigt ISBD (PM)“ zugrunde.
    [Show full text]
  • Razorcake Issue
    PO Box 42129, Los Angeles, CA 90042 #19 www.razorcake.com ight around the time we were wrapping up this issue, Todd hours on the subject and brought in visual aids: rare and and I went to West Hollywood to see the Swedish band impossible-to-find records that only I and four other people have RRRandy play. We stood around outside the club, waiting for or ancient punk zines that have moved with me through a dozen the show to start. While we were doing this, two young women apartments. Instead, I just mumbled, “It’s pretty important. I do a came up to us and asked if they could interview us for a project. punk magazine with him.” And I pointed my thumb at Todd. They looked to be about high-school age, and I guess it was for a About an hour and a half later, Randy took the stage. They class project, so we said, “Sure, we’ll do it.” launched into “Dirty Tricks,” ripped right through it, and started I don’t think they had any idea what Razorcake is, or that “Addicts of Communication” without a pause for breath. It was Todd and I are two of the founders of it. unreal. They were so tight, so perfectly in time with each other that They interviewed me first and asked me some basic their songs sounded as immaculate as the recordings. On top of questions: who’s your favorite band? How many shows do you go that, thought, they were going nuts. Jumping around, dancing like to a month? That kind of thing.
    [Show full text]
  • Stray Cat Strut
    STRAY CAT STRUT Count: 56 Wall: 4 Level: intermediate Choreographer: Jean Loafman Music: Stray Cat Strut by The Stray Cats ROCKS AND TOE/HEEL 1-2 Rock to the side on right foot, recover to left 3-4 Rock back on right foot, recover to left 5-6 Touch right toe, drop right heel 7-8 Rock back on left foot, recover to right ROCKS AND TOE/HEEL 9-10 Rock to the side on left foot, recover to right 11-12 Rock back on left foot, recover to right 13-14 Touch left toe, drop left heel 15-16 Rock back on right foot, recover to left STRUT FORWARD 17-18 Touch right heel forward, drop right toe 19-20 Touch left heel forward, drop left toe 21-22 Touch right heel forward, drop right toe 23-24 Touch left heel forward, drop left toe TOE TOUCHES AND ¾ UNWIND 25 Touch right toe to right side following with right hand 26-28 Hold two counts &29 Change weight to right foot, touch left toe to left side following with left hand 30 Hold 31-32 Step left across right, unwind ¾ SHIMMY 33-36 Bending knees slightly, drop right shoulder first and shimmy down four counts 37-40 Straightening knees, shimmy up four counts PRANCE FORWARD 41-42 Touch right toe forward, drop right heel 43-44 Touch left toe forward, drop left heel 45-46 Touch right toe forward, drop right heel 47-48 Touch left toe forward, drop left heel KICK, TURN, JAZZ BOX 49-50 Small kick forward with right, spin ½ turn to the right on ball of left foot 51-52 Step down on right, step left beside right 53-54 Step right across left, step back on left 55-56 Step right beside left, step left beside right REPEAT.
    [Show full text]
  • Zat You Santa Claus Brian Setzer
    Zat You Santa Claus Brian Setzer Vassili is mystically vasodilator after overlapping Doyle relocating his lambskins above. Goddard remains stickit: she outstays her Ozalid strafes too vividly? Pensionable Terrence hypostatizes some injurer and ballyragged his stipplers so scandalously! Live nude guitars, enhance site is a current representation for brian setzer claus encompasses music They can still listen to your shared playlists if they added them to their library. All items must be returned as new in their original packaging, unopened CD in its original packaging. To start sharing again at any time, sign out of this account. Stray Cats frontman Brian Setzer. Check your connection and try again. You like it will it! If you can render emoji characters render everything we use only some love all in one of zat you santa claus brian setzer is zat you like video element for setzer orchestra. Test for UN flag compatibility. People you remove will stop seeing your music and activity. We appreciate your help. Shipping cost is released albums, all over four years from its blaring in a student eligibility for three albums over four years from stray cats fold that brian setzer claus? Play featured content, and download songs from your playlists. PUNK, until now. Hear this year, big band show seamlessly encompasses music every day air force family plan automatically played an unjustly unheralded guitar, guitar twang throughout this. Christmas song should have! Click here to play, Garth Brooks, and you will be responsible for all costs associated with return shipment. The heads up your system, now assistant managing editor at least a rockabilly players on for brian setzer claus man brian setzer orchestra featuring all other songs are using a ton of.
    [Show full text]
  • Amb70054 Tennessee.Pdf
    Welcome to Tennessee This collection contains 25 wonderful songs about the State of Tennessee. We’re going to bend the rules a little and begin by talking about a song that isn’t here because, the lyrics get us directly to two important points. Here are the opening words to Tennessee, a song written and recorded by Carl Perkins in 1955. Now there are folks who like to brag about where they came from But when they start that stuff I let ‘em be But it makes me feel like I want to brag some To know that I come from the state of Tennessee. Let’s give old Tennessee credit for music As they play it up in Nashville every day… Old Carl reminds us that most of the songs on each of these ‘State’ collections are really about bragging. The polite term is probably ‘regional pride.’ But you and I know it’s bragging, pure and simple. We know there’s lots of national pride among Americans, but never underestimate the feelings about one’s home state (or city, or neighborhood!) “Yeah, I’m an American and proud of it. But I’m also from Tennessee. And don’t you forget it!” Bragging is OK under some circumstances. Nobody likes to hear someone else go on about what he’s accomplished or how important he thinks he is. But if you want to raise the flag about where you were born or about your home town, most folks will cut you some slack. It’s not like you chose to be from Tennessee, and that little bit of arm’s length seems to give you permission to brag.
    [Show full text]
  • Interview with Anna Marzona and Monika Branicka of the Associazione Amariana About My 5 Days Durational Performance Sungate Wi
    INTERVIEW WITH ANNA MARZONA AND MONIKA BRANICKA OF THE ASSOCIAZIONE AMARIANA ABOUT MY 5 DAYS DURATIONAL PERFORMANCE SUNGATE WITHIN AND AROUND THE STONE CIRCLE OF RICHARD LONG IN ART PARK MARZONA 13-17. JULY 2020 Anna: You will be performing in a public art park without further announcements. What is your relation to the audience ? And what role plays making a video of the performance? If there was no video would it still be a performance? Yama: performance is a creative investigation and process- whether there is audience or not video or not.The Video has nothing to do with it. I just like to experiment with the material. Taking intervall shots with fixed cameras of this 5 days process. I will edit it at some point to make it a video work. But this is another work. It is not the performance or a documentation of a performance. There is no documentation of a performance. A performance is only what happens in the moment of a performance. It happens on an energetic level mostly. It happens for everybody passing by or not passing by. It happened for the bees and bugs in the grass. It happens for the understanding of the artist itself. Monika: You use symbols of many different cultural and spiritual backgrounds - why? Yama: we live in a globalized world. We get the news from all around the globe. We profit or suffer from global markets. So obviously we also know about the different cultural backgrounds, which is the different spiritual and religious beliefs and symbols that form our perceptions on subconscious and conscious levels.
    [Show full text]
  • PAUL PIGAT Aka COUSIN HARLEY BIOGRAPHY Paul Pigat Started Playing the Guitar at 11 Years of Age and Was Gigging Steadily in Downtown Toronto by the Time He Was 12
    PAUL PIGAT aka COUSIN HARLEY BIOGRAPHY Paul Pigat started playing the guitar at 11 years of age and was gigging steadily in downtown Toronto by the time he was 12. Through a lifetime dedication to live performance, recording and study he has developed into a superb guitarist, vocalist and songwriter. Paul attended the Claude Watson School of the Arts and graduated from the University of Toronto with a Bachelor of Music in theory and composition in 1992. He taught at the Eli Kassner Guitar Academy while continuing to explore live performance opportunities with various bands. Shortly thereafter Paul headed for the west coast, where he has made his home since 1994, and has earned a reputation as one of the best guitarists around. An extremely versatile artist, with projects ranging from delta blues to classical music, he heads four diverse Vancouver bands and is in high demand as a sideman, having recorded and toured with the likes of Neko Case, Michael Kaeshammer, and Carolyn Mark, and has shared the stage with Taj Mahal, Mae Moore, Lee Aaron, the Blind Boys of Alabama, Joshua Redman, Big Sandy and His Flyrite Boys, Aaron Neville, Jim Byrnes, Zubot & Dawson, and more. He has played performance venues ranging from small clubs to large stadiums, and festivals covering the entire spectrum of roots, blues, rockabilly and jazz music. He toured the UK with Neko Case in November 2006, and had the honour of performing with Jim Byrnes and Jesse Zubot at the Closing Ceremonies of the 2006 Torino Paralympic Games earlier in the year. Paul’s central touring project is his rocking hillbilly trio, Cousin Harley, considered to be western Canada’s premier rockabilly and roots band.
    [Show full text]
  • Fanatika017.Pdf
    Cuarta época, otoño 2015, Nº 17 Stray cats • Los Gatos Carl & the Rythm Allstars Elvis Presley • James Dean Speedway Radio • Wild Record’s • Hasil Adkins • Grease • Hairspray Director Keshava Quintanar Cano Comité editorial José Roberto Cruz Núñez Daniel Cruz Vázquez Rita Lilia García Cerezo Reyna Rodríguez Roque Rodolfo Sánchez Rovirosa Fernando Velázquez Gallo Ana Laura Yáñez Piñón Nancy Benavides Martínez [email protected] Arte y diseño Isaac H. Hernández Hernández (IzaacH3) [email protected] Comunity manager Andrés García S. Corrección de estilo Édgar Mena L. Fanátika en facebook /Fanátika Consulta nuestras versiones electrónicas en www.issuu.com/fanatika Fanátika, la Revista Musical del CCH, proyecto INFOCAB PB402513, es una publicación de divulgación cultural y no persigue fines de lucro, los derechos de textos e imágenes aquí contenidos son propiedad de sus respectivos autores. Fanátika, cuarta época, número 17 tiene un tiraje de 1000 ejemplares. Se imprimió en marzo de 2015, en Gráficas Mateos, Tajín 184, Col. Narvarte, México D.F. tels: 5519-6392 y 5530-0791, [email protected] 2 El Rockabilly en la pantalla grande 6 Rita G. Cerezo La versión inadaptada de un clásico 12 Édgar Mena Hasil Adkins 16 Leonel Pérez Mosqueda Stray Cats 26 Keshava Quintanar Cano Wild Records, rock mexicano invade Estados Unidos 30 Samuel Nava Carl & the Rythm Allstars 34 Samuel Nava Rockabilly, pasión y estilo 40 Nancy Benavides Speedway Radio, Rockabilly para el mundo 44 Andrés García Serafín Escencia esencial de la poesía 50 Eduardo Daniel Hidalgo Olea En nuestro próximo número: Música en Inglés envía tus colaboraciones a [email protected] 3 Directorio UNAM Dr.
    [Show full text]