WHO HQ® for YOU TRIVIA! the Correct Answers Are at the End of the Activity So Be Careful Not to Let the Answers Slip!

Total Page:16

File Type:pdf, Size:1020Kb

WHO HQ® for YOU TRIVIA! the Correct Answers Are at the End of the Activity So Be Careful Not to Let the Answers Slip! WHO HQ® FOR YOU TRIVIA! The correct answers are at the end of the activity so be careful not to let the answers slip! DECEMBER – MUSICIANS: 1. The Beatles became incredibly popular in the in the United States in 1964 during the “British Invasion.” Which of the following songs is not a Beatles song? • “A Hard Day’s Night” • “Hey Jude” • “Jailhouse Rock” • “I Want to Hold Your Hand” 2. Reginald Kenneth Dwight is the given name of what world-famous pop star? • Freddie Mercury • Elton John • Bono • John Lennon 3. What year did Woodstock, the famous outdoor rock festival, take place? • 1959 • 1969 • 1971 • 1985 4. Which teenage gospel singer went on to become known as “The Queen of Soul?” • Donna Summer • Eartha Kitt • Aretha Franklin • Dianna Ross 5. Which genre of music inspired The Beatles to start a band when they were young musicians? • Rock and Roll • Rhythm and Blues • Jazz • Classical Music whohq.com 6. This composer, who died at thirty five, wrote more than 600 concertos, sonatas, symphonies, and operas: • Ludwig van Beethoven • Wolfgang Amadeus Mozart • Johann Sebastian Bach • Antonio Vivaldi 7. This singer and musician is known as “The King of Reggae”: • Bunny Wailer • Bob Dylan • Bob Marley • Snoop Dogg 8. Which of the following musicians is not referred to as a “Guitar God”? • Little Richard • Chuck Berry • Eric Clapton • Jeff Beck 9. This famous Tejano singer learned to speak Spanish as a teenager so she could sing the Latin music she loved, including ranchera, cumbia, and corrido. • Selena • Shakira • Laura Canales • Gloria Estefan 10. Which musician, singer, and songwriter was signed by Motown Records when he was just eleven years old? • Stevie Wonder • Louis Armstrong • Howlin’ Wolf • Marvin Gaye Stevie Wonder Stevie 10. Selena; 9. Richard; Little 8. Marley; Bob 7. Mozart; Amadeus Wolfgang 6. Blues; and Rhythm 5. Franklin; Aretha 4. 1969; 3. John; Elton 2. Rock”; “Jailhouse 1. whohq.com.
Recommended publications
  • Aretha Franklin's Gendered Re-Authoring of Otis Redding's
    Popular Music (2014) Volume 33/2. © Cambridge University Press 2014, pp. 185–207 doi:10.1017/S0261143014000270 ‘Find out what it means to me’: Aretha Franklin’s gendered re-authoring of Otis Redding’s ‘Respect’ VICTORIA MALAWEY Music Department, Macalester College, 1600 Grand Avenue, Saint Paul, MN 55105, USA E-mail: [email protected] Abstract In her re-authoring of Otis Redding’s ‘Respect’, Aretha Franklin’s seminal 1967 recording features striking changes to melodic content, vocal delivery, lyrics and form. Musical analysis and transcription reveal Franklin’s re-authoring techniques, which relate to rhetorical strategies of motivated rewriting, talking texts and call-and-response introduced by Henry Louis Gates, Jr. The extent of her re-authoring grants her status as owner of the song and results in a new sonic experience that can be clearly related to the cultural work the song has performed over the past 45 years. Multiple social movements claimed Franklin’s ‘Respect’ as their anthem, and her version more generally functioned as a song of empower- ment for those who have been marginalised, resulting in the song’s complex relationship with feminism. Franklin’s ‘Respect’ speaks dialogically with Redding’s version as an answer song that gives agency to a female perspective speaking within the language of soul music, which appealed to many audiences. Introduction Although Otis Redding wrote and recorded ‘Respect’ in 1965, Aretha Franklin stakes a claim of ownership by re-authoring the song in her famous 1967 recording. Her version features striking changes to the melodic content, vocal delivery, lyrics and form.
    [Show full text]
  • Canadian Beatles Albums Identification Guide Updated: 22 De 16
    Canadian Beatles Albums Identification Guide Updated: 22 De 16 Type 1 Rainbow Label Capitol Capitol Records of Canada contracted Beatlemania long before their larger and better-known counterpart to the south. Canadian Capitol's superior decision-making brought Beatles records to Canada in early 1963. After experimenting with the release of a few singles, Capitol was eager to release the Beatles' second British album in Canada. Sources differ as to the release date of the LP, but surely by December 2, 1963, Canada's version of With the Beatles became the first North American Beatles album. Capitol-USA and Capitol-Canada were negotiating the consolidation of their releases, but the US release of The Beatles' Second Album had a title and contained songs that were inappropriate for Canadian release. After a third unique Canadian album, album and single releases were unified. From Something New on, releases in the two countries were nearly identical, although Capitol-Canada continued to issue albums in mono only. At the time when Beatlemania With the Beatles came out, most Canadian pop albums were released in the "6000 Series." The label style in 1963 was a rainbow label, similar to the label used in the United States but with print around the rim of the label that read, "Mfd. in Canada by Capitol Records of Canada, Ltd. Registered User. Copyrighted." Those albums which were originally issued on this label style are: Title Catalog Number Beatlemania With the Beatles T-6051 (mono) Twist and Shout T-6054 (mono) Long Tall Sally T-6063 (mono) Something New T-2108 (mono) Beatles' Story TBO-2222 (mono) Beatles '65 T-2228 (mono) Beatles '65 ST-2228 (stereo) Beatles VI (mono) T-2358 Beatles VI (stereo) ST-2358 NOTE: In 1965, shortly before the release of Beatles VI, Capitol-Canada began to release albums in both mono and stereo.
    [Show full text]
  • 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.
    [Show full text]
  • 1 Hey Jude the Beatles 1968 2 Stairway to Heaven Led Zeppelin 1971 3 Stayin' Alive Bee Gees 1978 4 YMCA Village People 1979 5
    1 Hey Jude The Beatles 1968 2 Stairway To Heaven Led Zeppelin 1971 3 Stayin' Alive Bee Gees 1978 4 YMCA Village People 1979 5 (We're Gonna) Rock Around The Clock Bill Haley & His Comets 1955 6 Da Ya Think I'm Sexy? Rod Stewart 1979 7 Jailhouse Rock Elvis Presley 1957 8 (I Can't Get No) Satisfaction Rolling Stones 1965 9 Tragedy Bee Gees 1979 10 Le Freak Chic 1978 11 Macho Man Village People 1978 12 I Will Survive Gloria Gaynor 1979 13 Yesterday The Beatles 1965 14 Night Fever Bee Gees 1978 15 Fire Pointer Sisters 1979 16 I Want To Hold Your Hand The Beatles 1964 17 Shake Your Groove Thing Peaches & Herb 1979 18 Hound Dog Elvis Presley 1956 19 Heartbreak Hotel Elvis Presley 1956 20 The Twist Chubby Checker 1960 21 Johnny B. Goode Chuck Berry 1958 22 Too Much Heaven Bee Gees 1979 23 Last Dance Donna Summer 1978 24 American Pie Don McLean 1972 25 Heaven Knows Donna Summer & Brooklyn Dreams 1979 26 Mack The Knife Bobby Darin 1959 27 Peggy Sue Buddy Holly 1957 28 Grease Frankie Valli 1978 29 Love Me Tender Elvis Presley 1956 30 Soul Man Blues Brothers 1979 31 You Really Got Me The Kinks 1964 32 Hot Blooded Foreigner 1978 33 She Loves You The Beatles 1964 34 Layla Derek & The Dominos 1972 35 September Earth, Wind & Fire 1979 36 Don't Be Cruel Elvis Presley 1956 37 Blueberry Hill Fats Domino 1956 38 Jumpin' Jack Flash Rolling Stones 1968 39 Copacabana (At The Copa) Barry Manilow 1978 40 Shadow Dancing Andy Gibb 1978 41 Evergreen (Love Theme From "A Star Is Born") Barbra Streisand 1977 42 Miss You Rolling Stones 1978 43 Mandy Barry Manilow 1975
    [Show full text]
  • Download Song List As
    Top40/Current Bruno Mars 24K Magic Stronger (What Doesn't Kill Kelly Clarkson Treasure Bruno Mars You) Uptown Funk Bruno Mars Firework Katy Perry Can't Stop The Feeling Justin Timberlake Hot N Cold Katy Perry Good as Hell Lizzo I Choose You Sara Bareilles Cake By The Ocean DNCE Till The World Ends Britney Spears Shut Up And Dance Walk The Moon Life is Better with You Michael Franti & Spearhead Don’t stop the music Rihanna Say Hey (I Love You) Michael Franti & Spearhead We Found Love Rihanna / Calvin Harris You Are The Best Thing Ray LaMontagne One Dance Drake Lovesong Adele Don't Start Now Dua Lipa Make you feel my love Adele Ride wit Me Nelly One and Only Adele Timber Pitbull/Ke$ha Crazy in Love Beyonce Perfect Ed Sheeran I Gotta Feeling Black Eyed Peas Thinking Out Loud Ed Sheeran Let’s Get It Started Black Eyed Peas Cheap Thrills Sia Everything Michael Buble I Love It Icona Pop Dynomite Taio Cruz Die Young Kesha Crush Dave Matthews Band All of Me John Legend Where You Are Gavin DeGraw Blurred Lines Robin Thicke Forget You Cee Lo Green Party in the U.S.A. Miley Cyrus Feel So Close Calvin Harris Talk Dirty Jason Derulo Song for You Donny Hathaway Call Me Maybe Carly Rae Jepsen This Is How We Do It Montell Jordan Brokenhearted Karmin No One Alicia Keys Party Rock Anthem LMFAO Waiting For Tonight Jennifer Lopez Starships Nicki Minaj Moves Like Jagger Maroon 5 Don't Stop The Party Pitbull This Love Maroon 5 Happy Pharrell Williams I'm Yours Jason Mraz Domino Jessie J Lucky Jason Mraz Club Can’t Handle Me Flo Rida Hey Ya! OutKast Good Feeling
    [Show full text]
  • 1 Tutti Frutti: Little Richard, Sex, Gender, and Transgression In
    Jacob Bloomfield Tutti Frutti: Little Richard, Sex, Gender, and Transgression in America and Europe Since the passing of rock musician Little Richard on 9 May 2020, numerous individuals at the University of Konstanz have reached out to extend their condolences to me. It warms my heart, and it tickles me, that I am indelibly associated with the self-proclaimed ‘King of the Blues … and the Queen, too!’, as a result of the fact that my two-year Zukunftskolleg Fellowship is predicated on a historical study of Richard’s career and legacy. I feel extremely fortunate that I have been led to Konstanz and the Zukunftskolleg by this unlikely figure. What follows is a little glimpse at my developing research on Richard and an overview of my project’s aims. If you are interested in seeing my brief response to posthumous retrospectives on Richard, please see my recent article ‘Renegade or Retrograde: Questioning Little Richard’s Legacy’ here. I first developed an interest in Little Richard while undertaking my PhD research on the history of male cross-dressing performance in modern Britain. Richard, as a not-quite- drag but drag-adjacent effeminate male performer, did not figure into my PhD research in a strict sense, but this indefinite status made him all the more fascinating. Even more intriguing was how this black, theatrically effeminate man, whose gender presentation broadcasted homosexuality or at least some form of sexual difference, emerged as one of the most consequential figures in modern popular music in the 1950s; a period defined by racial bigotry, as well as pervasive repression of sexual and gender expression.
    [Show full text]
  • The Rolling Stones and Performance of Authenticity
    University of Kentucky UKnowledge Theses and Dissertations--Art & Visual Studies Art & Visual Studies 2017 FROM BLUES TO THE NY DOLLS: THE ROLLING STONES AND PERFORMANCE OF AUTHENTICITY Mariia Spirina University of Kentucky, [email protected] Digital Object Identifier: https://doi.org/10.13023/ETD.2017.135 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Spirina, Mariia, "FROM BLUES TO THE NY DOLLS: THE ROLLING STONES AND PERFORMANCE OF AUTHENTICITY" (2017). Theses and Dissertations--Art & Visual Studies. 13. https://uknowledge.uky.edu/art_etds/13 This Master's Thesis is brought to you for free and open access by the Art & Visual Studies at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Art & Visual Studies by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known.
    [Show full text]
  • Simon and Garfunkel.Pptx
    Simon & Garfunkel Created by Group 2 Kao-wei Chen, Rebecca Galarowicz, Bri@any Kelly, David Oberg, Nikolas Sell Kao-wei Chen Why Simon & Garfunkel? They were one of the first folk performers make it big in the music industry and became future role models for the upcoming generaon of folk rock singers. http://en.wikipedia.org/wiki/File:SimonandGarfunkel.jpg Background Informaon • Real Names • Paul Simon • Art Garfunkel • Both were born 1941, sll alive today • First met each other in elementary school • Realized their potenKal when singing together Doo-wop songs found on the radio at an early age h@p://www.last.fm/music/Simon+&+Garfunkel/ +images/138461 Beginning of Simon & Garfunkel • At age 16, they recorded their first single composed by Simon Ktled ‘’Hey Schoolgirl’’ • Peaked at the top 50 on the Billboard under Tom & Jerry • Late 50s/early 60s- both worked together ocassionally but were solo acts during this me • 1964, release of their debut album ‘’Wednesday Morning, 3 A.M.’’ • release did poorly • 1964-1965, Tom Wilson, a folk-rock producer, revised Simon’s & Garfunkel’s track Ktled ‘’The Sound of Silence’’ and released it in the market • Track rose to #1 in 1965 • Song was edited by incorporang electric bass, guitar and drums The High & End Life of S&G v 1966, placed 3 albums and four singles in the top 30 of the Billboard v E.g. ‘’The Sound of Silence’’, ‘’I Am A Rock’’, and ‘’Parsely, Sage, Rosemary & Thyme’’ v 1966-1969, their career was at a turning point v WriKng of songs and recording significantly took longer v Simon’s & Garfunkel’s
    [Show full text]
  • 3 Monday Midnights by Jamal Gerald PART 1
    3 Monday Midnights by Jamal Gerald Mojuba Esu Modupe Open the doors, let's have some fun. I want to be known as troublesome. Ase Ase Ase. PART 1 Elvis, known as the King of Rock ‘n’ Roll. It’s time for a new story to be told. Banish away his catalogue and show the world a new dialogue. Burn his legacy and create a new destiny. Let a Queen astonish and let the King be demolished. It's Monday at midnight. I'm looking out the window like I'm waiting for a message from God, but I’m only waiting for my takeaway. It’ll be here in an hour. I’m thinking of God’s opposition, Lucifer. First off, what a beautiful name. I’ve always been fascinated by him. Yes, he’s evil. But there are some traits I find admirable. I love his rebellious nature. And I do love me a problematic fave. My subconscious leads me to the crossroads, where I sit and meditate with a blue waxing crescent smiling: the incense flickers and the smoke twirls. My spirit rises. But my meditation has been electrocuted by a white man singing about his white guilt. Eurgh. His liquorice tears are staining his charity shop clothing. Oh, what do you know? It's Elvis, the former King of Rock ‘n’ Roll. And yes, I said ‘former’. Elvis doesn't look like Elvis Presley. Natural blonde hair and eyebrows. No trace of black shoe polish in use. He has no care for being clean-shaven, looks similar to a caveman.
    [Show full text]
  • Mood Music Programs
    MOOD MUSIC PROGRAMS MOOD: 2 Pop Adult Contemporary Hot FM ‡ Current Adult Contemporary Hits Hot Adult Contemporary Hits Sample Artists: Andy Grammer, Taylor Swift, Echosmith, Ed Sample Artists: Selena Gomez, Maroon 5, Leona Lewis, Sheeran, Hozier, Colbie Caillat, Sam Hunt, Kelly Clarkson, X George Ezra, Vance Joy, Jason Derulo, Train, Phillip Phillips, Ambassadors, KT Tunstall Daniel Powter, Andrew McMahon in the Wilderness Metro ‡ Be-Tween Chic Metropolitan Blend Kid-friendly, Modern Pop Hits Sample Artists: Roxy Music, Goldfrapp, Charlotte Gainsbourg, Sample Artists: Zendaya, Justin Bieber, Bella Thorne, Cody Hercules & Love Affair, Grace Jones, Carla Bruni, Flight Simpson, Shane Harper, Austin Mahone, One Direction, Facilities, Chromatics, Saint Etienne, Roisin Murphy Bridgit Mendler, Carrie Underwood, China Anne McClain Pop Style Cashmere ‡ Youthful Pop Hits Warm cosmopolitan vocals Sample Artists: Taylor Swift, Justin Bieber, Kelly Clarkson, Sample Artists: The Bird and The Bee, Priscilla Ahn, Jamie Matt Wertz, Katy Perry, Carrie Underwood, Selena Gomez, Woon, Coldplay, Kaskade Phillip Phillips, Andy Grammer, Carly Rae Jepsen Divas Reflections ‡ Dynamic female vocals Mature Pop and classic Jazz vocals Sample Artists: Beyonce, Chaka Khan, Jennifer Hudson, Tina Sample Artists: Ella Fitzgerald, Connie Evingson, Elivs Turner, Paloma Faith, Mary J. Blige, Donna Summer, En Vogue, Costello, Norah Jones, Kurt Elling, Aretha Franklin, Michael Emeli Sande, Etta James, Christina Aguilera Bublé, Mary J. Blige, Sting, Sachal Vasandani FM1 ‡ Shine
    [Show full text]
  • The Heart of Rock and Soul by Dave Marsh
    The Heart of Rock and Soul by Dave Marsh 2 JOHNNY B. GOODE, Chuck Berry Produced by Leonard Chess; written by Chuck Berry Chess 1691 1958 Billboard: #8 Buried deep in the collective unconscious of rock and roll there's a simple figure drawn from real life: One man, one guitar, singing the blues. But he's not any man. He's black, Southern. poor, and (this is the part that's easiest to miss) dreaming. In many ways, his story is terrible and terrifying. We're speaking after all of someone like Robert Johnson, by all the evidence every bit as sensitive and perceptive as, say, F. Scott Fitzgerald, but rather than pursuing lissome Zeldas through Alabama mansions, enduring the pitiless reality of sharecropping, segregation, the threat of lynching, and all but inescapable twentieth century serfdom in Mississippi. Chuck Berry's genius lay in his ability to shape those gruesome facts into a story about joy and freedom. Not that he didn't have to make concessions to the reality he was subverting. He says in his auto-biography that he wanted to sing "There lived a colored boy named Johnny B. Goode," rather than the "country boy" we now have, but "I thought it would seem biased to white fans." Especially, no doubt, those white listeners who programmed the radio stations that would determine whether the record became a hit or was not heard at all. Already a star, Chuck Berry was on intimate terms with the pop game and the limits it imposed on famous men with black skin.
    [Show full text]
  • MTO 11.4: Spicer, Review of the Beatles As Musicians
    Volume 11, Number 4, October 2005 Copyright © 2005 Society for Music Theory Mark Spicer Received October 2005 [1] As I thought about how best to begin this review, an article by David Fricke in the latest issue of Rolling Stone caught my attention.(1) Entitled “Beatles Maniacs,” the article tells the tale of the Fab Faux, a New York-based Beatles tribute group— founded in 1998 by Will Lee (longtime bassist for Paul Schaffer’s CBS Orchestra on the Late Show With David Letterman)—that has quickly risen to become “the most-accomplished band in the Beatles-cover business.” By painstakingly learning their respective parts note-by-note from the original studio recordings, the Fab Faux to date have mastered and performed live “160 of the 211 songs in the official canon.”(2) Lee likens his group’s approach to performing the Beatles to “the way classical musicians start a chamber orchestra to play Mozart . as perfectly as we can.” As the Faux’s drummer Rich Pagano puts it, “[t]his is the greatest music ever written, and we’re such freaks for it.” [2] It’s been over thirty-five years since the real Fab Four called it quits, and the group is now down to two surviving members, yet somehow the Beatles remain as popular as ever. Hardly a month goes by, it seems, without something new and Beatle-related appearing in the mass media to remind us of just how important this group has been, and continues to be, in shaping our postmodern world. For example, as I write this, the current issue of TV Guide (August 14–20, 2005) is a “special tribute” issue commemorating the fortieth anniversary of the Beatles’ sold-out performance at New York’s Shea Stadium on August 15, 1965—a concert which, as the magazine notes, marked the “dawning of a new era for rock music” where “[v]ast outdoor shows would become the superstar standard.”(3) The cover of my copy—one of four covers for this week’s issue, each featuring a different Beatle—boasts a photograph of Paul McCartney onstage at the Shea concert, his famous Höfner “violin” bass gripped in one hand as he waves to the crowd with the other.
    [Show full text]