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50Th Anniversary Celebration: 1960S Music & Musical Artists Display
Clemson University TigerPrints Presentations University Libraries 12-2016 50th Anniversary Celebration: 1960s Music & Musical Artists Display Maggie Mason Smith Clemson University, [email protected] Follow this and additional works at: https://tigerprints.clemson.edu/lib_pres Part of the Library and Information Science Commons Recommended Citation Mason Smith, Maggie, "50th Anniversary Celebration: 1960s Music & Musical Artists Display" (2016). Presentations. 99. https://tigerprints.clemson.edu/lib_pres/99 This Display is brought to you for free and open access by the University Libraries at TigerPrints. It has been accepted for inclusion in Presentations by an authorized administrator of TigerPrints. For more information, please contact [email protected]. 1960s Music & Musical Artists Display December 2016 1960s Music & Musical Artists Display Photograph taken by Micki Reid, Cooper Library Public Information Coordinator Display Description The final 50th Anniversary book display features 1960s music and musical artists. Genres featured include British Invasion; Motown/R&B; Surf, Psychedelic, Roots, Hard, and Folk Rock and protest music. Formats include print, DVD, and CD. Come to Cooper to read about, watch, or listen to The Beatles, Aretha Franklin, The Beach Boys, Janis Joplin, and Bob Dylan (among many others!) before the holidays. The display will be up throughout December and items on display can be checked out at the Library Services Desk. - Posted on Clemson University Libraries’ Blog, December 2nd 2016 Music on Display • Armstrong, Louis. The Definitive Collection. Hip-O/Verve, 2006. CD. M1630.18.A76D34 2006. • The Beatles. Abbey Road. Parlophone, 1987. CD. M1741.18.B34A23 1987. • ---. The Beatles. Parlophone, 1987. CD. M1741.18.B34B33 1987. • ---. The Beatles 1962-1966. -
Rolling Stone Magazine's Top 500 Songs
Rolling Stone Magazine's Top 500 Songs No. Interpret Title Year of release 1. Bob Dylan Like a Rolling Stone 1961 2. The Rolling Stones Satisfaction 1965 3. John Lennon Imagine 1971 4. Marvin Gaye What’s Going on 1971 5. Aretha Franklin Respect 1967 6. The Beach Boys Good Vibrations 1966 7. Chuck Berry Johnny B. Goode 1958 8. The Beatles Hey Jude 1968 9. Nirvana Smells Like Teen Spirit 1991 10. Ray Charles What'd I Say (part 1&2) 1959 11. The Who My Generation 1965 12. Sam Cooke A Change is Gonna Come 1964 13. The Beatles Yesterday 1965 14. Bob Dylan Blowin' in the Wind 1963 15. The Clash London Calling 1980 16. The Beatles I Want zo Hold Your Hand 1963 17. Jimmy Hendrix Purple Haze 1967 18. Chuck Berry Maybellene 1955 19. Elvis Presley Hound Dog 1956 20. The Beatles Let It Be 1970 21. Bruce Springsteen Born to Run 1975 22. The Ronettes Be My Baby 1963 23. The Beatles In my Life 1965 24. The Impressions People Get Ready 1965 25. The Beach Boys God Only Knows 1966 26. The Beatles A day in a life 1967 27. Derek and the Dominos Layla 1970 28. Otis Redding Sitting on the Dock of the Bay 1968 29. The Beatles Help 1965 30. Johnny Cash I Walk the Line 1956 31. Led Zeppelin Stairway to Heaven 1971 32. The Rolling Stones Sympathy for the Devil 1968 33. Tina Turner River Deep - Mountain High 1966 34. The Righteous Brothers You've Lost that Lovin' Feelin' 1964 35. -
Southern Black Gospel Music: Qualitative Look at Quartet Sound
LIBERTY UNIVERSITY SOUTHERN BLACK GOSPEL MUSIC: QUALITATIVE LOOK AT QUARTET SOUND DURING THE GOSPEL ‘BOOM’ PERIOD OF 1940-1960 A THESIS SUBMITTED TO THE FACULTY OF THE SCHOOL OF MUSIC IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN ETHNOMUSICOLOGY BY BEATRICE IRENE PATE LYNCHBURG, V.A. April 2014 1 Abstract The purpose of this work is to identify features of southern black gospel music, and to highlight what makes the music unique. One goal is to present information about black gospel music and distinguishing the different definitions of gospel through various ages of gospel music. A historical accounting for the gospel music is necessary, to distinguish how the different definitions of gospel are from other forms of gospel music during different ages of gospel. The distinctions are important for understanding gospel music and the ‘Southern’ gospel music distinction. The quartet sound was the most popular form of music during the Golden Age of Gospel, a period in which there was significant growth of public consumption of Black gospel music, which was an explosion of black gospel culture, hence the term ‘gospel boom.’ The gospel boom period was from 1940 to 1960, right after the Great Depression, a period that also included World War II, and right before the Civil Rights Movement became a nationwide movement. This work will evaluate the quartet sound during the 1940’s, 50’s, and 60’s, which will provide a different definition for gospel music during that era. Using five black southern gospel quartets—The Dixie Hummingbirds, The Fairfield Four, The Golden Gate Quartet, The Soul Stirrers, and The Swan Silvertones—to define what southern black gospel music is, its components, and to identify important cultural elements of the music. -
The Racialization of Jimi Hendrix Marcus K
Eastern Michigan University DigitalCommons@EMU Senior Honors Theses Honors College 2007 The Racialization of Jimi Hendrix Marcus K. Adams Follow this and additional works at: http://commons.emich.edu/honors Part of the African American Studies Commons Recommended Citation Adams, Marcus K., "The Racialization of Jimi Hendrix" (2007). Senior Honors Theses. 23. http://commons.emich.edu/honors/23 This Open Access Senior Honors Thesis is brought to you for free and open access by the Honors College at DigitalCommons@EMU. It has been accepted for inclusion in Senior Honors Theses by an authorized administrator of DigitalCommons@EMU. For more information, please contact lib- [email protected]. The Racialization of Jimi Hendrix Abstract The period of history immediately following World War Two was a time of intense social change. The nde of colonialism, the internal struggles of newly emerging independent nations in Africa, social and political changes across Europe, armed conflict in Southeast Asia, and the civil rights movement in America were just a few. Although many of the above conflicts have been in the making for quite some time, they seemed to unite to form a socio-political cultural revolution known as the 60s, the effects of which continues to this day. The 1960s asw a particularly intense time for race relations in the United States. Long before it officially became a republic, in matters of race, white America collectively had trouble reconciling what it practiced versus what it preached. Nowhere is this racial contradiction more apparent than in the case of Jimi Hendrix. Jimi Hendrix is emblematic of the racial ideal and the racial contradictions of the 1960s. -
A Change Is Gonna Come
A CHANGE IS GONNA COME: A CRITICAL ANALYSIS OF THE BENEFITS OF MUSICAL ACTIVISM IN THE CIVIL RIGHTS MOVEMENT By ERIN NICOLE NEAL A Capstone submitted to the Graduate School-Camden Rutgers, The State University of New Jersey In partial fulfillment of the requirements For the degree of Master of Arts Graduate Program in Liberal Studies Written under the direction of Dr. Stuart Z. Charmé And approved by ____________________________________ Dr. Stuart Z. Charmé Camden, New Jersey January 2021 CAPSTONE ABSTRACT A Change Is Gonna Come: A Critical Analysis Of The Benefits Of Musical Activism In The Civil Rights Movement by ERIN NICOLE NEAL Capstone Director: Dr. Stuart Z. Charmé The goal of this Capstone project is to understand what made protest music useful for political activists of the Civil Rights Movement. I will answer this question by analyzing music’s effect on activists through an examination of the songs associated with the movement, regarding lyrical content as well as its musical components. By examining the lyrical content, I will be evaluating how the lyrics of protest songs were useful for the activists, as well as address criticisms of the concrete impact of song lyrics of popular songs. Furthermore, examining musical components such as genre will assist in determining if familiarity in regards to the genre were significant. Ultimately, I found that music was psychologically valuable to political activists because music became an outlet for emotions they held within, instilled within listeners new emotions, became a beacon for psychological restoration and encouragement, and motivated listeners to carry out their activism. Furthermore, from a political perspective, the lyrics brought attention to the current socio-political problems and challenged social standards, furthered activists’ political agendas, persuaded the audience to take action, and emphasized blame on political figures by demonstrating that socio-political problems citizens grappled with were due to governmental actions as well as their inactions. -
90'S Medley Rihanna Medley Motown Medley Prince
Adele - Rolling in the Deep Jackson 5 - ABC Outkast - Miss Jackson 90’S MEDLEY Alabama Shakes - Hold on James Brown - Get Up Oa That Thing Outkast - Rosa Parks TLC Alicia Keys - Empire State of Mind James and Bobby Purify - Shake A Tail Feather Patrice Ruschen - Forget Me Nots Usher Alicia Keys - If I Ain’t Got You James Blake - Limit To Your Love Percy Sledge - You Really Got a Hold On Me Montell Jordan Al Green - Let’s Stay Together Jamie XX - Good Times Pharrell – Happy Mark Morrison Al Green - Take Me to the River Janelle Monae - Tightrope Prince – I Wanna Be Your Lover Next Amy Whinehouse - Valerie Jerry Lee Lewis - Great Balls of Fire Prince - Kiss Beck – Where It’s At Justin Timberlake - Can’t Stop The Feeling Ray Charles - Georgia Beyonce – Crazy In Love Justin Timberlake - Rock Your Body R Kelly - Remix to Ignition RIHANNA MEDLEY Beyonce - Love on Top King Harvest - Dancing in the Moonlight Sade - By Your Side What’s My Name Beyonce - Party Kendrick Lamar – If These Walls Could Talk Sade - Smooth Operator We Found Love Bill Withers - Ain’t No Sunshine Leon Bridges - Coming Home Sade - Sweetest Taboo Work Blondie – Rapture Lil Nas X - Old Town Road Sam Cooke - Wonderful World Blood Orange - You’re Not Good Enough Sam Cooke - Cupid Lionel Richie - All Night Long MOTOWN MEDLEY Bob Carlisle/Je Carson - Butterfly Kisses Little Richard - Good Golly Miss Molly Sam Cooke - Twistin’ Your Love Keeps Lifting Me Higher and Higher Bruno Mars - 24k Magic Lizzo - Juice Sam Cooke – You Send Me You Really Got a Hold On Me Bruno Mars - Treasure -
Julian Velard Song List
JULIAN VELARD SONG LIST # Cheer Up Charlie - Willy Wonka 1999 – Prince Close To You — Carpenters 50 Ways To Leave Your Lover Cold As Ice —Foreigner 9 To 5 — Dolly Parton Cracklin’ Rosie — Neil Diamond A Crazy — Patsy Cline A Song For You – Leon Russell Crazy For You - Madonna Africa - Toto Crying — Roy Orbison After the Gold Rush — Neil Young Cupid – Sam Cooke Afternoon Delight – Starland Vocal Band D Ain’t No Sunshine – Bill Withers Dance With Me – Orleans Alison — Elvis Costello Darling Be Home Soon – John Sebastian Alone Again Naturally — Gilbert O’Sullivan Do You Know the Way to San Jose? — All By Myself – Eric Carmen Dionne Warwick All Of Me – Frank Sinatra Do You Realize??? – Flaming Lips America – Neil Diamond Doctor My Eyes – Jackson Browne Angel Eyes – Frank Sinatra Domino – Jesse J Angel Of The Morning — Juice Newton Don’t Cry Out Loud – Melissa Manchester Arthur’s Theme – Christopher Cross Don’t Go Breakin’ My Heart — Elton John & Kiki Dee As Time Goes By Don’t Stop Believin’ — Journey B Don’t Worry Baby — Beach Boys Baby One More Time — Britney Spears Don’t You Forget About Me — Simple Minds Baby Come Back - Player Dreams — Fleetwood Mac Bad, Bad, Leroy Brown — Jim Croce E Baker Street – Gerry Raerty Escape (The Pina Colata Song) – Rupert Holmes Bare Necessities - The Jungle Book Everybody’s Talkin’ — Nilsson Be My Baby — Ronnie Spector Every Time You Go Away – Paul Young Bennie and the Jets — Elton John Everybody Wants To Rule The World – Bette Davis Eyes – Kim Carnes Tears For Fears Big Yellow Taxi — Joni Mitchell Eye In -
Sam Cooke, “A Change Is Gonna Come”
Sam Cooke, “A Change is Gonna Come” Sam Cooke was one of the pioneers of Soul music, topping the charts with hits such as “Wonderful World” and “Chain Gang.” While he began as a Gospel singer, Cooke’s hits were generally upbeat and rarely if ever crossed into political territory. But by the early 1960s, as the civil rights movement was growing stronger, Cooke became aware of the political power of music. In October, 1963, despite his star status, he and members of his band were arrested when they tried to get a room at a whites- only motel in Shreveport, Louisiana. Cooke recorded “A Change is Gonna Come” that December. It was not a major commercial hit, but it quickly became one of the most influential songs of the civil rights movement. Numerous artists, including Tina Turner, Lil Wayne and Seal, have covered the song. On the night he won the 2008 election, Barack Obama told cheering crowds, "It's been a long time coming, but tonight, change has come to America." Excerpt from Lyrics I go to the movie And I go down town somebody keep telling me don't hang around Its been along time coming But I know a change is gonna come, oh yes it will Questions for Discussion 1. Cooke was known as one of the most talented vocalists in the history of popular music. How does he use his voice to convey emotion in this song? 2. Do the lyrics refer specifically to the civil rights movement? What story do they tell? 3. -
Repertoire Patricia Foort
Repertoire Patricia Foort Soul/Motown: 1 Ain't got no (Nina Simone) 2 A song for you (Donny Hathaway) 3 Ain't no stopping us now(Luther Vandross) 4 Ain't no sunshine (Bill Withers of Jacksons) 5 Ain't nobody (Chaka Khan) 6 All in love is fair(Stevie Wonder) 7 All my life (K-ci and Jojo 8 All night long (Lionel Ritchie) 9 All of me (John Legend) 10 All the love in the world (Dionne Warwick) 11 Allways There (Incognito) 12 Almaz (Randy Crawford) 13 And I love you so (Perry Como) 14 Ave Maria(Beyonce) 15 Baby can I hold you tonight (Tracey Chapman) 16 Baby come to me (Patty Austin) 17 Baby I love you(Aretha Franklin) 18 Blueberry Hill (Fats Domino) 19 Bring it on home (Sam Cooke) 20 Chain of fool(Aretha Franklin) 21 Change is gonna come(Sam Cooke) 22 Clown (Emili Sande) 23 Dirty old man (The Three Degrees) 24 Do that to me (Captain and Tenille) 25 Don't let the sun go down (Oleta Adams) 26 Don't you worry 'bout a thing(Incognito) 27 Do you know where you're going to (Diana Ross) 28 Dr Feelgood (Aretha Franklin) 29 End of the road (Boys II Men) 30 Endlessly (Randy Crawford) 31 Fire (Pointer Sisters) 32 For all we know (Donny Hathaway) 33 For once in my life (Stevie Wonder/Trijntje) 34 Get here (Oleta Adams) 35 Go Like Elijah(Chi Coltrane) 36 Good Times (Chiq) 37 Hallelujah(Lisa Lois) 38 Happy (Pharrell Williams) 39 Happy Birthday (Stevie Wonder) 40 Hello (L. -
REVOLUTIONARY VOICES Take This Short Quiz to Test Your Knowledge
TODAY’S MUSIC EDUCATION RESOURCE Name: STUDENT QUIZ REVOLUTIONARY VOICES Take this short quiz to test your knowledge. Q1: Why is the human voice a more powerful instrument than other instruments? Q2: What did the Hutchinson Family Singers sing about? Q3: What is the name of the song sung by Vera Lynn about peace after the war? Q4: Who is considered “The King of Soul” and sung “A Change is Gonna Come” during the turn of liberalism in America? Q5: Who co-wrote “Freedom,” and released it on her 2016 album Lemonade? Q6: What is the song “Freedom” about? Q7: What is another one of Beyoncé’s “anthem” songs about women’s empowerment? Q8: In what ways has John Legend contributed to social movements? Q9: What popular artist evokes a feeling of acceptance and kindness from audiences at his concerts? Q10: Can you name any other songs/artists that might fall under this category of “revolu- tionary voices”? © 2019 IN TUNE PARTNERS, LLC TODAY’S MUSIC EDUCATION RESOURCE Name: STUDENT QUIZ MEDLEY’S MASH-UPS & MORE Take this quick quiz to test your knowledge. Q1: Which type of arrangement includes two or more songs that play simultaneously? Q2: Which type of arrangement plays two or more songs one after another? Q3: How many chords are in the most common chord progression in popular music? Q4: What is the name of the band who created a medley including 50 songs from the early 2000s? Q5: What does Postmodern Jukebox do as a group? Q6: What elements are commonly used in the “musical recipe” for a modern pop arrange- ment? Q7: What elements did Pentatonix have to synchronize to create their medley? Q8: Can you give an example of a theme you could write a medley about? What songs would be included in it? Q9: Why are chord progressions important to pay attention to when creating a mash-up? Q10: What song did Andy Wu mash together with “Apologize” by One Republic? © 2019 IN TUNE PARTNERS, LLC TODAY’S MUSIC EDUCATION RESOURCE Name: STUDENT QUIZ LAUREN DAIGLE Take this short quiz to test your knowledge. -
The Sociology of American Popular Music (Soap) Unit 5
September 12, 2013 THE SOCIOLOGY OF AMERICAN POPULAR MUSIC (SOAP) UNIT 5 NOTES Soul, Motown, & Funk September 12, 2013 SOUL, MOTOWN, AND FUNK Soul Music was created by and for African Americans through the merging of black Gospel with rhythm 'n' blues that began in the late 1950s - most of the artists that performed soul music were Gospel singers and instrumentalists who combined some of the traditions of the black church (emotional singing, call-and-response, the stress on the backbeat, and rhythmic complexity) with the secular traditions of popular music (primarily the subject matter of the lyrics and the performance venues) - soul music represented an authentic "blackness" that supported and reinforced the Black Power and Civil Rights movement - soul singers sang for social justice, black militancy, and racial pride - the music also preached a message of nonviolence and love - it celebrated the growing Black Consciousness Movement, a time of struggle as well as unprecedented gains - soul music was tangible evidence that the psyche and attitudes in the black community were changing - the civil rights movement was empowering black people, and the new soul music celebrated rights finally won and expressed hope for the future Early Soul Music - Ray Charles - pianist/singer who was blinded by glaucoma when he was six years old - learned to read and write music notation in Braille - became an orphan at 15 and began to make his living by playing music - fused elements of Gospel and R&B - 1st recording identified as "soul" was his 1959 hit -
A Change Is Gonna Come
"A Change Is Gonna Come": The Implications of the United Nations Convention on the Rights of Persons with Disabilities for the Domestic Practice of Constitutional Mental Disability Law MICHAEL L. PERLIN* I. INTRO DUCTION ................................................................................. 483 II. U NIVERSAL FACTORS ....................................................................... 487 I1. THE UN CONVENTION ...................................................................... 489 IV . SOME FINAL THOUGHTS ................................................................... 497 I. INTRODUCTION As recently as fifteen years ago, disability was not broadly acknowl- edged as a human rights issue. Although there were prior cases decided in the United States and in Europe that, retrospectively, had been litigated from a human rights perspective,' the characterizationof "disability rights" (especially the rights of persons with mental disabilities) was not discussed in a global public, political, or legal debate until the early 1990s. Instead, disability was seen only as a medical problem of the individual requiring a treatment or cure. By contrast, viewing disability as a human rights issue requires us to recognize the inherent equality of all people, regardless of their abilities, disabilities, or differences, and obligates society to remove * Professor of Law; Director, International Mental Disability Law Reform Pro- ject; and Director, Online Mental Disability Law Program-New York Law School. A.B., Rutgers University, 1966; J.D., Columbia University School of Law, 1969. 1. See, e.g., O'Connor v. Donaldson, 422 U.S. 563, 574-75 (1975) (holding it unconstitutional to confine a nondangerous person capable of surviving safely in freedom to a mental hospital); Lessard v. Schmidt, 349 F. Supp. 1078 (E.D. Wis. 1972) (stating that a statute that fails to provide a person alleged to be mentally ill with adequate procedural safeguards is unconstitutional); Wyatt v.