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Midnight Special Songlist
west coast music Midnight Special Please find attached the Midnight Special song list for your review. SPECIAL DANCES for Weddings: Please note that we will need your special dance requests, (I.E. First Dance, Father/Daughter Dance, Mother/Son Dance etc) FOUR WEEKS in advance prior to your event so that we can confirm that the band will be able to perform the song(s) and that we are able to locate sheet music. In some cases where sheet music is not available or an arrangement for the full band is need- ed, this gives us the time needed to properly prepare the music and learn the material. Clients are not obligated to send in a list of general song requests. Many of our clients ask that the band just react to whatever their guests are responding to on the dance floor. Our clients that do provide us with song requests do so in varying degrees. Most clients give us a handful of songs they want played and avoided. Recently, we’ve noticed in increase in cli- ents customizing what the band plays and doesn’t play with very specific detail. If you de- sire the highest degree of control (allowing the band to only play within the margin of songs requested), we ask for a minimum of 100 requests. We want you to keep in mind that the band is quite good at reading the room and choosing songs that best connect with your guests. The more specific/selective you are, know that there is greater chance of losing certain song medleys, mashups, or newly released material the band has. -
Illustrations of Accounting for Joint Ventures
University of Mississippi eGrove American Institute of Certified Public Accountants Newsletters (AICPA) Historical Collection 1980 Illustrations of accounting for joint ventures : a survey of the application of various methods of accounting for joint ventures in the financial statements of venturers; Financial report survey, 21 Hortense Goodman Leonard Lorensen Follow this and additional works at: https://egrove.olemiss.edu/aicpa_news Part of the Accounting Commons, and the Taxation Commons Recommended Citation Goodman, Hortense and Lorensen, Leonard, "Illustrations of accounting for joint ventures : a survey of the application of various methods of accounting for joint ventures in the financial statements of venturers; Financial report survey, 21" (1980). Newsletters. 181. https://egrove.olemiss.edu/aicpa_news/181 This Book is brought to you for free and open access by the American Institute of Certified Public Accountants (AICPA) Historical Collection at eGrove. It has been accepted for inclusion in Newsletters by an authorized administrator of eGrove. For more information, please contact [email protected]. FINANCIAL REPORT SURVEY 21 Illustrations of Accounting for Joint Ventures A survey of the application of various methods of accounting for joint ventures in the financial statements of venturers By Hortense Goodman, CPA a n d Leonard Lorensen, CPA FINANCIAL REPORT SURVEYS 1 Illustrations of Accounting Policy Disclosure (1972) A survey of applications of APB Opinion No. 22 2 Illustrations of Reporting Accounting Changes (1974) A survey of reporting under APB Opinion No. 20 3 Illustrations of Reporting the Results of Operations (1974) A survey of applications of APB Opinion No 30 4 Illustrations of Interperiod Tax Allocation (1974) A survey of applications of APB Opinion Nos. -
Press Images Surf’S Up! Instrumental Rock ‘N’ Roll
Press Images Surf’s Up! Instrumental Rock ‘n’ Roll Pantone 871 C Metallic = C-0 M-15 Y-78 K-36 + Black [left to right] [left to right] [left to right] Danelectro Guitarlin 1958 Fender Jazzmaster 1965 Mosrite Ventures Mk.V NAMM Custom 1966 played by Link Wray played by Bob Demmon of The Astronauts played by Don Wilson of The Ventures Danelectro Corporation | Red Bank, New Jersey Fender Electric Instrument Co. | Fullerton, California Mosrite of California | Bakersfield, California Courtesy of Deke Dickerson Courtesy of Chad and Sean Demmon Courtesy of Black Book Guitars L2020.1903.001a L2020.1915.001a,b L2020.1904.001a Howard Custom double-neck guitar 1960 Fender 6G14 Showman Amp 1961 Fender FR–1000 Solid State Reverb 1966 played by Duane Eddy used by Rich Fifield of The Astronauts used by Nokie Edwards of The Ventures Howtronics | Phoenix, Arizona Fender Electric Instrument Co. | Fullerton, California Fender Musical Instruments | Santa Ana, California Courtesy of Deke Dickerson Courtesy of Mel Bergman Courtesy of Black Book Guitars L2020.1903.002a L2020.1906.002a,b L2020.1904.002a [left to right] [clockwise from top left] [left to right] Mike Patterson and The Rhythm Rockers 1962 Come Surf With Me 1963 “DoubleJunk” Fender Jazzmaster/Jaguar 1992 Courtesy of John Blair Aki Aleong and the Nobles | Southern California constructed and played by Mel Bergman of The Phantom L2020.1907.006 Vee Jay Records | Chicago Surfers Courtesy of Johnny Bartlett various makers The Music Man Presents The Impacts 1962 L2020.1908.003 Courtesy of Mel Bergman Courtesy of Scott Beerwolf L2020.1906.006a L2020.1916.001 Surf Rider! 1963 The Lively Ones | Orange County, California Del-Fi Records | Hollywood, California Weather King bass drumhead 1989 Courtesy of Mickey McGowan, Unknown Museum Archives illustrated by Johnny Bartlett of The Phantom Surfers L2020.1905.018 Remo, Inc. -
'N' Roll: the Rolling Stones in Film
it’s only rock ’n’ roll: the rolling stones in film - artforum.com / ... http://artforum.com/inprint/issue=201209&id=36146 dleopard59 log out ADVERTISE BACK ISSUES CONTACT US SUBSCRIBE follow us search ARTGUIDE IN PRINT 500 WORDS PREVIEWS BOOKFORUM 中文版 DIARY PICKS NEWS VIDEO FILM SLANT A & E IN PRINT NOVEMBER 2012 IT’S ONLY ROCK ’N’ ROLL: THE ROLLING STONES IN FILM SUBSCRIBE recent issues May 2013 April 2013 March 2013 February 2013 Robert Frank, January 2013 Cocksucker Blues, 1972, 16 mm, color and black- December 2012 and-white, sound, 93 November 2012 minutes. Mick Jagger. Archive to 1962 Photo: Photofest. As the “world’s greatest rock ’n’ roll band” celebrates its golden jubilee this year, the Museum of Modern Art in New York pays tribute with a heady cinematic survey: “THE ROLLING STONES: 50 YEARS OF FILM” (NOVEMBER 15–DECEMBER 2). But 2012 marks another anniversary as well. Forty years ago, the Stones embarked on a legendary tour to promote their new album, Exile on Main St., and they engaged two very different filmmakers—Robert Frank and Rollin Binzer—to document the affair on celluloid, producing wildly divergent results: Cocksucker Blues and Ladies and Gentlemen: The Rolling Stones, respectively. Film historian DAVID E. JAMES traces the events that would ultimately transform the band’s extraordinary engagement with the medium—and with the very public on which not only their stardom but their cultural significance depended. WITH THE BEATLES’ FINAL PERFORMANCE on the roof of the Apple Records building at the beginning of 1969, documented in Michael Lindsay-Hogg’s film Let It Be (1970), the Rolling Stones’ claim to being the greatest rock band in the world was now uncontested. -
Updates & Amendments to the Great R&B Files
Updates & Amendments to the Great R&B Files The R&B Pioneers Series edited by Claus Röhnisch from August 2019 – on with special thanks to Thomas Jarlvik The Great R&B Files - Updates & Amendments (page 1) John Lee Hooker Part II There are 12 books (plus a Part II-book on Hooker) in the R&B Pioneers Series. They are titled The Great R&B Files at http://www.rhythm-and- blues.info/ covering the history of Rhythm & Blues in its classic era (1940s, especially 1950s, and through to the 1960s). I myself have used the ”new covers” shown here for printouts on all volumes. If you prefer prints of the series, you only have to printout once, since the updates, amendments, corrections, and supplementary information, starting from August 2019, are published in this special extra volume, titled ”Updates & Amendments to the Great R&B Files” (book #13). The Great R&B Files - Updates & Amendments (page 2) The R&B Pioneer Series / CONTENTS / Updates & Amendments page 01 Top Rhythm & Blues Records – Hits from 30 Classic Years of R&B 6 02 The John Lee Hooker Session Discography 10 02B The World’s Greatest Blues Singer – John Lee Hooker 13 03 Those Hoodlum Friends – The Coasters 17 04 The Clown Princes of Rock and Roll: The Coasters 18 05 The Blues Giants of the 1950s – Twelve Great Legends 28 06 THE Top Ten Vocal Groups of the Golden ’50s – Rhythm & Blues Harmony 48 07 Ten Sepia Super Stars of Rock ’n’ Roll – Idols Making Music History 62 08 Transitions from Rhythm to Soul – Twelve Original Soul Icons 66 09 The True R&B Pioneers – Twelve Hit-Makers from the -
Canción, Performance Y Estereotipos De Género En La “Movida” Madrileña
UNIVERSIDAD DE VALLADOLID Grado en Historia y Ciencias de la Música CANCIÓN, PERFORMANCE Y ESTEREOTIPOS DE GÉNERO EN LA “MOVIDA” MADRILEÑA Trabajo fin de Grado Presentado para la obtención del Título de Graduado en Historia y Ciencias de la Música por GAIA GÓMEZ PINO Realizado bajo la dirección del profesor Iván Iglesias Iglesias Julio de 2015 Curso Académico 2014 - 2015 UNIVERSIDAD DE VALLADOLID Grado en Historia y Ciencias de la Música CANCIÓN, PERFORMANCE Y ESTEREOTIPOS DE GÉNERO EN LA “MOVIDA” MADRILEÑA Trabajo fin de Grado Presentado para la obtención del Título de Graduado en Historia y Ciencias de la Música por GAIA GÓMEZ PINO Realizado bajo la dirección del profesor Iván Iglesias Iglesias Curso Académico 2014 - 2015 El autor Vº Bº del tutor RESUMEN El presente Trabajo de Fin de Grado es una aproximación a las cuestiones de género y ruptura de estereotipos –especialmente sexistas– en la música popular urbana de la Transición a la democracia, centrada en el contexto de la Movida madrileña (entre finales de los años setenta y finales de los ochenta del siglo XX). Su objetivo principal es analizar cómo a través de la música se fueron rompiendo los roles sexistas existentes en la anterior etapa franquista, además de desafiar ciertos tabúes sobre cuerpo y la sexualidad. Para ejemplificar todo ello, analizo varias actuaciones en directo de artistas relevantes dentro de este contexto musical de la Movida, como fueron Alaska, Tino Casal, el grupo Vulpes y el dúo formado por Pedro Almodóvar y Fabio McNamara, prestando atención tanto a las letras, como a la música y a la performance. -
Full Version of the Copyrighted Work
Volume 2, Number 1 Winter 2011 Contents ARTICLES Political Recoding of the Contemporary Celebrity and the First Amendment David Tan Antitrust & the Bowl Championship Series Nathaniel Grow Caught in the Copyright Rye: Freeing First Amendment Interests from the Constraints of the Traditional View Arlen W. Langvardt & Tara E. Langvardt Biting the Hand That Feeds: Why the Attempt to Impose Additional Performance Fees on iTunes is a Search for Dollars Without Sense Jesse A. Bland The Americans with Disabilities Act, The United States Anti-Doping Agency, and the Effort Toward an Equal Opportunity: A Case Study of the United States Anti-Doping Agency v. George Hartman Matter Travis Tygart & Anthony R. Ten Haagen Volume 2, Number 1 Winter 2011 Contents ARTICLES Political Recoding of the Contemporary Celebrity and the First Amendment 1 David Tan Antitrust & the Bowl Championship Series 53 Nathaniel Grow Caught in the Copyright Rye: Freeing First Amendment Interests from the Constraints of the Traditional View 99 Arlen W. Langvardt & Tara E. Langvardt Biting the Hand That Feeds: Why the Attempt to Impose Additional Performance Fees on iTunes is a Search for Dollars Without Sense 157 Jesse A. Bland The Americans with Disabilities Act, The United States Anti-Doping Agency, and the Effort Toward an Equal Opportunity: A Case Study of the United States Anti-Doping Agency v. George Hartman Matter 199 Travis Tygart & Anthony R. Ten Haagen EDITORIAL BOARD Editor in Chief Josh Podoll Executive Editor Executive Editor Executive Editoor Ben Glicksman Abigail E. Hackler Michael J. Mozes Submissions Chairs Production Chair Technical Chairs Jeremy Campbell Zachary Rosenthal Robin Achen David J. -
Hpm Saved Images 05 02
SAVED IMAGES SAVED IMAGES hobbypopMUSEUM BOMBAY BIZARRE 143 INHALT SURREAL ESTATE 144 ALL IN ONE RHYTHMUS 156 EINE WICHTIGE MITTEILUNG DER KÜNSTLER 7 DER BRENNENDE DORNBUSCH 158 KLÄNGE hobbypopMUSEUM 8 RAVING GARDENS 160 hobbypopMUSEUM ON MAIN STREET Andrew Renton 10 VILLA ROMANA 170 DIGITALIA Dortmunder Kunstverein 22 TAKING THE AIR 174 GESAMTKUNSTSPIEL 20 Jahre hobbypopMUSEUM 46 Oriane Durand EARLY MOVIES 188 DIE KRIPPE 190 2018–2004 ZUR SCHATTIGEN PINIE 191 HOBBY POP PHOTO SHOP MUSEUM 52 INTELLIGENT DESIGN 192 ARENA 62 LE CRAZY HORSE 198 ITALO POP 64 GAMMA GAMMA 200 DIE BRÜCKE 66 EREMITAGE 208 DIE ÜBERTRAGUNG 72 OLYMPIA 210 HOTEL ANDERES UFER 74 NEO PSYCHICO 216 CUCURRUCUCÚ Speculative notes from Hermoupolis 87 ÄGYPTEN 222 Sam Watson GEPÄCKSTÜCK 333 228 BÜRO BUREAU 92 MYSTICA 230 THE BANDWAGON WUPPERTAL 98 ECHO / HXΩ 240 THE BANDWAGON PARIS 112 PROSIT NEUJAHR 250 A LETTER FROM PARIS Benjamin Thorel 118 FROHE WEIHNACHTEN 252 ANOTHER BANDWAGON 124 LES FRANGES 128 INDEX 2018–1998 254 FRINGES 129 DISKOGRAFIE / EDITIONEN / PUBLIKATIONEN 273 FRINGES II 134 FRINGES III 135 IMPRESSUM 286 hobbypopMUMBAI 136 hobbypopMUSEUM on Main Street Andrew Renton “Honey, I’ve been signifying. Whoa, whoa, whoa.” (‘I’m Not Signifiying’) It begins with an exile. Unfamiliar surroundings. No-one is quite at home, but you unpack your things to make sense of them as best you can. There are benefits to this exile. It offers a kind of freedom and a possibility for reinvention. An opportunity to be or play someone else. Or a refreshed version of yourself. Tuned up or down. The model, here, is the Rolling Stones, decamped to the South of France, recording in the basement of Keith Richards’ rented palace, Nellcôte, in Villefranche, on the coast. -
1985 Festival of American Folklife
Smithsonian Folklife Festival records: 1985 Festival of American Folklife CFCH Staff 2017 Ralph Rinzler Folklife Archives and Collections Smithsonian Center for Folklife and Cultural Heritage 600 Maryland Ave SW Washington, D.C. [email protected] https://www.folklife.si.edu/archive/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Historical note.................................................................................................................. 2 Scope and Contents note................................................................................................ 2 Arrangement note............................................................................................................ 2 Introduction....................................................................................................................... 3 Names and Subjects ...................................................................................................... 4 Container Listing ............................................................................................................. 5 Series 1: Program Books, Festival Publications, and Ephemera, 1985................... 5 Series 2: Cultural Conservation............................................................................... 6 Series 3: Louisiana................................................................................................ -
Tino Casal and the Modernization of Spanish Popular Music in the Eighties
ANUARIO MUSICAL, N.º 74 enero-diciembre 2019, 105-119 ISSN: 0211-3538 https://doi.org/10.3989/anuariomusical.2019.74.07 TINO CASAL Y LA MODERNIZACIÓN DEL POP ESPAÑOL EN LOS AÑOS OCHENTA TINO CASAL AND THE MODERNIZATION OF SPANISH POPULAR MUSIC IN THE EIGHTIES Sara Arenillas Meléndez Universidad de Oviedo [email protected] ORCID ID: https://orcid.org/0000-0002-4613-3816 Diana Díaz González Universidad de León [email protected] ORCID ID: https://orcid.org/0000-0002-1146-2935 Resumen Abstract Tino Casal (1950-1991) es una referencia de la música popu- Tino Casal (1950-1991) is an icon for Spanish popular mu- lar urbana española de la década de 1980 y uno de los que mejor sic of the 1980s. Casal adapted efficiently new wave´s postmodern adaptó la modernidad posmoderna de la new wave al contexto espa- modernity to the Spanish context. He articulated the discourse of ñol. Casal articuló el discurso de la new wave a través de los new the new wave through new romantics, who inherited features of romantics, que recogían elementos del glam como el artificio o la glam such as artifice or androgyny. Following his foreign counter- androginia. En su trabajo, Casal combinó, siguiendo a sus homólo- parts, Casal combined in his work synth pop´s artificiality and gos extranjeros, la artificialidad y la auténtica inautenticidad del authentic inauthenticity, with pastiche and kitsch. In this research, synth pop, con la práctica del pastiche y el uso consciente del kitsch. we have analyzed Casal´s work through songs like “Embrujada”, Siguiendo la cronología de sus discos, en este artículo analizamos “Oro negro”, “African chic” or his version of “Life on Mars?”. -
PORTS an MSU Football Defensive Force
EW Tl I l l\S D \ \ _ \ 0 , ('lll her IG. 2006 \S\ JSL E'ponent Special Senate Meeting Pass Chemistry uilding Resolutio ...,.. Photo by Rachel Cudr · J ·1 'l /, lf.· - t t"101111 l Th ASHSL S,na'traentl1p.wed.1m h The ire-:... Chemzstr\ f-~z.zl1t\', ,urrc 11tl\' u11da comtructio11. has been propos,·d 111a111~1 · a< a resear<"hJ11c1 1ty, wit·' oiu 111 '<l'l 111 a '';or llH rue wt. ' ' I . 0 • • J • / · · J h. I /, ( f j" th t 5ft i nt fl/ ItIOI/ m /\" t't' 11tua/l)' fil)' /or Oj>t'/"ll/101/S ti/It '111l llltcll<lllif ~ requc 1tmg th.it a Bo.ml of Regent• resolution regardrng ediji11i11g n-secrch •IS ucaac·mff t' XC w1f t 1.1 <I/JI 1 mg' 'If t o_ ,•,11J a " ,. ' . Laboratory Facility (CRLF) at Montana State (CRLF( focus will be forgotten. and it will be said. 'Tm ~ot at all again t sha'.:d gc C HER\ L 1--.~ 0BEL University-Bozeman (MSU) co an academic remembered as an opposition to research." nance, but it has to go both ways._ ·1d· " The University of Montana also has a At the ASMSU Senate speaal b w m~ . ·ec1 With that intent, ASMSU would send chemisrry research facility, and Philip noted on Nov. 15, several issues were rats TI1is is the second in a series of arti a message to the Regents chat a resolution that UM would like to redefine their build- Arthu11 had encountered at the Reg cles that will be covering research currently on their table to redefine research ing. -
ROCK'n'roll's 1ST DECADE Week
ROCK'N'ROLL’S 1ST DECADE Week One: The Roots of Rock Recommended Listening: The Delmore Brothers, Freight Train Boogie (Ace, 1993). Country-boogie songs from 1946-51 by this brother duo, whose more uptempo material was not only some of the finest country music of the era, but an important building block of rockabilly and early rock & roll. Fats Domino, The Early Imperial Singles 1950-1952 (Ace, 1996 & 1997). Thorough collections of the first few years or so of singles by the most important early New Orleans rock'n'roll star, whose singles of the early 1950s weren't all that different from the pop hits he had after rock took off. The Drifters, Let the Boogie-Woogie Roll: Greatest Hits 1953-1958 (Atlantic, 1988). Perhaps the most consistent, and certainly one of the most important, of the doo wop groups that had their first success prior to 1955. This has their mid-1950s R&B hits, some of them featuring lead singer Clyde McPhatter. The Drifters who had numerous early soul hits in the late 1950s and early 1960s had entirely different personnel, and were linked to this version of the group only by the trademark name. Bill Haley & His Comets, Rock the Joint! The Original Essex Recordings 1951-1954 (Rollercoaster, 1992). Bill Haley & His Comets were the first white band to fuse rhythm and blues with country music into something recognizable as rock'n'roll, and were doing so for four years before "Rock Around the Clock" became the first huge rock hit. This has those early recordings, including one from 1952 ("Rock the Joint") quite similar to "Rock Around the Clock," and his first single to become a Top Twenty pop hit, 1953's "Crazy, Man, Crazy." John Lee Hooker, The Legendary Modern Recordings 1948- 1954 (Flair/Virgin, 1993).