2021 |22 Performing Arts Season
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Johnny Cash 1992.Pdf
PERFORM ER S Johnny Cash He s the man in black, “a walking contradiction, partly granted him a solo audition in late 1954, and invited him truth and partly fiction.” His six foot-plus, ebon-draped back with his group. frame has worked itself deep into the American psyche to be On the first day of spring, 1955, the cards were on the table come as familiar to some as Woody Guthrie or Billy the Kid, at Sun. Red Kernodle succumbed to the pressure and disap Geronimo or Luke the Drifter. peared. But Cash rose to the occasion with a song he’d just fin Johnny Cash is a little bit of all those American legends. ished writing. Luther’s unadorned lead guitar picked a sparse During a career that spans five distinct decades, he has created ly melodic pattern, and Marshall came up with a bedrock more than 1,000 compositions that describe a folk hero in rhythm as characteristic of the Sun Sound as that of Elvis, transition, singing in his distinctive baritoned-bass voice of Scotty and Bill. The five masters cut at that session resulted in coal miners and sharecroppers, cowboys and Native Ameri one serviceable B-side, “Hey Porter.” Phillips sent John home cans, families and lovers. Invariably, he returns to his early to write him a hit. years for strength and inspiration. The result was “Cry! Cry! Cry,” recorded in May by the At the height of the Great Depression, on February 26, newly-christened Johnny Cash & the Tennessee Two and is 1932, in the town of Kingsland, Arkansas, Ray Cash and Car- sued as Sun 221 b/w “Hey Porter.” The single took the Mem ric Rivers Cash bore a son named J.R. -
He KMBC-ÍM Radio TEAM
l\NUARY 3, 1955 35c PER COPY stu. esen 3o.loe -qv TTaMxg4i431 BItOADi S SSaeb: iiSZ£ (009'I0) 01 Ff : t?t /?I 9b£S IIJUY.a¡:, SUUl.; l: Ii-i od 301 :1 uoTloas steTaa Rae.zgtZ IS-SN AlTs.aantur: aTe AVSí1 T E IdEC. 211111 111111ip. he KMBC-ÍM Radio TEAM IN THIS ISSUE: St `7i ,ytLICOTNE OSE YN in the 'Mont Network Plans AICNISON ` MAISHAIS N CITY ive -Film Innovation .TOrEKA KANSAS Heart of Americ ENE. SEDALIA. Page 27 S CLINEON WARSAW EMROEIA RUTILE KMBC of Kansas City serves 83 coun- 'eer -Wine Air Time ties in western Missouri and eastern. Kansas. Four counties (Jackson and surveyed by NARTB Clay In Missouri, Johnson and Wyan- dotte in Kansas) comprise the greater Kansas City metropolitan trading Page 28 Half- millivolt area, ranked 15th nationally in retail sales. A bonus to KMBC, KFRM, serv- daytime ing the state of Kansas, puts your selling message into the high -income contours homes of Kansas, sixth richest agri- Jdio's Impact Cited cultural state. New Presentation Whether you judge radio effectiveness by coverage pattern, Page 30 audience rating or actual cash register results, you'll find that FREE & the Team leads the parade in every category. PETERS, ñtvC. Two Major Probes \Exclusive National It pays to go first -class when you go into the great Heart of Face New Senate Representatives America market. Get with the KMBC -KFRM Radio Team Page 44 and get real pulling power! See your Free & Peters Colonel for choice availabilities. st SATURE SECTION The KMBC - KFRM Radio TEAM -1 in the ;Begins on Page 35 of KANSAS fir the STATE CITY of KANSAS Heart of America Basic CBS Radio DON DAVIS Vice President JOHN SCHILLING Vice President and General Manager GEORGE HIGGINS Year Vice President and Sally Manager EWSWEEKLY Ir and for tels s )F RADIO AND TV KMBC -TV, the BIG TOP TV JIj,i, Station in the Heart of America sú,\.rw. -
Country Music Country Music in Missouri Country Bios
Country Music Country music is a genre of popular music that originated in the rural South in the 1920s, with roots in fiddle music, old-time music, blues and various types of folk music. Originally called “hillbilly music” and sometimes called “country and western,” the name “country music” or simply “country” gained popularity in the 1940s. Many recent country artists use elements of pop and rock. Country music often consists in ballads with simple forms and harmonies, accompanied by guitar or banjo with a fiddle. Country bands now often include a steel guitar, bass and drums. Country Music in Missouri Missourians love country music, as evidenced by the large number of country music radio stations, the number of country artists on festivals and presented by concert venues around the state, the country music artists who make their home and perform regularly in the popular tourist destination of Branson, Missouri, and the many Missouri musicians and bands who play country music in the bars and clubs in their local community. “The Sources of Country Music,” a painting by well-known Missouri artist Thomas Hart Benton hangs in the Country Music Hall of Fame and Museum in Nashville. Ralph Peer (1892-1960), born in Independence, Missouri, worked for Columbia Records in Kansas City until 1920 when he took a job for OKeh Records in New York and supervised the recording of “Crazy Blues” by Mamie Smith, the first blues recording aimed at African- Americans. In 1924 he supervised the first commercial recording session in New Orleans, recording jazz, blues and gospel music. -
Led Zeppelin Greatest Hits Zip Download Cold As Ice 3:42 03
Led zeppelin greatest hits zip download Cold As Ice 3:42 03. Night Life 03:23 13. Blue Morning, Blue Day 05. The Wanton Song 06. Long, Long Way From Home 2:52 02. Band members: 1981—1986 Jack Russell — lead vocals Mark Kendall — lead guitar Lorne Black — bass guitar Gary Holland — drums 1986—1987 Jack Russell — lead vocals Mark Kendall — lead guitar Lorne Black — bass guitar Audie Desbrow — drums Michael Lardie — guitar, keyboards 1987—1992 Jack Russell — lead vocals Mark Kendall — lead guitar Tony Montana — bass guitar Audie Desbrow — drums Michael Lardie — guitar, keyboards J Todd Henson — guitar in-studio guitarist, 1991-92 1992—1995 Jack Russell — lead vocals Mark Kendall — lead guitar Teddy Cook — bass guitar Audie Desbrow — drums Michael Lardie — guitar, keyboards 1995—2000 Jack Russell — lead vocals Mark Kendall — lead guitar Sean Led zeppelin greatest hits zip download — bass guitar Audie Desbrow — drums Michael Lardie — guitar, keyboards 2000—2001 Jack Russell — lead vocals Ty Longley — lead guitar Krys Baratto — bass guitar Francis Ruiz — drums Matthew Johnson — guitar, keyboards 2002—2003 Jack Russell — lead vocals Mark Kendall — lead guitar Dave Filice — bass guitar Eric Powers — drums Ty Longley — guitar, keyboards 2003—2005 Jack Russell — lead vocals Mark Kendall — lead guitar Scott Pounds — bass guitar Joseph May — drums Tyler Nelson — guitar, keyboards 2006—2007 Jack Russell — lead vocals Mark Kendall — lead guitar Sean McNabb — bass guitar Audie Desbrow — drums Michael Lardie — guitar, keyboards 2008 Jack Russell — lead vocals Mark Kendall — lead guitar Scott Snyder — bass guitar Audie Desbrow — drums Michael Lardie — guitar, keyboards 2012 - Elation На данной хитрой пираточке трек-лист мальца другой, чем на облоге. -
United States District Court for the District of Rhode Island
Case 1:03-cv-00148-L Document 5 Filed 05/01/2003 Page 1 of 97 UNITED STATES DISTRICT COURT FOR THE DISTRICT OF RHODE ISLAND TAMMY PASSA, ALIAS, . WALTER CASTLEIJR., ALIAS and CHERYL HARRIS-ROSSI, NEXT-OF-: KIN of Decedent, JOSEPH E. ROSS1 . JEFFREY DERDERIAN, . MICHAEL DERDERIAN, DERCO LLC, d/b/a The Station, . MANIC MUSIC MANAGEMENT, INC., JACK RUSSELL, MARK KENDALL, DAVID FILICE, ERIC POWERS, DANIEL BICHELE , . PAUL WOOLNOUGH, KNIGHT RECORDS,INC., ANHEUSER-BUSCH COMPANIES INC., McLAUGHLIN AND MORANIINC., LUNA TECH, INC., LUNA TECH PYROTECHNIK GmbH, . AMERICAN FOAM CORPORATION, GENERAL FOAM CORPORATION, FOAMEX INTERNATIONAL INC., WHJY, INC., CLEAR CHANNEL COMMUNICATIONS, INC., TOWN OF WEST WARWICK, DENNIS LAROCQUE, INDIVIDUALLY and as FIRE INSPECTOR FOR THE TOWN OF: WEST WARWICK, STATE OF RHODE ISLAND, IRVING J. OWENS, Individually and in his capacity as FIRE MARSHAL FOR THE STATE OF RHODE ISLAND, TRITON REALTY LIMITED PARTNERSHIP, TRITON REALTY, INC., . and JOHN DOES 1 through 100 Case 1:03-cv-00148-L Document 5 Filed 05/01/2003 Page 2 of 97 TABLE OF CONTENTS PAGE TAB Table of Contents........................... i Jurisdictional Allegations - Plaintiffs..... 2 1 Jurisdiction Allegations - Defendants....... 6 2 Facts..................................... 17 3 Count One (Joint Enterprise Defendant) Jeffrey Derderian................. 28 4 Count Two (Joint Enterprise Defendant) Michael Derderian................. 31 5 Count Three (Joint Enterprise Defendant) DERCO LLC d/b/a The Station....... 34 6 Count Four (Joint Enterprise Defendant) MANIC MUSIC MANAGEMENT, INC. ..... 38 7 Count Five (Joint Enterprise Defendants) Jack Russell, Mark Kendall, David Filice, Eric Powers (Collectively as the band known as Great White) ................................. 41 8 Count Six (Joint Enterprise Defendant) Daniel Bichele................... -
AXS TV Schedule for Mon. October 12, 2020 to Sun. October 18, 2020
AXS TV Schedule for Mon. October 12, 2020 to Sun. October 18, 2020 Monday October 12, 2020 5:00 PM ET / 2:00 PM PT 8:00 AM ET / 5:00 AM PT The Day The Rock Star Died The Big Interview Michael Jackson - Michael Jackson was a singer, songwriter, dancer and known simply as “The The Band’s Robbie Robertson - Jethro Tull’s Ian Anderson sits down with Dan Rather to talk about King of Pop.” His contributions to music, dance, and highly publicized personal life made him a his five decades as a progressive rock idol. global figure in popular culture for over four decades. 9:00 AM ET / 6:00 AM PT 5:30 PM ET / 2:30 PM PT Deep Purple’s: The Ritchie Blackmore Story A Year in Music From his pop roots with The Outlaws and his many session recordings in the sixties, through 1964 - Actor, writer, and musician, Tommy Chong dives into 1964: the year The Beatles took defining hard rock with Deep Purple and Rainbow in the seventies and eighties and on to the over, Motown Records became a driving force, and The Rolling Stones made their debut. Plus, a renaissance rock of Blackmore’s Night, Ritchie has proved that he is a master of the guitar across look at how political and social changes influenced pop music. a multitude of styles. This is the definitive story of a true guitar legend. 6:00 PM ET / 3:00 PM PT 10:20 AM ET / 7:20 AM PT The Big Interview Robert Plant And The Strange Sensation Edward Norton - Academy Award winner Edward Norton’s life is much more than Hollywood. -
[email protected] 1 Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master Interview Was Provided by the Nati
Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. ORRIN KEEPNEWS NEA Jazz Master (2011) Interviewee: Orrin Keepnews (March 2, 1923 – March 1, 2015) Interviewer: Anthony Brown with recording engineer Ken Kimery Date: December 10, 2010 Repository: Archives Center, National Museum of American History, Smithsonian Institution Description: Transcript, 20 pp. Orrin Keepnews: I wonder if you didn’t—or you could do it when you come back, make sure you didn’t get to show off Lennie. Anthony Brown: The dog? Keepnews: The dog. I remember right now the one strain she couldn’t remember to put in there. He’s part Jack Russell. Brown: Okay. That’s it. Okay so we’ll go from the room tone. Keepnews: Okay so. Brown: Oh we haven’t got it yet. Keepnews: We don’t have it? Brown: Just talk to it. Go ahead. For additional information contact the Archives Center at 202.633.3270 or [email protected] 1 Keepnews: (Laughs) Brown: Today is December 10th, 2010. This is the Smithsonian/ NEA Jazz Masters Award interview with Orrin Keepnews at his house in El Cerrito, California. And it is a foggy day outside, but a lot of warmth in this house. Good afternoon Orin Keepnews. Keepnews: Good afternoon. Brown: We’re no strangers and so this is, for quite a joy, and a privilege. We’ve done several projects together, well let me just say we’ve done a few projects together, of which I’m very proud. Again, its an honor to be able to conduct this interview with you, to be able to share this time with you so that you could help the listening audience, and the historians, understand—further understand your contribution to this music since our last interview, which was in 1997. -
INFORMATION to USERS This Manuscript Has Been Reproduced
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. •>- I The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrougb, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI University Microfilms International A Bell & Howell Information Company 300 North Zeeb Road. Ann Arbor, Ml 48106-1346 USA 313/761-4700 800/521-0600 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. -
IT's a ROCKY MOUNTAIN CHRISTMAS in LONE TREE John Denver Holiday Concert Offers Nostalgic Taste of Days Gone By
10075 Commons Street • Lone Tree, Colorado 80124 • www.lonetreeartscenter.org LTAC Contact: Katie Maltais, Marketing Director FOR IMMEDIATE RELEASE Phone: 720-509-1007 November 20, 2012 Cell: 515-321-6016 Fax: 720-509-1101 Email: [email protected] IT’S A ROCKY MOUNTAIN CHRISTMAS IN LONE TREE John Denver Holiday Concert Offers Nostalgic Taste of Days Gone By LONE TREE, CO – Searching for a glimpse of a sweet, simple Christmas-gone-by? Find yourself transported to small-town Aspen in 1975 as John Denver and Dan Wheetman perform holiday tunes for friends around the fireplace. Lone Tree Arts Center presents John Denver Holiday Concert December 11-16 as a tribute not only to the great singer/songwriter, but also to that bygone era. Bringing together top musicians from around the country, John Denver Holiday Concert was conceived and created by noted playwright and director Randal Myler and former John Denver band member Dan Wheetman. The team has collaborated for 25 years and has garnered numerous awards as a duo, including Tony nominations for Best Musical and Best Book of a Musical for It Ain’t Nothin’ But the Blues. Staying true to the legend the show memorializes, Myler said, “We just wanted this to be simple. Nostalgic. Really just showcasing the great music.” Wheetman will take the stage as both musical director and band member for the concert, leading an all-star cast. Lead vocals will be sung by Broadway veteran Jim Newman, who sang in the original cast of Almost Heaven: The Songs of John Denver as well as the original cast of this holiday show. -
6Doorsmanrussian Circus Pen 'N' Inc
Saturday. Aug. 15. 1981 Page 6B COLUMBIA MISSOURIAN. BEETLE BAI LEY by Mort Walker ACROSS 39 Thailand's Answer to Previous Puzzle 21) The unanticipated or -- neighbor , , , . ASTRO GRAPH unseen could cause you some 1 eye I Religious 40 Convent C44-L- 4 fits today. Keep a sharp out SOINS OUT? I! MEEP TO CHASE A CAT, WAS LQSlHS M - I I I poem mmate iiil when doing anything where you WftS WOPU& YOU'P KNOCK OVER A GARBAGE TOUCM WITH - JBSB Bernice Bede oth- 8 Volume una 42 School JXAAA Osol share the same space with STAY MERE, WATCH TV, A-- RML AWP BARK AT SOME REALITY j UglJ ers like the road. ,ri semester m TT AND HAVE A FEW CARS UIni,st a"n eM mBI 22-Ja- n. f -- 13 Bartizan 44 Doctrine l 7TT CAPRICORN (Doc. 19) CO - H ro ATHAjf o o"t If you expect to hang onto J" 14 Securing pin 45 Join securely D'D'T g M " get 15 Motor 47 To and ja'da things you treasure, or to o""a If He" T ( E N V longevity from tools you need, 16 Choler 48 Former Soviet a"d"a m r WJ 1 "o "o 1(EJ birthday you'll have to keep a close 17 Literary leader y y oBHe o jjjMfo Q l T watch on where you put them composition 50 Walk X nBTc you it boat August 15, 1981 or how use them today. 19 Compass uncertainly 20-Fe- Isluli torshe.rpa AQUARIU8 (Jan. -
CBS, Rural Sitcoms, and the Image of the South, 1957-1971 Sara K
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2013 Rube tube : CBS, rural sitcoms, and the image of the south, 1957-1971 Sara K. Eskridge Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the History Commons Recommended Citation Eskridge, Sara K., "Rube tube : CBS, rural sitcoms, and the image of the south, 1957-1971" (2013). LSU Doctoral Dissertations. 3154. https://digitalcommons.lsu.edu/gradschool_dissertations/3154 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]. RUBE TUBE: CBS, RURAL SITCOMS, AND THE IMAGE OF THE SOUTH, 1957-1971 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 Sara K. Eskridge B.A., Mary Washington College, 2003 M.A., Virginia Commonwealth University, 2006 May 2013 Acknowledgements Many thanks to all of those who helped me envision, research, and complete this project. First of all, a thank you to the Middleton Library at Louisiana State University, where I found most of the secondary source materials for this dissertation, as well as some of the primary sources. I especially thank Joseph Nicholson, the LSU history subject librarian, who helped me with a number of specific inquiries. -
8 Can a Fujiyama Mama Be the Female Elvis?
8 CAN A FUJIYAMA MAMA BE THE FEMALE ELVIS? The wild, wild women of rockabilly David Sanjek I don't want a headstone for my grave. I want a fucking monument! (Jerry Lee Lewis) 1 You see, I was always a well-endowed girl, and the guys used to tell me that they didn't know how to fit a 42 into a 331!3. (Sun Records artist Barbara Pittman ) 2 Female artists just don't really sell. (Capital Records producer Ken Nelson) 3 In the opening scene of the 199 3 film True Romance (directed by Tony Scott from a script by Quentin Tarantino), Clarence Worly (Christian Slater) perches on a stool in an anonymous, rundown bar. Addressing his com ments to no one in particular, he soliloquises about 'the King'. Simply put, he asserts, in Jailhouse Rock (19 5 7), Elvis embodied everything that rocka billy is about. 'I mean', he states, 'he is rockabilly. Mean, surly, nasty, rude. In that movie he couldn't give a fuck about nothin' except rockin' and rollin' and livin' fast and dyin' young and leavin' a good lookin' corpse, you know.' As he continues, Clarence's admiration for Elvis transcends mere identification with the performer's public image. He adds, 'Man, Elvis looked good. Yeah, I ain't no fag, but Elvis, he was prettier than most women, most women.' He now acknowledges the presence on the barstool next to him of a blank-faced, blonde young woman. Unconcerned that his overheard thoughts might have disturbed her, he continues, 'I always said if I had to fuck a guy - had to if my life depended on it - I'd 137 DAVID SANJEK THE WILD,~ WOMEN OF ROCK~BILLY fuck Elvis.' The woman concurs with his desire to copulate with 'the and Roll; rockabilly, he writes, 'suggested a young white man celebrating King', but adds, 'Well, when he was alive, not now.' freedom, ready to do anything, go anywhere, pausing long enough for In the heyday of rockabilly, one imagines more than a few young men apologies and recriminations, but then hustling on towards the new'.