Bobby Womack
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Crncentury2} PRODUCTIONS INC
, ® OPERATIONS MANUAL - PART TWO Here is your OPUS 74 Top 100 Special! This Billboard Magazine "Documentary of the Year" award-winning program is the culmination o f twelve months of research and interviewing, and over 500 production hours. We feel this year's "OPUS" is more special than ever. On the pages which follow you will find the OPUS 74 Music List/Time & Cue Sheets . These sheets provide full information to ensure a smooth-running and trouble-free presentation. Sheets are divided to correspond with the 8 separate OPUS program disks, representing each of the OPUS broad cast hours. Commercial avails and cutaway times may be precisely determined by referring to the segment lengths shown. The sheets also indicate out cues, disk changes, music content, local ID's, and jingle placement . Please refer to Part One of the OPUS Operations Manual for other operational r e lated details . • Season's Greetings and our best wishes for a Great 1975! crncentury2} PRODUCTIONS INC. 7263 Envoy Court I Dallas, Texas 75247 / 214-638-3222 @ 1974 OPUS PRQJ"'' -lONS,_ IJ-',. p. 2 This year's OPUS program is respectfully dedicated to the memory of John Gilbert, first host of the OPUS series, who lost his life this year in the crash of a station airplane at Houston, Texas. At the time of the accident he was doing what he loved most--broadcasting . Dick Starr Roy Nilson p. 3 FINAL CHECKOUT: 1. TECHNICAL Prior to broadcast we suggest a dry run of a few of the OPUS program segments to check out the technical end of reproduction. -
'I Spy': Mike Leigh in the Age of Britpop (A Critical Memoir)
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Glasgow School of Art: RADAR 'I Spy': Mike Leigh in the Age of Britpop (A Critical Memoir) David Sweeney During the Britpop era of the 1990s, the name of Mike Leigh was invoked regularly both by musicians and the journalists who wrote about them. To compare a band or a record to Mike Leigh was to use a form of cultural shorthand that established a shared aesthetic between musician and filmmaker. Often this aesthetic similarity went undiscussed beyond a vague acknowledgement that both parties were interested in 'real life' rather than the escapist fantasies usually associated with popular entertainment. This focus on 'real life' involved exposing the ugly truth of British existence concealed behind drawing room curtains and beneath prim good manners, its 'secrets and lies' as Leigh would later title one of his films. I know this because I was there. Here's how I remember it all: Jarvis Cocker and Abigail's Party To achieve this exposure, both Leigh and the Britpop bands he influenced used a form of 'real world' observation that some critics found intrusive to the extent of voyeurism, particularly when their gaze was directed, as it so often was, at the working class. Jarvis Cocker, lead singer and lyricist of the band Pulp -exemplars, along with Suede and Blur, of Leigh-esque Britpop - described the band's biggest hit, and one of the definitive Britpop songs, 'Common People', as dealing with "a certain voyeurism on the part of the middle classes, a certain romanticism of working class culture and a desire to slum it a bit". -
Bobby Womack BW Goes C & W Mp3, Flac
Bobby Womack BW Goes C & W mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Funk / Soul Album: BW Goes C & W Country: Canada Released: 1976 Style: Soul MP3 version RAR size: 1526 mb FLAC version RAR size: 1918 mb WMA version RAR size: 1605 mb Rating: 4.1 Votes: 981 Other Formats: ADX MPC AHX VOX DTS AA MP4 Tracklist A1 Don't Make This The Last Date 3:12 A2 Behind Closed Doors 2:32 A3 Bouquet Of Roses 2:43 A4 Tired Of Living In The Country 2:01 A5 Tarnished Rings 2:39 B1 Big Bayou 2:50 B2 Song Of The Mockingbird 3:10 B3 I'd Be Ahead If I Could Quit While I'm Behind 2:34 B4 You 2:40 B5 I Take It On Home 3:17 Credits Producer – Bobby Womack Notes Manufactured and distributed by U.A Records Limited, 6 Lansing Square, Suite 208, Willowdale, Ontario Other versions Category Artist Title (Format) Label Category Country Year Bobby BW Goes C & W (LP, United Artists UA-LA638-G UA-LA638-G US 1976 Womack Album) Records Bobby BW Goes C&W (CD, TYCP-60103 Liberty TYCP-60103 Japan 2014 Womack Album, RE, RM) Bobby BW Goes C&W (CD, JICK-89166 Jimco Records JICK-89166 Japan 1992 Womack Album, RE) Bobby BW Goes C & W (LP, United Artists South UAS 7157 UAS 7157 1976 Womack Album) Records Africa Bobby BW Goes C&W (LP, United Artists 27528-I 27528-I Spain 1976 Womack Album) Records Related Music albums to BW Goes C & W by Bobby Womack Bobby Womack - Bobby Womack's Greatest Hits (The Preacher) Bobby Womack - Woman's Gotta Have It Bobby Womack - I Wanna Make Love To You Shirley Brown With Bobby Womack - Ain't Nothing Like The Loving We Got / If This Is Goodbye Bobby Womack - Time Is Tight Bobby Womack - The Essential Bobby Womack Bobby Womack - California Dreaming / Baby! You Ought To Think It Over Bobby Womack - What Is This? / I Wonder Bobby Womack - Communication Bobby Womack - I Don't Know What The World Is Coming To. -
Gender, Ethnicity, and Identity in Virtual
Virtual Pop: Gender, Ethnicity, and Identity in Virtual Bands and Vocaloid Alicia Stark Cardiff University School of Music 2018 Presented in partial fulfilment of the requirements for the degree Doctor of Philosophy in Musicology TABLE OF CONTENTS ABSTRACT i DEDICATION iii ACKNOWLEDGEMENTS iv INTRODUCTION 7 EXISTING STUDIES OF VIRTUAL BANDS 9 RESEARCH QUESTIONS 13 METHODOLOGY 19 THESIS STRUCTURE 30 CHAPTER 1: ‘YOU’VE COME A LONG WAY, BABY:’ THE HISTORY AND TECHNOLOGIES OF VIRTUAL BANDS 36 CATEGORIES OF VIRTUAL BANDS 37 AN ANIMATED ANTHOLOGY – THE RISE IN POPULARITY OF ANIMATION 42 ALVIN AND THE CHIPMUNKS… 44 …AND THEIR SUCCESSORS 49 VIRTUAL BANDS FOR ALL AGES, AVAILABLE ON YOUR TV 54 VIRTUAL BANDS IN OTHER TYPES OF MEDIA 61 CREATING THE VOICE 69 REPRODUCING THE BODY 79 CONCLUSION 86 CHAPTER 2: ‘ALMOST UNREAL:’ TOWARDS A THEORETICAL FRAMEWORK FOR VIRTUAL BANDS 88 DEFINING REALITY AND VIRTUAL REALITY 89 APPLYING THEORIES OF ‘REALNESS’ TO VIRTUAL BANDS 98 UNDERSTANDING MULTIMEDIA 102 APPLYING THEORIES OF MULTIMEDIA TO VIRTUAL BANDS 110 THE VOICE IN VIRTUAL BANDS 114 AGENCY: TRANSFORMATION THROUGH TECHNOLOGY 120 CONCLUSION 133 CHAPTER 3: ‘INSIDE, OUTSIDE, UPSIDE DOWN:’ GENDER AND ETHNICITY IN VIRTUAL BANDS 135 GENDER 136 ETHNICITY 152 CASE STUDIES: DETHKLOK, JOSIE AND THE PUSSYCATS, STUDIO KILLERS 159 CONCLUSION 179 CHAPTER 4: ‘SPITTING OUT THE DEMONS:’ GORILLAZ’ CREATION STORY AND THE CONSTRUCTION OF AUTHENTICITY 181 ACADEMIC DISCOURSE ON GORILLAZ 187 MASCULINITY IN GORILLAZ 191 ETHNICITY IN GORILLAZ 200 GORILLAZ FANDOM 215 CONCLUSION 225 -
Ben Hillier You Get Asked to Produce and Then You Have to Take Control of the Project in a Practical Sense
How do you feel about the distinction between producer and engineer? Ben Hillier You get asked to produce and then you have to take control of the project in a practical sense. Every album I do is different but the thing I always do the same Blur’s latest album Think Tank has enjoyed critical acclaim yet it’s creation did not follow a when I produce is finish it and get it done. That is your job. traditional course. ZENON SCHOEPE talks to the man who took it from London, to It is funny when you go in to a project not as the producer but end up as the producer, which is Marrakech, to Devon. effectively how it happened with this Blur album. Where did you start working on the project? We started working in 13 and the majority of the tracking was done there in two weeks at the end of EN ALMOST BECAME a professional him to edit. This combined with a good knowledge of 2001. Blur are great to work with because they do classical percussionist until sessions for Virgin sequencing got him working and then his clients regular and sensible hours. We had nine songs at the BClassics with Floating Earth recording led to realised he could engineer as well. end of that, some of which were finished, and then him assisting on a handful of sessions. In his own His move in to production started with Elbow’s first another two weeks in January-February by which point words he’d ‘caught the bug’. -
J. D. Thomas Accession
JD THOMAS CULTURAL CENTER, INC. PAST-PERFECT CONTENT INDEX Charles “Madhatter” Collection Series 1: Awards Exhibit/Display Artist: Award: 1. The Fat Boys - “Cruisin” Platinum Sales Award 2. Jodici -“Forever My Lady” Multi-Platinum Sales Award 3. Levert -“The Big Throwdown” Gold Sales Award 4. M.C. Hammer -“Let’s Get it Started” Platinum Sales Award 5. Southern M.U.S.I.C. “Butterball Friendship Award” 6. Charles “MadHatter” Merritt Framed charcoal portrait 7. Charles “MadHatter” Merritt Self Photo 8. Charles “MadHaatter” Merritt Self Photo 9. Blues & Soul Blues Summit Honorium Award 10. Jasmine Guy - Actress Photo to MadHatter *(autographed) Box 1: Artist: Album: 1. Bobby Brown My Prerogative 2. New Edition Christmas All Over the World 3. Bobby Brown Every Little Hit 4. New Edition Heart Break 5. Lou Rawls Let Me Be Good To You 6. Lou Rawls At Last 7. Lou Rawls Live at the Mark Hellinger Theatre, NYC 8. Commodores Caught in the Act 9. Commorores Brick House 10. Commodores Rock Solid Box 2: Artist: Album: 1. L.L. Cool J I’m That Type of Guy 2. Nancy Wilson A Lady With A Song 3. ‘LaBelle & The Bluebells Merry Christmas From LaBelle 4. Myrna Summers/Rev. Wright We’re Going To Make It 5. Shirley Caesar I Remember Mama 6. Hannibal Visions of a New World 7. Manhattans Love Talk 8. St. Augustine’s College Choir The Divine Service 9. Lou Rawls Family Reunion 10. Hall & Oates Live at the Apollo (with David Ruffin & Eddie Kendricks) Box 3: Artist: Album: 1. Glady’s Knight LIFE 2. -
International Company Manager Job Pack
INTERNATIONAL COMPANY MANAGER JOB PACK APRIL 2021 PDI International Company Manager Job Pack April 2021 OUR HISTORY Formed in the UK by Felix Barrett in 2000, Punchdrunk has pioneered a game-changing form of immersive theatre in which roaming audiences experience epic and emotional storytelling inside sensory theatrical worlds. Blending classical texts, physical performance, award-winning design installation, and unexpected sites, the company’s infectious format rejects the passive obedience usually expected of audiences. Our award-winning productions invite audiences to rediscover the childlike excitement and anticipation of exploring the unknown and experience a real sense of adventure. The company’s international production, Sleep No More, has celebrated 10 years of its extended run in the USA. In December 2016, a redeveloped version of the production opened in Shanghai and continues to run. The Third Day, a six-part TV drama and theatrical broadcast created by Dennis Kelly and Felix Barrett aired on Sky and HBO earlier this year. Punchdrunk also announced a partnership with gaming giants Niantic earlier this year. Punchdrunk’s award-winning productions include: Faust (in collaboration with the National Theatre, 2006) The Masque of the Red Death (2008) Tunnel 228 (in collaboration with The Old Vic, 2009) It Felt Like A Kiss (with Adam Curtis and Damon Albarn, Manchester International Festival, 2009) Sleep No More (with the American Repertory Theatre, Boston, Mass., 2009) The Duchess of Malfi (with ENO, 2010) The Crash of the Elysium (Manchester International Festival, 2011) The Drowned Man: A Hollywood Fable (with the National Theatre, 2013). Since 2008, Punchdrunk Enrichment has taken this immersive practice into communities, creating performances with and for children, young people and the wider community. -
Dark Night of the Soul
Danger Mouse And Sparklehorse - Dark Night Of The Soul Uncut has reviewed plenty of obscure albums in its time but this may be a first: an album that doesn’t officially exist. As a result of some undisclosed contractual snafu, EMI put the mockers on Dark Night Of The Soul just as it was being readied for release. Undeterred, Danger Mouse pressed ahead anyway, offering Dark Night… as a limited edition photo book featuring David Lynch ’s “visual narrative” for the project, accompanied by a blank, recordable CD and the not-so-cryptic instruction to “use it as you will”. Though careful not to say as much, Danger Mouse was essentially encouraging us to bootleg his own LP, which by this point had mysteriously surfaced on file-sharing networks. Danger Mouse has form in this area, of course. The Grey Album , his inventive mash-up of Jay-Z and The Beatles , also aroused the wrath of EMI, who held the rights to The White Album . It made his reputation, if not his fortune, so he knows the value of peer-to-peer propaganda. On the other hand, Danger Mouse’s clever feint here may just have succeeded in adding a layer of intrigue to a project which, despite its impressive cast list, is not as fascinating as its creators probably hoped. Take Gorillaz ’s Demon Days, substitute Sparklehorse ’s Mark Linkous for Damon Albarn , and David Lynch ’s murky snapshots of sinister smalltown America for Jamie Hewlett ’s anarchic cartoons, and you’ve got the basic idea of Dark Night… There are some big-name cameos – Iggy Pop , Frank Black , a surprisingly compelling Suzanne Vega – but it’s questionable whether a collaborative free-for-all was the best way to approach a concept album about loss of faith; dark nights of the soul, by their very nature, usually demand to be suffered in isolation. -
CHELSEA BURNS 2406 Robert Dedman Drive Austin, TX 78712-7764 [email protected]
University of Texas at Austin CHELSEA BURNS 2406 Robert Dedman Drive Austin, TX 78712-7764 [email protected] PROFESSIONAL HISTORY 2019–present Assistant Professor of Music Theory, Butler School of Music (University of Texas at Austin) 2017–2019 Assistant Professor of Music Theory, Eastman School of Music (University of Rochester) 2016–17 Preceptor of Music, Harvard University EDUCATION 2016 PhD, Theory and History of Music University of Chicago Dissertation: “Listening for Modern Latin America: Identity and Representation in Concert Music, 1920–1940” 2003 Bachelor of Music, Piano Performance, University of North Carolina–Greensboro PUBLICATIONS under review “The Racial Limitations of Country-Soul Crossover in Bobby Womack’s BW Goes C&W, 1976.” In peer review as part of special issue of Journal of Popular Music Studies, “Uncharted Country.” forthcoming “‘Musique Cannibale’: The Evolving Sound of Indigeneity in Heitor Villa-Lobos’s Tres poêmas indigenas.” Music Theory Spectrum. 2019 “‘Together Again,’ But We Keep On Crying: Buck Owens, Tom Brumley, and the Pedal Steel.” Music Theory Online 25.2. 2012 Review of Analytical and Cross-Cultural Studies in World Music, eds. Michael Tenzer and John Roeder (New York: Oxford University Press, 2011) in Music Theory Online, 18.4. FELLOWSHIPS AND AWARDS 2018 Music Theory Special Research Fund Theory Department, Eastman School of Music 2015–16 ACLS/Mellon Dissertation Completion Fellowship 2014–15 Claire Dux Swift Dissertation Award Music Department, University of Chicago Chelsea Burns, p. 2 -
Book \\ Damon Albarn: Blur, Gorillaz and Other Fables (Paperback) / Read
HIOMW7CEH5 < Damon Albarn: Blur, Gorillaz and Other Fables (Paperback) / Kindle Damon A lbarn: Blur, Gorillaz and Oth er Fables (Paperback) By David Nolan, Martin Roach John Blake Publishing Ltd, United Kingdom, 2016. Paperback. Condition: New. Revised, Updated. Language: English . Brand New Book. Damon Albarn was the frontman of Blur and the face of Britpop. While his peers have gradually fallen by the wayside, Albarn has survived Britpop to completely re-invent himself as the mastermind behind the global phenomenon that is Gorillaz. With his eclectic solo projects - such as the currently much-revered The Good, The Bad and the Queen - and his work with legends like Soul music icon Bobby Womack, he has proven again and again that he is one of British music s most respected, innovative and important personalities. And in 2015, with the release of The Magic Whip, Blur s first album for over a decade, Damon Albarn will take his place once more as an iconic jewel in the crown of the British music scene. This fully up-to- date book - the only available dedicated biography of Albarn - covers his multiple musical personas in depth, with first-hand interviews by those close to Albarn in his formative years, as well as social and musical context that covers the Britpop era and Albarn s re-emergence as the Godfather to the i-Pod generation. READ ONLINE [ 1.78 MB ] Reviews Very helpful to all of class of folks. This is certainly for all who statte there had not been a worthy of studying. Once you begin to read the book, it is extremely difficult to leave it before concluding. -
Gorillaz El Mañana (TTC Remix) Mp3, Flac, Wma
Gorillaz El Mañana (TTC Remix) mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Electronic / Hip hop Album: El Mañana (TTC Remix) Country: Switzerland Released: 2008 Style: Electro, Hip Hop MP3 version RAR size: 1640 mb FLAC version RAR size: 1756 mb WMA version RAR size: 1536 mb Rating: 4.3 Votes: 987 Other Formats: WMA ASF VOC AIFF MP2 TTA AHX Tracklist Hide Credits El Mañana (TTC Remix) [aka PXQT] 1 4:39 Guest – The Genevan HeathenProducer – Para OneRap – Cuizinier, Teki Latex*Remix – TTC Notes Back when the tracklisting for Gorillaz' compilation album D-Sides was being compiled, the remix 'El Manana (TTC Remix)' was officially approved by Damon Albarn and Jamie Hewlett for inclusion. This remix was recorded in late 2006 and features rapping from the French Hip-Hop group TTC and was produced by French producer Para One. The group submitted the remix for release approval by Damon / Jamie but it was at first rejected then later during the compiling of D-Sides, when Damon / Jamie were reviewing the material available for the remix disc, it was officially approved. The remix appeared on the first official tracklisting of D-Sides sent out in press releases to certain retailers. However, by the time the remix had been approved, the band and the producer had lost the recording of the track. So even though it was requested to be on the album, it was never sent to the record label and so did not appear on D-Sides, neither on the advance promo or commercial formats. However, after it was recorded, the track was circulated amongst insiders in the French Hip-Hop scene under the name "PXQT". -
Rock and Roll Hall of Fame and Museum Presents
ROCK AND ROLL HALL OF FAME AND MUSEUM PRESENTS: “The multi-dimensional presentation challenged each student and myself to consider different ways of understanding how music affects culture and consequently, the world.” - Rockin’ the Schools teacher participant Restrictions to schools iN Northeast OH Apply 2014–2015 ON-Site Educational Programs CLASSES 2014-2015 “SHAKE, Rattle, AND ROLL”: the BuiLding BLocKs oF Music On-SItE EDuCAtIOnAL PROGRAMS SUGGESTED GRADE LeVeL: K-4 ROCK YOUR cLASSROOM! Rockin’ the Schools programs are free, on-site, RELATED CONTENT AREAs: interdisciplinary classes on the history of rock and roll that meet and exceed academic content standards. Classes are offered throughout the academic year This class is designed to teach elementary school students about the four (October to June) at 10:00 am and 11:30 am in the Museum’s basic elements of music - rhythm, pitch, volume, and color - in order to state-of-the-art Foster Theater. learn how musicians have used these elements to create some of the greatest rock and roll songs ever. Students learn by singing, clapping, dancing, rocking and rolling along with recordings of upbeat and fun songs Rockin’ the Schools programs are such as Bill Haley’s “Rock Around the Clock” and the Isley Brothers’ FREE for Northeast Ohio schools “Shout!” Video performances of Rock and Roll Hall of Fame Inductees are located within zip codes that begin used to teach students about the history of rock and roll music and help with 440, 441, 442, and 443. Schools them apply analytical skills as they watch and listen. located outside of these zip codes are welcome to attend Rockin’ the Schools classes at a discounted rate.