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Tribute to Three Giants Figures of the Sixties' Pop
TRIBUTE TO THREE GIANTS FIGURES OF THE SIXTIES’ POP MUSIC IN THE 50th ANNIVERSAIRE OF THEIR DEATH. ALAN WILSON, JIMI HENDRIX AND JANIS JOPLIN: ASTROLOGICAL REVIEW OF THREE 27’ CLUB MEMBERS. We were at the end of the “sixties”, a remarkable decade of 20th century for popular music, revolutionary movements, technological achievements and radical changes in human relationships. It was also the time of “hippie liberation”, the spread of drugs through young people. Everything was fine when, just in the span of thirty days, three outstanding members of musical background suddenly died. 1970, September the 3th: Alan Wilson, “Canned Heat” guitar, harmonica and vocal, commit suicide at home of another member group, Bob Hite, in Topanga Canyon, California. An overdose was the cause of his death. He was 27 years old. 1970, September the 18th: Jimi Hendrix, one of the bests guitarrist of all times, share his last night with Monica Dannemann in Samarkand Hotel, London. When she woke up Jimi was inconscious, yet breathe. He was moved at St. Mary Abbot Hospital, but he was not alive. The cause of his death: asphyxia per vomit. His partner declared that Jimi had had seven tablets of Vesparax, a barbituric, say, 18 times the recommended dose. He was 27 years old. 1970, October the 4th: Janis Joplin, a singer and contraculture icon of the sixties was found dead in her hotel room, at Los Angeles, just when she was going to record the vocal part of Buried Alive in the Blues next morning. A portent, maybe a synchronicity. The official cause of her death was an heroine overdose, probably combined with alcohol effects. -
Jazz and the Cultural Transformation of America in the 1920S
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2003 Jazz and the cultural transformation of America in the 1920s Courtney Patterson Carney Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the History Commons Recommended Citation Carney, Courtney Patterson, "Jazz and the cultural transformation of America in the 1920s" (2003). LSU Doctoral Dissertations. 176. https://digitalcommons.lsu.edu/gradschool_dissertations/176 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. JAZZ AND THE CULTURAL TRANSFORMATION OF AMERICA IN THE 1920S A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of History by Courtney Patterson Carney B.A., Baylor University, 1996 M.A., Louisiana State University, 1998 December 2003 For Big ii ACKNOWLEDGEMENTS The real truth about it is no one gets it right The real truth about it is we’re all supposed to try1 Over the course of the last few years I have been in contact with a long list of people, many of whom have had some impact on this dissertation. At the University of Chicago, Deborah Gillaspie and Ray Gadke helped immensely by guiding me through the Chicago Jazz Archive. -
Bob Denson Master Song List 2020
Bob Denson Master Song List Alphabetical by Artist/Band Name A Amos Lee - Arms of a Woman - Keep it Loose, Keep it Tight - Night Train - Sweet Pea Amy Winehouse - Valerie Al Green - Let's Stay Together - Take Me To The River Alicia Keys - If I Ain't Got You - Girl on Fire - No One Allman Brothers Band, The - Ain’t Wastin’ Time No More - Melissa - Ramblin’ Man - Statesboro Blues Arlen & Harburg (Isai K….and Eva Cassidy and…) - Somewhere Over the Rainbow Avett Brothers - The Ballad of Love and Hate - Head Full of DoubtRoad Full of Promise - I and Love and You B Bachman Turner Overdrive - Taking Care Of Business Band, The - Acadian Driftwood - It Makes No Difference - King Harvest (Has Surely Come) - Night They Drove Old Dixie Down, The - Ophelia - Up On Cripple Creek - Weight, The Barenaked Ladies - Alcohol - If I Had A Million Dollars - I’ll Be That Girl - In The Car - Life in a Nutshell - Never is Enough - Old Apartment, The - Pinch Me Beatles, The - A Hard Day’s Night - Across The Universe - All My Loving - Birthday - Blackbird - Can’t Buy Me Love - Dear Prudence - Eight Days A Week - Eleanor Rigby - For No One - Get Back - Girl Got To Get You Into My Life - Help! - Her Majesty - Here, There, and Everywhere - I Saw Her Standing There - I Will - If I Fell - In My Life - Julia - Let it Be - Love Me Do - Mean Mr. Mustard - Norwegian Wood - Ob-La-Di Ob-La-Da - Polythene Pam - Rocky Raccoon - She Came In Through The Bathroom Window - She Loves You - Something - Things We Said Today - Twist and Shout - With A Little Help From My Friends - You’ve -
Jazz in America • the National Jazz Curriculum the Blues and Jazz Test Bank
Jazz in America • The National Jazz Curriculum The Blues and Jazz Test Bank Select the BEST answer. 1. Of the following, the style of music to be considered jazz’s most important influence is A. folk music B. the blues C. country music D. hip-hop E. klezmer music 2. Of the following, the blues most likely originated in A. Alaska B. Chicago C. the Mississippi Delta D. Europe E. San Francisco 3. The blues is A. a feeling B. a particular kind of musical scale and/or chord progression C. a poetic form and/or type of song D. a shared history E. all of the above 4. The number of chords in a typical early blues chord progression is A. three B. four C. five D. eight E. twelve 5. The number of measures in typical blues chorus is A. three B. four C. five D. eight E. twelve 6. The primary creators of the blues were A. Africans B. Europeans C. African Americans D. European Americans E. Asians 7. Today the blues is A. played and listened to primarily by African Americans B. played and listened to primarily by European Americans C. respected more in the United States than in Europe D. not appreciated by people outside the United States E. played and listened to by people all over the world 8. Like jazz, blues is music that is A. planned B. spontaneous C. partly planned and partly spontaneous D. neither planned nor spontaneous E. completely improvised 9. Blues lyrical content A. is usually secular (as opposed to religious) B. -
Groundhogs Back Against the Wall Mp3, Flac, Wma
Groundhogs Back Against The Wall mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock / Blues Album: Back Against The Wall Country: UK Released: 1986 Style: Blues Rock, Hard Rock, Classic Rock MP3 version RAR size: 1812 mb FLAC version RAR size: 1985 mb WMA version RAR size: 1181 mb Rating: 4.7 Votes: 558 Other Formats: VOC AU XM MP2 WMA MP4 MP3 Tracklist 1 Back Against The Wall 2 No To Submission 3 Blue Boar Blues 4 Waiting In The Shadows 5 Ain't No Slaver 6 Stick To Your Guns 7 In The Meantime 8 54146 Credits Bass – Dave Anderson Drums, Percussion – Mick Jones Guitar, Vocals – Tony McPhee Written-By – Tony McPhee Notes Issued under license from Demi Monde Records Barcode and Other Identifiers Barcode: 5 099882 8 10529 Other versions Category Artist Title (Format) Label Category Country Year Back Against The DMLP 1014 Groundhogs* Demi Monde DMLP 1014 UK 1986 Wall (LP, Album) Back Against The Plastic Head PHRO 12CD Groundhogs* Wall (CD, Album, PHRO 12CD UK 2008 Records RE) Back Against The The Magnum CDTB 111 Groundhogs* Wall (CD, Album, CDTB 111 UK 1994 Music Group RE) Back Against The Abstract ABT054CD The Groundhogs Wall (CD, Album, RE, ABT054CD Russia Unknown Sounds Unofficial) Back Against The Abstract ABT054CD The Groundhogs ABT054CD US Unknown Wall (CD, RE) Sounds Related Music albums to Back Against The Wall by Groundhogs Groundhogs - BBC Radio One Live In Concert Groundhogs - Hogwash Groundhogs - Thank Christ For The Bomb Lenn Hammond / Milton Blake - Time / Back Against The Wall Groundhogs - Split Various - Back Against The Wall (A Tribute To Pink Floyd) Billy Boy Arnold - Checkin' It Out Groundhogs - You Don't Love Me. -
Hegemony in the Music and Culture of Delta Blues Taylor Applegate [email protected]
University of Puget Sound Sound Ideas Summer Research 2013 The crossroads at midnight: Hegemony in the music and culture of Delta blues Taylor Applegate [email protected] Follow this and additional works at: http://soundideas.pugetsound.edu/summer_research Part of the African American Studies Commons, American Popular Culture Commons, Cultural History Commons, and the Musicology Commons Recommended Citation Applegate, Taylor, "The crossroads at midnight: Hegemony in the music and culture of Delta blues" (2013). Summer Research. Paper 208. http://soundideas.pugetsound.edu/summer_research/208 This Article is brought to you for free and open access by Sound Ideas. It has been accepted for inclusion in Summer Research by an authorized administrator of Sound Ideas. For more information, please contact [email protected]. The Crossroads at Midnight: Hegemony in the Music and Culture of Delta Blues Taylor Applegate Advisor: Mike Benveniste Summer 2013 INTRODUCTION. Cornel West’s essay “On Afro-American Music: From Bebop to Rap” astutely outlines the developments in Afro-American popular music from bebop and jazz, to soul, to funk, to Motown, to technofunk, to the rap music of today. By taking seriously Afro-American popular music, one can dip into the multileveled lifeworlds of black people. As Ralph Ellison has suggested, Afro-Americans have had rhythmic freedom in place of social freedom, linguistic wealth instead of pecuniary wealth (West 474). And as the fount of all these musical forms West cites “the Afro-American spiritual-blues impulse,” the musical traditions of some of the earliest forms of black music on the American continent (474). The origins of the blues tradition, however, are more difficult to pin down; poor documentation at the time combined with more recent romanticization of the genre makes a clear, chronological explanation like West’s outline of more recent popular music impossible. -
Alternate Tuning Guide
1 Alternate Tuning Guide by Bill Sethares New tunings inspire new musical thoughts. Belew is talented... But playing in alternate Alternate tunings let you play voicings and slide tunings is impossible on stage, retuning is a between chord forms that would normally be nightmare... strings break, wiggle and bend out impossible. They give access to nonstandard of tune, necks warp. And the alternative - carry- open strings. Playing familiar fingerings on an ing around five special guitars for five special unfamiliar fretboard is exciting - you never know tuning tunes - is a hassle. Back to EBGDAE. exactly what to expect. And working out familiar But all these "practical" reasons pale com- riffs on an unfamiliar fretboard often suggests pared to psychological inertia. "I've spent years new sound patterns and variations. This book mastering one tuning, why should I try others?" helps you explore alternative ways of making Because there are musical worlds waiting to be music. exploited. Once you have retuned and explored a Why is the standard guitar tuning standard? single alternate tuning, you'll be hooked by the Where did this strange combination of a major unexpected fingerings, the easy drone strings, 3rd and four perfect 4ths come from? There is a the "new" open chords. New tunings are a way to bit of history (view the guitar as a descendant of recapture the wonder you experienced when first the lute), a bit of technology (strings which are finding your way around the fretboard - but now too high and thin tend to break, those which are you can become proficient in a matter of days too low tend to be too soft), and a bit of chance. -
Feature Guitar Songbook Series
feature guitar songbook series 1465 Alfred Easy Guitar Play-Along 1484 Beginning Solo Guitar 1504 The Book Series 1480 Boss E-Band Guitar Play-Along 1494 The Decade Series 1464 Easy Guitar Play-Along® Series 1483 Easy Rhythm Guitar Series 1480 Fender G-Dec 3 Play-Along 1497 Giant Guitar Tab Collections 1510 Gig Guides 1495 Guitar Bible Series 1493 Guitar Cheat Sheets 1485 Guitar Chord Songbooks 1494 Guitar Decade Series 1478 Guitar Play-Along DVDs 1511 Guitar Songbooks By Notation 1498 Guitar Tab White Pages 1499 Legendary Guitar Series 1501 Little Black Books 1466 Hal Leonard Guitar Play-Along® 1502 Multiformat Collection 1481 Play Guitar with… 1484 Popular Guitar Hits 1497 Sheet Music 1503 Solo Guitar Library 1500 Tab+: Tab. Tone. Technique 1506 Transcribed Scores 1482 Ultimate Guitar Play-Along Please see the Mixed Folios section of this catalog for more2015 guitar collections. 1464 EASY GUITAR PLAY-ALONG® SERIES The Easy Guitar Play-Along® Series features 9. ROCK streamlined transcriptions of your favorite SONGS FOR songs. Just follow the tab, listen to the CD or BEGINNERS Beautiful Day • Buddy Holly online audio to hear how the guitar should • Everybody Hurts • In sound, and then play along using the back- Bloom • Otherside • The ing tracks. The CD is playable on any CD Rock Show • Use Somebody. player, and is also enhanced to include the Amazing Slowdowner technology so MAC and PC users can adjust the recording to ______00103255 Book/CD Pack .................$14.99 any tempo without changing the pitch! 10. GREEN DAY Basket Case • Boulevard of Broken Dreams • Good 1. -
Contemporary Christian Music and Oklahoma
- HOL Y ROCK 'N' ROLLERS: CONTEMPORARY CHRISTIAN MUSIC AND OKLAHOMA COLLEGE STUDENTS By BOBBI KAY HOOPER Bachelor of Science Oklahoma State University Stillwater, Oklahoma 1993 Submitted to the Faculty of the Oklahoma State University in partial fulfillment of the requirements for the Degree of MASTER OF SCIENCE August, 2003 HOLY ROCK 'N' ROLLERS: CONTEMPORARY CHRISTIAN MUSIC AND OKLAHOMA COLLEGE STUDENTS Thesis Approved: ------'--~~D...e~--e----- 11 ACKNOWLEDGEMENTS My sincere appreciation goes out to my adviser. Dr. Jami A. Fullerton. for her insight, support and direction. It was a pleasure and privilege to work with her. My thanks go out to my committee members, Dr. Stan Kerterer and Dr. Tom Weir. ""hose knowledge and guidance helped make this publication possible. I want to thank my friend Matt Hamilton who generously gave of his time 10 act as the moderator for all fOUf of the focus groups and worked with me in analyzing the data. ] also want to thank the participants of this investigation - the Christian college students who so willingly shared their beliefs and opinions. They made research fun r My friends Bret and Gina r.uallen musl nlso be recognii'_cd for introducing me !(l tbe depth and vitality ofChrislian music. Finally. l must also give thanks to my parents. Bohby and Helen Hoopc,;r. whose faith ,md encouragement enabled me to see the possibilities and potential in sitting down. 111 - TABLE OF CONTENTS Chapter Page 1. INTRODUCTION Overview ofThesis Research Problem 3 Justification Definition ofTerms 4 [I. LITERATURE REVIEW 5 Theoretical Framework 6 Uses and Gratifications 6 Media Dependency 7 Tuning In: Popular Music Uses and Gratifications 8 Bad Music, Bad Behavior: Effects of Rock Music 11 The Word is Out: Religious Broadcasting 14 Taking Music "Higher": ('eM 17 Uses & Gratifications applied to CCM 22 111. -
CONSTRUCTING TIN PAN ALLEY 17 M01 GARO3788 05 SE C01.Qxd 5/26/10 4:35 PM Page 18
M01_GARO3788_05_SE_C01.qxd 5/26/10 4:35 PM Page 15 Constructing Tin Pan 1 Alley: From Minstrelsy to Mass Culture The institution of slavery has been such a defining feature of U.S. history that it is hardly surprising to find the roots of our popular music embedded in this tortured legacy. Indeed, the first indige- nous U.S. popular music to capture the imagination of a broad public, at home and abroad, was blackface minstrelsy, a cultural form involving mostly Northern whites in blackened faces, parodying their perceptions of African American culture. Minstrelsy appeared at a time when songwriting and music publishing were dispersed throughout the country and sound record- The institution of slavery has been ing had not yet been invented. During this period, there was an such a defining feature of U.S. history that it is hardly surprising to find the important geographical pattern in the way music circulated. Concert roots of our popular music embedded music by foreign composers intended for elite U.S. audiences gener- in this tortured legacy. ally played in New York City first and then in other major cities. In contrast, domestic popular music, including minstrel music, was first tested in smaller towns, then went to larger urban areas, and entered New York only after success elsewhere. Songwriting and music publishing were similarly dispersed. New York did not become the nerve center for indigenous popular music until later in the nineteenth century, when the pre- viously scattered conglomeration of songwriters and publishers began to converge on the Broadway and 28th Street section of the city, in an area that came to be called Tin Pan Alley after the tinny output of its upright pianos. -
At the Crossroads Pottery by Mark Hewitt Pucker Gallery | Boston 2
1 At the CrossroAds Pottery by Mark hewitt Pucker Gallery | Boston 2 BiG Vase, CArPenter’s eGG, black manganese glaze with revealed salt glaze, yellow, and pink polka dots 43.5 x 24 x 24" Mh101 Cover: ten GAllon vAse, alkaline glaze with blue glass runs and black manganese neck 26 x 17.5 x 17.5" Mh99 All works Are stonewAre. 3 At the CrossroAds Pottery by Mark hewitt essAy By ChristoPher Benfey strAnGe thin Gs hAPPen At A southern Southern potters and comes up with his own distinctive kind of crossroads. Consider the red-clay town of Pittsboro, North ceramic music, utterly new and fresh—and very, very big. Carolina, where Mark Hewitt turns and burns his big-hearted Take a long look at two of Hewitt’s monumental pots, pots, down a winding gravel lane called Johnny Burke Road. Ike’s Peacock (MH102) and Carpenter’s Egg (MH101). These Smack-dab in the center of town, where two highways cross, magnificent pots, in their burgeoning scale, are unprecedented stands the Chatham County Courthouse, built in 1881 of in the North Carolina folk pottery canon. Solemn and seductive, rugged brick made down the highway in Sanford, the self- with their scale providing a thrilling clout, they have an immediate designated “Brick Capital of the U.S.A.” Or rather, the new appeal like that of Martin Puryear’s visionary sculptures, with courthouse stands there, since the old building, except for their own intersection of folk tradition and modernist panache. its façade and its statue of a Confederate soldier standing at They also represent the passage from the past to the present. -
Idioms-And-Expressions.Pdf
Idioms and Expressions by David Holmes A method for learning and remembering idioms and expressions I wrote this model as a teaching device during the time I was working in Bangkok, Thai- land, as a legal editor and language consultant, with one of the Big Four Legal and Tax companies, KPMG (during my afternoon job) after teaching at the university. When I had no legal documents to edit and no individual advising to do (which was quite frequently) I would sit at my desk, (like some old character out of a Charles Dickens’ novel) and prepare language materials to be used for helping professionals who had learned English as a second language—for even up to fifteen years in school—but who were still unable to follow a movie in English, understand the World News on TV, or converse in a colloquial style, because they’d never had a chance to hear and learn com- mon, everyday expressions such as, “It’s a done deal!” or “Drop whatever you’re doing.” Because misunderstandings of such idioms and expressions frequently caused miscom- munication between our management teams and foreign clients, I was asked to try to as- sist. I am happy to be able to share the materials that follow, such as they are, in the hope that they may be of some use and benefit to others. The simple teaching device I used was three-fold: 1. Make a note of an idiom/expression 2. Define and explain it in understandable words (including synonyms.) 3. Give at least three sample sentences to illustrate how the expression is used in context.