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~La6(8Ill COMPA.NIES INC
October 1999 Brooklyn Academy of Music 1999 Next Wave Festival BAMcinematek Brooklyn Philharmonic 651 ARTS ~' pi I'" T if II' II i fl ,- ,.. til 1 ~ - - . I I I' " . ,I •[, II' , 1 , i 1'1 1/ I I; , ~II m Jennifer Bartleli, House: Large Grid, 1998 BAM Next Wave Festival sponsored by PHILIP MORRIS ~lA6(8Ill COMPA.NIES INC. Brooklyn Academy of Music Bruce C. Ratner Chairman of the Board Karen Brooks Hopkins Joseph V. Melillo President Executive Prod ucer presents Moby Dick Running time: BAM Opera House approximately ninety October 5, 1999, at 7:00 p.m. (Next Wave Festival Gala) minutes. Songs and October 6-9 & 12-16, 1999, at 7:30 p.m. Stories from Moby Dick is performed without an Visual Design, Music, and Lyrics Laurie Anderson intermission. Performers Pip, The Whale, A Reader Laurie Anderson Ahab, Noah, Explorer Tom Nelis The Cook, Second Mate, Running Man Price Waldman Standing Man Anthony Turner Falling Man Miles Green Musicians Violin, keyboards, guitar, talking stick Laurie Anderson Bass, prepared bass, samples Skuli Sverrisson Artistic Collaborators Co-Visual Design Christopher Kondek Co-Set Design James Schuette Lighting Design Michael Chybowski Sound Design Miles Green Costume Design Susan Hilferty Electronics Design Bob Bielecki Video Systems Design Ben Rubin Staging Co-Direction Anne Bogart General Management Julie Crosby Production Management Bohdan Bushell Production Stage Management Lisa Porter Major support for this presentation was provided by The Ford Foundation with additional support from The Dime Savings Bank of New York, FSB. Next Wave Festival Gala is sponsored by Philip Morris Companies Inc. 17 Produced by electronic theater company, Inc. -
Virtual Open House Saturday, January 23 - 9 AM Pacific Time
LOS ANGELES COLLEGE OF MUSIC Virtual Open House Saturday, January 23 - 9 AM Pacific Time LOGIN Opening Session: Please use the Zoom links on the following page to access waiting rooms for Virtual Open House. Separate links will be provided for the Opening Session and Program Session Rooms. Audition info is included at the end of the packet. We are excited to connect with you! 9:00am Welcome Introducing LACM Leadership & Admissions Team 9:20am Student Performance Izye Songwriting Major, Summer Xperience Alum 9:40am Resource Fair Learn More About Student & Career Services, Transfer Info, Financial Aid, Housing, The Admissions Process and more 10:40am Keynote Speaker Joe Ryan III - Songwriting Faculty 11:00am Program Sessions Zoom links are provided on the following page. Bass Performance Brass & Woodwind Performance Drum Performance Guitar Performance Piano Performance Vocal Performance Music Producing & Recording Composing for Visual Media Music Business & Songwriting 11:45am Break 15 Minute Break 12:00pm Auditions Auditions will now be held in AuditionRoom, hosted by the Get Acceptd application portal. Students must have submitted their app by Wednesday to be included. Full login instructions are on the final pages of this document. ZOOM LINKS AND PASSCODES Virtual Open House Opening Session: 9:00 AM https://lacm.zoom.us/j/99866520285?pwd=SnFGYnNwUzNyV0Z4MUhlYm92bEZrUT09 Meeting ID: 998 6652 0285 Passcode: OPENHOUSE Bass Program Session: 11:00 AM https://lacm.zoom.us/j/91321247471?pwd=L1djTzdVUlpjeXVCVnhnUkFWZFRSQT09 Meeting ID: 913 2124 -
Crossing Over: from Black Rhythm Blues to White Rock 'N' Roll
PART2 RHYTHM& BUSINESS:THE POLITICAL ECONOMY OF BLACKMUSIC Crossing Over: From Black Rhythm Blues . Publishers (ASCAP), a “performance rights” organization that recovers royalty pay- to WhiteRock ‘n’ Roll ments for the performance of copyrighted music. Until 1939,ASCAP was a closed BY REEBEEGAROFALO society with a virtual monopoly on all copyrighted music. As proprietor of the com- positions of its members, ASCAP could regulate the use of any selection in its cata- logue. The organization exercised considerable power in the shaping of public taste. Membership in the society was generally skewed toward writers of show tunes and The history of popular music in this country-at least, in the twentieth century-can semi-serious works such as Richard Rodgers and Lorenz Hart, Cole Porter, George be described in terms of a pattern of black innovation and white popularization, Gershwin, Irving Berlin, and George M. Cohan. Of the society’s 170 charter mem- which 1 have referred to elsewhere as “black roots, white fruits.’” The pattern is built bers, six were black: Harry Burleigh, Will Marion Cook, J. Rosamond and James not only on the wellspring of creativity that black artists bring to popular music but Weldon Johnson, Cecil Mack, and Will Tyers.’ While other “literate” black writers also on the systematic exclusion of black personnel from positions of power within and composers (W. C. Handy, Duke Ellington) would be able to gain entrance to the industry and on the artificial separation of black and white audiences. Because of ASCAP, the vast majority of “untutored” black artists were routinely excluded from industry and audience racism, black music has been relegated to a separate and the society and thereby systematically denied the full benefits of copyright protection. -
2007 Esol Project
2007 ESOL PROJECT http://www.bbc.co.uk/radio3/worldmusic/a4wm2007 1 www.myspace.com/bbcawardsforworldmusic Contents Introduction 3 Evaluation Form 4 Entry 3 Material 7 Entry 3 Answer Sheet 18 Entry 3 Lesson Plan 20 Level 1 Material 25 Level 1 Answer Sheet 38 Level 1 Lesson Plan 39 Level 2 Material 43 Level 2 Answer Sheet 50 Level 2 Lesson Plan 51 Extension Activities 56 http://www.bbc.co.uk/radio3/worldmusic/a4wm2007 2 www.myspace.com/bbcawardsforworldmusic Introduction Britain - a diverse society It is no accident that the term ‘world music’ was coined in a nation whose favourite dish is Chicken Tikka Masala; ever since Sir Francis Drake returned from the Americas with the now humble potato the UK has looked to the rest of the world to expand its culture, tastes and creativity. These days the ‘Golden Hind’ bobs in the swell of a well-earned retirement, a tourist attraction whose ‘golden’ years are spent as a memorial to world culture and exploration. Her voyage, which took three years, is now an anachronism, replaced by the modern galleons of the Internet, TV and more importantly the multiculturalism of British society. Reaching a diverse new audience Britain has a uniquely diverse nation. There is now an estimated minority ethnic population of more than 4 million, 7.1% of the population. Modern Britain is a home to communities from every corner of the globe; their plethoras of cultures, cuisines and skills have been an important force in Britain’s development socially, culturally and economically. Historically, the British world music audience has, in its ethnic make-up, been somewhat less diverse than the background picture of the UK. -
Clyde Mcphatter 1987.Pdf
Clyde McPhatter was among thefirst | singers to rhapsodize about romance in gospel’s emotionally charged style. It wasn’t an easy stepfor McP hatter to make; after all, he was only eighteen, a 2m inister’s son born in North Carolina and raised in New Jersey, when vocal arranger and talent manager Billy | Ward decided in 1950 that I McPhatter would be the perfect choice to front his latest concept, a vocal quartet called the Dominoes. At the time, quartets (which, despite the name, often contained more than four members) were popular on the gospel circuit. They also dominated the R&B field, the most popular being decorous ensembles like the Ink Spots and the Orioles. Ward wanted to combine the vocal flamboyance of gospel with the pop orientation o f the R&B quartets. The result was rhythm and gospel, a sound that never really made it across the R &B chart to the mainstream audience o f the time but reached everybody’s ears years later in the form of Sixties soul. As Charlie Gillett wrote in The Sound of the City, the Dominoes began working instinctively - and timidly. McPhatter said, ' ‘We were very frightened in the studio when we were recording. Billy Ward was teaching us the song, and he’d say, ‘Sing it up,’ and I said, 'Well, I don’t feel it that way, ’ and he said, ‘Try it your way. ’ I felt more relaxed if I wasn’t confined to the melody. I would take liberties with it and he’d say, ‘That’s great. -
Hart Rolls Over Mondale by John Yearwood the Primary
(Qnratftftnit Batlg (ttamjma Serving Storrs Since 1896 Vol. LXXXVII No. 86 The University of Connecticut Wednesday. February 29, 1984 New Hampshire primary: Hart rolls over Mondale By John Yearwood the primary. With 58 percent national polls." Hart told his Assignments Editor of the votes counted, Hart had chanting supporters, "but MANCHESTER N.H.—Sen. an unconfirmed 40 percent to that will come with time." Gary Hart pulled off the big- Mondale's 28 percent. According to exit polls con- gest upset of the political sea- "The American people are ducted by ABC News. Hart did son yesterday by defeating ready for a change and ready best among college students. former vice president Walter for new leadership." Hart told 74 percent of whom voted for F. Mondale in the country's the approximately 300 sup- him. Also, 55 percent of the first presidential primary. porters, during his victory undecideds and 40 percent of Hart's upset was a big blow speech here. "This campaign the independents voted for to Mondale's well-oiled cam- is for those not only young in the Colorado Senator. paign which some polls age but also in spirit," Hart Republican President showed had a substantial said. Ronald Reagan also pulled off margin over Hart coming into "We don't have a position in a surprise here by gathering enough Democratic votes to finish ahead of three Democ- President DiBiaggio speaking at the convocation cere- Hart campaigns actively; rats. He received 10 percent of mony yesterday (Charles Hisey photo). the vote, fueled in large part, Mondale tries to coast by an editorial in the state's By John Paradis largest newspaper, the Union liobhidge awarded an Assistant Managing Editor Leader, telling voters to write BEDFORD, N.H.—Sen. -
Poetry Contest
PAGES 20-21 NC Stage Company’s irreverant look at the holidays and the single life stars Julia VanderVeen. PAGE 6 PAGE 23 Join Clara on a magical midnight trip in the Asheville Ballet’s annual production of The Nutcracker. PAGE 4 The Chocolate Fetish launches their new Elite Series just in time for holiday shopping. PAGE 25 PLUS INTERVIEWS WITH: Seaton Smith PAGE 6 Simone Bouyer PAGE 15 Joshua Spiceland PAGE 17 Philip DeAngelo PAGE 37 Chef Josh Monroe PAGE 39 POETRY CONTEST There’s still time! Entries sought for our Purchase the Best Gifts at Local Shops, SEE PAGES 18-25 15th Annual Poetry Contest. PAGE 28 December 2011 — RAPID RIVER ARTS & CULTURE MAGAZINE — Vol. 15, No. 4 PRINTS COLOR Vol. 15, No. 4 — RAPID RIVER ARTS & CULTURE MAGAZINE — December 2011 PRINTS COLOR RAPID RIVER ARTS & CULTURE performance The Asheville Ballet’s Ntcrackrspectacular professional produc- tion of the full original ballet from Empirical Russia interpreted and performed by Asheville’s own, and only, Professional Resident Ballet ACompany, directed by Ann Dunn. The Asheville Ballet’s Nutcracker has been a holiday tradition in Asheville for decades. Children and adults will be charmed yet again by ballet’s greatest clas- sic. This all-time favorite story of Clara’s magical midnight trip to the Land of Sweets is classical ballet at its best. Snow will fall in the Snow Queen’s kingdom, scary rats will frighten — then good soldiers will rescue — Clara, the exquisite Sugar Plum Fairy and her handsome Cavalier will dance their as Toy Soldiers, fighting off the scary rats quickly. -
1 2 | Lonestarmusic Lonestarmusic | 3
LoneStarMusic | 1 2 | LoneStarMusic LoneStarMusic | 3 inside this issue SHOVELS AND ROPE pg 38 O’ What Two Can Do The triumphant union, joyful noise and crazy good times of Cary Ann Hearst and Michael Trent by Kelly Dearmore FEATUREs 34 Q&A: Paul Thorn — By Lynne Margolis 48 Sunny Sweeney finds the light — By Holly Gleason 52 Lee Ann Womack: When I come around — By Richard Skanse 56 Cory Branan: The wandering musical spirit of Americana’s free-ranging “No-Hit Wonder” — By Adam Daswon 58 Imagine Houston: An excerpt from Reverb, the new novel by Joe Ely Photo courtesy of All Eyes Media 4 | LoneStarMusic LoneStarMusic | 5 after awhile inside this issue Publisher: Zach Jennings Editor: Richard Skanse Notes from the Editor | By Richard Skanse Creative Director/Layout: Melissa Webb Cover Design: Melissa Webb Advertising/Marketing: Kristen Townsend Apart from the opportunity to work with a team of really good people Advertising: Tara Staglik, Erica — especially graphic designer Melissa Webb, who I’d already known and Brown greatly respected for years — one of the things that appealed most to me Artist & Label Relations: Kristen Townsend about joining this magazine five years ago was owner Zach Jennings’ vision that LoneStarMusic could be about more than just Texas music. Even more Contributing Contributing and Writers Photographers than Texas Red Dirt music. We all agreed that we would still focus on songwriters and roots and/or country(ish) music — pretty much anything Richard Skanse John Carrico that could directly or even indirectly fall under the category of “Americana” in Lynne Margolis Lynne Margolis Brian T. -
Shelby Lynne I Can't Imagine
Shelby Lynne I Can’t Imagine Universal / Concord : 00888072359895 VÖ: 08.05.2015 Songs: Paper Van Gogh / Back Door Front Porch / Sold The Devil (Sunshine) / Son Of A Gun / Down Here / Love s Strong / Better / Be In The Now / Following You / I Can’t Imagine “I threw these colors down in a fit of rage / My feelings hardly fit onto the page” Es fängt, wie immer, mit dieser Stimme an. Einer Stimme, die zu zwei Teilen aus Alabama‐ Sonnenschein und einem Teil aus Memphis‐Regensturm zusammengemixt zu sein scheint und eines der großartigsten Instrumente in der gesamten Popmusik ist. “Cloudy memories make for darker grays / But blue is how I paint myself today” So beginnt Shelby Lynnes dreizehntes Album “I Can’t Imagine”. Und es ist möglicherweise die brillanteste und bewegendste Ansammlung an Kompositionen der Sängerin seit ihrem 1999 erschienenen Meilenstein “I Am Shelby Lynne”. Die zehn prickelnden Songs des neuen Albums tragen allesamt die unverkennbare Handschrift der Grammy‐Preisträgerin. Lynnes glänzende Vokal‐Performance wird dabei von einer hochkarätigen Band um den Gitarristen Ben Peeler absolut fantastisch unterstützt. Die Songs selbst reflektieren das breite Spektrum von Lynnes musikalischen Einflüssen, das von Southern Soul über Rhythm’n’Blues aus New Orleans sowie kalifornischem Country & Western bis hin zum leidenschaftlichen Sozialbewusstsein von Wegbereitern wie Woody Guthrie und den bluesigen Vokalisierungen einer Billie Holiday reicht. Den Großteil der Lieder komponierte Lynne, wie sie sagt, 2012 in einem Rutsch. Zwei der zehn Stücke schrieb sie zusammen mit dem profilierten kanadischen Songwriter Ron Sexsmith (“Love Is Strong” und “Be In The Now”), drei mit den Mitgliedern ihrer Band (“Better” und “I Can’t Imagine” mit dem Gitarristen/Keyboarder Pete Donnelly und “Sold The Devil (Sunshine)” mit Peeler). -
Table of Contents
1 •••I I Table of Contents Freebies! 3 Rock 55 New Spring Titles 3 R&B it Rap * Dance 59 Women's Spirituality * New Age 12 Gospel 60 Recovery 24 Blues 61 Women's Music *• Feminist Music 25 Jazz 62 Comedy 37 Classical 63 Ladyslipper Top 40 37 Spoken 65 African 38 Babyslipper Catalog 66 Arabic * Middle Eastern 39 "Mehn's Music' 70 Asian 39 Videos 72 Celtic * British Isles 40 Kids'Videos 76 European 43 Songbooks, Posters 77 Latin American _ 43 Jewelry, Books 78 Native American 44 Cards, T-Shirts 80 Jewish 46 Ordering Information 84 Reggae 47 Donor Discount Club 84 Country 48 Order Blank 85 Folk * Traditional 49 Artist Index 86 Art exhibit at Horace Williams House spurs bride to change reception plans By Jennifer Brett FROM OUR "CONTROVERSIAL- SUffWriter COVER ARTIST, When Julie Wyne became engaged, she and her fiance planned to hold (heir SUDIE RAKUSIN wedding reception at the historic Horace Williams House on Rosemary Street. The Sabbats Series Notecards sOk But a controversial art exhibit dis A spectacular set of 8 color notecards^^ played in the house prompted Wyne to reproductions of original oil paintings by Sudie change her plans and move the Feb. IS Rakusin. Each personifies one Sabbat and holds the reception to the Siena Hotel. symbols, phase of the moon, the feeling of the season, The exhibit, by Hillsborough artist what is growing and being harvested...against a Sudie Rakusin, includes paintings of background color of the corresponding chakra. The 8 scantily clad and bare-breasted women. Sabbats are Winter Solstice, Candelmas, Spring "I have no problem with the gallery Equinox, Beltane/May Eve, Summer Solstice, showing the paintings," Wyne told The Lammas, Autumn Equinox, and Hallomas. -
Film Site Eveocom Expands to Music the Formation of the Island /Def Much Memphis As Nashville
Merchants RETAILING DISTRIBUTIONMarketin DIRECT SALES HOME VIDEO ENTER *ACTIVE ACCESSORIES Europe Gains Broadband Net Access Peoplesound, Popwire Will Offer Music Content Over ISPs BY KAI R. LOFTHUS pings and on weekends. access trial of ADSL with People - OSLO-European online consumers According to Bruno Heese, Peo- sound will demonstrate the speed need no longer put their faith in 56K plesound's VP of business develop- and convenience it offers to our modems when they want to access ment, international, the collaboration users." the Internet to buy music, videos, or with Freeserve is only on a trial bas- Concurrently, various other ISPs games. While major U.S. cities and is in the U.K. Peoplesound also has are concentrating their efforts to- academic circles have been treated offices in Munich and Paris. ward offering Internet via cable TV to fixed -price, high- bandwidth Net "The penetration of broadband networks. Chello, a subsidiary of access for some time, the corre- technologies is still very low," says United Pan -Europe Communica- sponding penetration in Europe has Reese. "When the trial phase is over, tions, is offering round -the -clock been lacking -until now, that is. setting a price on the [currently access for between $37 and $50. A number of music sites, such as free] downloads will be the next step. Chello, which has plans to list its Peoplesound.com and Popwire.com, Now we just want to see how the trial shares on the Amsterdam Stock Pulse Performance. Tuff Gong International act Steel Pulse made an in -store are beginning to ink pacts that will goes and learn what we can from Exchange, operates in offices Eu- appearance at the Rhino Records store in the Westwood section of Los Angeles deliver their content to the consum- consumers' responses." rope, Latin America, and Australia. -
The Golden Age of Rock 'N' Roll
The Golden Age of Rock ’n’ Roll Week 2, February 26, 2018 Song Structure, Chord Progressions; 1954 and 1955: Vocal Groups Assignment: Rolling Stone: The ‘50s http://www.rollingstone.com/music/features/the-50s-19900419 Written in 1990 by Robert Palmer, a rock journalist, to try to evoke for a generation far removed from the ‘50s what it was like to be there. The most important observation is that, for the first time, teenagers embraced music which was not only not the music of their parents but was music their parents actively scorned. Carl Belz, “The Beginnings of Rock”, chapter 2 of The Story of Rock. http://ruml.com/goldenage/pdfs/BelzStoryOfRockChp2.pdf Excellent discussion of the preceding status quo and very adept descriptions of the relevant events of 1954-1957. Charlie Gillett, “The Five Styles of Rock ’n’ Roll”, from Sound of the City: the Rise of Rock and Roll. http://ruml.com/goldenage/pdfs/GillettFiveStylesRnR.pdf Gillett argues that RnR was not just one style but five distinct styles! If you didn’t get a chance to read this for last week’s class, please read it now! Listen to: Honey Love, The Drifters (lead: Clyde McPhatter), 1954 https://www.youtube.com/watch?v=nCwWCAVXGe8 Page !1 lots of Caribbean flavor; the Memphis police prohibit The Drifters' "Honey Love" from being loaded into jukeboxes, due to what they considered "suggestive lyrics." Sh-Boom, Chords, 1954 (covered by The Crewcuts which went to #1) Compare the two: Chords: https://www.youtube.com/watch?v=cTL59_kHfCk Crewcuts: https://www.youtube.com/watch?v=Q9G0-4TWwew Stan Freeberg’s parody of both (mentioned in Belz) https://www.youtube.com/watch?v=_TFJhZa4V7o Prof Covach: https://www.youtube.com/watch?v=VfckHfQjpyM We’ll discuss the concept of a “cover” record.