June Activity Highlights
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Category Swainsboro Statesboro Augusta
ALUMNI SPOTLIGHT DUKES WINS MALE VOCALIST OF THE YEAR Justin Dukes, 2015 graduate of East Georgia State Col- lege, was awarded Male Vocalist of the Year during the GA Music Awards on August 15, 2015. The ceremony was held East Georgia State College at the Buckhead Theatre in Atlanta. Dukes, 21, earned his degree in business management 1 from EGSC. He is a country music singer/SESAC affiliate songwriter from Vidalia. He has been singing and perform- ing since the age of eight, and was the lead singer of the GA Music Country Band of the Year 2014. He was also nominated for the Georgia-Country Male Artist of the Year Award for 2015. Dukes has opened for artists such as Vince Gill, Char- lie Daniels, Craig Campbell, John Michael Montgomery, Shenandoah, David Nail and Joshua Scott Jones. He has a unique voice like no other in country music and his writing ability reaches all ages in the country music genre. LOVELADY DRAFTED BY KANSAS CITY ROYALS Richard Lovelady, a left-handed pitcher from Hinesville, grad- uated from East Georgia State College in May of 2015 after play- ing Bobcat Baseball under former Head Coach Chuck Lusted and current Head Coach Matthew Passauer. He continued his baseball career at Kennesaw State University and finished the 2016 season ranked inside the top three in the NCAA in appearances and ranked second in KSU Division 1 program history for most appearances in a single season (with 37). Lovelady was the first Bobcat to go on to play D-1 ball, and the dedication to his craft paid off on Friday, June 10, 2016, when he learned that he was drafted by the Kansas City Royals in the 10th round of the Major League Baseball draft pick. -
Will You Love Me Tomorrow? (1960) the Shirelles
MUSC-21600: The Art of Rock Music Prof. Freeze Will You Love Me Tomorrow? (1960) The Shirelles LISTEN FOR • Latin rhythm • Interplay of lead and backing voices • String arrangement, AABA form recall Tin Pan Alley • Harmonic intensifier on third line of each verse CREATION Songwriters Gerry Goffin, Carole King Label, Record Scepter 1211 Musicians Shirelles: Shirley Owens (lead), Doris Cole, Addie “Micki” Harris, Beverly Lee; unidentified studio musicians (guitar, bass, drums, strings, percussion) Arranger Carole King Producer Luther Dixon Recording Bell Sound Studios (New York City); October 1960; mono Charts Pop 1, R&B 2 MUSIC Genre Girl-group pop Form AABA with partial reprise Key C major Meter 4/4 LISTENING GUIDE Time Form Lyric Cue Listen For 0:00 Intro (4) • Latin groove in bass; “heartbeat” rhythm on snare ([1] 2 & [3] 4); sixteenth-note figure in cellos. • Background instruments reinforce the groove; single electric guitar strum on downbeat of every other bar. MUSC-21600 Listening Guide Freeze “Will You Love Me Tomorrow?” (The Shirelles, 1960) Time Form Lyric Cue Listen For 0:08 A (16) “Tonight you’re mine” • Lyrics describe a situation. 0:21 “Tonight the light” • Harmonic intensifier (E7 chord) adds urgency; backing voices enter singing long notes; cellos switch to long notes. 0:28 Refrain “But will you” • All voices sing lyrics. 0:35 A (16) “Is this a lasting” • Lyrics shift to questioning; cellos return to rhythmic figure doubled by backing voices; violins answer lead vocal phrases. 0:49 “Can I believe” • Harmonic intensifier; cellos and backing voices switch to long notes. 0:56 Refrain “Will you still” 1:03 B (16) “Tonight with words” • Bass moves to high register; violins become more active; mid-range texture thins; backing voices out. -
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. -
Sh-Boom« Die Gesangsgruppen
15. »Sh-Boom« Die Gesangsgruppen Martin Pfleiderer In den USA gab es bereits im 19. Jahrhundert professionelle Gesangsgrup- pen. So reisten etwa im Rahmen von Minstrelsy und Vaudeville zahlreiche singende Familiengruppen, insbesondere von Immigranten aus Deutsch- land und Österreich, durchs Land (vgl. Friedman/Gribin 2013: 3–9). Im 20. Jahrhundert veränderten sich die Traditionen des Gruppengesangs aufgrund der fortschreitenden Professionalisierung und der neuen Me- dientechnologien, aber auch aufgrund gesamtkultureller Veränderungen. Im Folgenden sollen einige der stilistischen Entwicklungen des populären Gruppengesangs in den USA zwischen 1900 und 1960 dargestellt werden. Die zentrale Fragestellung richtet sich auf die Art und Weise, wie die ver- schiedenen Gesangsstimmen einer Vokalgruppe zusammenwirken. Diese Gestaltungsweisen, ihr Auftreten in verschiedenen Musikgenres und ihre historischen Veränderungen sollen exemplarisch anhand von einflussrei- chen Aufnahmen und Vokalgruppen dargestellt werden. Gegenstand sind Vokalgruppen mit einer Besetzung von drei bis sechs Sängerinnen oder Sängern mit oder ohne zusätzliche Instrumental begleitung, die unter ei- nem gemeinsamen Gruppennamen aufgetreten sind. Vokalensembles, die als Background-Bands für einen Gesangsstar fungieren, werden dagegen nur am Rande thematisiert, ebenso wie größere Vokalensembles und Chö- re. Historischer Ausgangspunkt sind Praktiken und Gestaltungsweisen des Gruppengesangs, wie sie in frühen Aufnahmen des Hillbilly bezie- hungsweise Folk und Country und der afroamerikanischen -
Scepter Records Discography
Scepter Records 1958-1961 The Scepter Records story does not really start with Tiara Records. Lew Conetta created Tiara several years before Scepter, and Tiara continued to release records after Scepter began. However, one person working for Tiara – and by all accounts a co-owner of the company – is the well-known instrument for bringing about the vision for Scepter Records. That was Florence Greenberg. By early 1958, Greenberg was 44 years old – she would turn 45 in September. Over the past two years, she had learned as much about music publishing and about the managing of a record company as she could. She had approached the revived Tiara with a song for which her son, Stan, had co-written the music. Murry Shaff recorded the song, and Tiara had released it – with little success. After that, she had set up her own publishing company, Scepter Music, in late 1957, to publish the Shirelles’ first song, “I Met Him on a Sunday.” Throughout 1958, Scepter Music continued to publish Shirelles’ songs (when they were on Decca) as well as songs that John Bowden wrote for the Vestelles (also on Decca), plus some songs for which Tiara released the records. In November 1958, Greenberg parted ways with Tiara Records for a new venture. As Lew Conetta had plans for Tiara, and since Greenberg had enough confidence in the Shirelles to put them out on her own after their contract with Decca expired, on December 1, 1958, Florence Greenberg and Terry Ryan announced the formation of Scepter Records. Ryan was an artists and repertoire person; he would occupy the role that Hy Grill had fulfilled at Tiara, helping to recruit new artists to the label. -
Lamp Records Singles Discography
Lamp Records by Frank Daniels On June 12, 1954, Aladdin Records announced that they were preparing to open a subsidiary label – appropriately named Lamp. Instead of being spread across the genres of R&B and Jazz, Lamp was going to focus exclusively on Rhythm & Blues. Lamp Records sent out its first promotional releases near the end of June, and at the beginning of July, four Lamp singles appeared on the commercial marketplace. Within a month, Aladdin opened an office in New York City, and Lamp Records took New York as its base of operations. Over the next six months, the new label released several batches of singles in two series. These were the 8000 series of R&B singles and two discs in the 9000 series, which was devoted to gospel music. Then, as suddenly as the label opened, Lamp closed its doors … temporarily. The matrix numbering at this time followed the system that Aladdin used more broadly, featuring a prefix indicating the recording place (e.g., TEX- for Texas or SF- for San Francisco) and a four-digit sequence number. Although the trade magazines did not always agree with their choice, Aladdin used the suffix “X” to mark the A-side of the single and a “Q” to indicate the B-side. Lamp Singles, 8000 & 9000 Series Lamp 8001 “When the Sun Goes Down”/ “Tryin’ to Fool Me” Leonard Lee First Mentioned in Trade Magazines: July 3, 1954 78 RPM single above; 45 RPM single below. Lamp 8001 “When the Sun Goes Down”/ “Tryin’ to Fool Me” Leonard Lee Leonard Lee was the “second half” of the Aladdin duo, Shirley & Lee. -
Songwriters by TONY FLETCHER
AHMET ERTEGUN AWARD Songwriters BY TONY FLETCHER he truly flourished, as a house writer, arranger, and producer (and the only black man on the payroll). Bringing to bear his four decades of valuable experience, he helped veer Atlantic away from its initial obsession with jazz toward something more danceable. “The only thing that was missin’ from the stuffwe were recordingwas the rhythm,” he told Nick Tosches for the opening profile of the book Unsung Heroes ofRoc\ ’n Roll; Stone claimed to have corrected that absence by creating the bass line at the heart of many an Atlantic recording. Stone’s compositions combined that inveterate swing with an impish humor, as in the debut single for Clyde McPhatter’s Drifters, who took “Money Honey” to the top of the R6s?B charts in 1953. Stone also wrote for Atlantic legends Ray Charles (“Losing Hand”), Ruth Brown (‘A s Long as I’m Moving”), and LaVern Baker (“Soul on Fire”), but he truly left his mark with “Shake, Rattle and Roll.” A familiar battle cry from craps nights, and written specifically for his old Kansas City friend Big Joe Turner, “Shake, Rattle and Roll” popularized a number of ribald references to the sexual act, most famously that of “a one-eyed cat peepin’ in a seafood store. It also rocked like nothing before. Turner’s version was Jesse Stone an R6s?B sensation; the 1954 recording later by Bill Haley and the Comets then helped break the newly labeled “rock 5 ? roll” music among white audiences. Perhaps no other American popular-music composer strad- Stone followed up with “Flip Flop and Fly” for Turner died the twentieth century quite like Jesse Stone, and not (and Haley), “Your Cash Ain ’t Nothin’ but Trash” for the Clo only because he witnessed its every single year. -
Biography -- Printable Version
Biography -- Printable Version Peter Wolf's Historical Biography Written & Researched by Bryan Wiser, and Sheila Warren with Mimi Fox. Born in New York City, Peter grew up in the Bronx during the mid-1950's in a small, three-room apartment where he lived with his parents, older sister, two cats, dog and parakeet. For some time, Peter lived with his grandmother, an actress in New York City's Yiddish Theater. She and Peter had a strong bond, and she affectionately named him "Little Wolf" for his energetic and rambunctious ways. His father was a musician, vaudevillian and singer of light opera. Like Peter did years later, his father left home at age fourteen to join the Schubert Theater Touring Company with which he traveled the country performing light operas such as The Student Prince and Merry Widow. He had his own radio show called The Boy Baritone, which featured new songs from Tin Pan Alley, and was a member of the Robert Shaw Chorale. As a result of such artistic pursuits, Peter's father underwent long periods of unemployment that created a struggle to make financial ends meet. Peter's mother was an elegant and attractive woman who taught inner-city children in the South Bronx for 27 years. A political activist, union organizer and staunch civil rights advocate, she supported racial equality by attending many of the southern "freedom rides" and marches. Peter's older sister was also a teacher as well as a photographer who now works as an advocate for persons with disabilities. She continues her mother's tradition, often marching on Washington to support the rights of the disabled. -
Wilson Pickett, New York City, 1981; Swamp Dogg; Aretha Franklin, New York City, 1982; Fred Wesley, 2011; Dr
HYTHM AND LUES From left top and clockwise: Wilson Pickett, New York City, 1981; Swamp Dogg; Aretha Franklin, New York City, 1982; Fred Wesley, 2011; Dr. Mable John. Photos: © Fredrich Cantor; Courtesy of Swamp Dogg; © Fredrich Cantor; Mark Puryear, Smithsonian Institution; Courtesy of Stax Museum of American Soul Music Right side: The Dixie Cups® began performing rhythm and blues music in 1963; the group now includes original members Barbara A. Hawkins (right) and Rosa L. Hawkins (left), joined by Athelgra Neville. Photo by Richard Strauss, Smithsonian Institution Rhythm and Blues 53 Tell It Like It Is by Mark Puryear In 1964 The Dixie Cups®, a female vocal trio from New Orleans, crooned out a cheerful version of “Chapel of Love” and knocked the Beatles from their number one spot on the pop charts. A year later, the trio released “Iko Iko,” a song first released in 1954 by James “Sugar Boy” Crawford as “Jock-A-Mo,” whose lyrics recount the meeting of two groups of Mardi Gras Indians. Since then, this song has been cov- ered by artists from the Grateful Dead to Cyndi Lauper, and continues to move new generations with its infectious New Orleans rhythms. The career of The Dixie Cups, and their direct and indirect roles in carrying rhythm and blues (R&B) into mainstream consciousness, speaks to the enduring pow- er of this music to transcend region and musical category and become a representative sound of the country. Musical Crossroads by Dwandalyn Reece The National Museum of African American History of musical genres, highlighting musical innovations, and Culture (NMAAHC) was established by an act of significant time periods and events along with Congress in 2003 making it the nineteenth museum historic performances to capture the music’s impact of the Smithsonian Institution. -
An Examination of Essential Popular Music Compact Disc Holdings at the Cleveland Public Library
DOCUMENT RESUME ED 435 403 IR 057 553 AUTHOR Halliday, Blane TITLE An Examination of Essential Popular Music Compact Disc Holdings at the Cleveland Public Library. PUB DATE 1999-05-00 NOTE 94p.; Master's Research Paper, Kent State University. Information Science. Appendices may not reproduce adequately. PUB TYPE Dissertations/Theses (040) EDRS PRICE MF01/PC04 Plus Postage. DESCRIPTORS *Audiodisks; Discographies; *Library Collection Development; *Library Collections; *Optical Disks; *Popular Music; *Public Libraries; Research Libraries; Tables (Data) IDENTIFIERS *Cleveland Public Library OH ABSTRACT In the 1970s and early 1980s, a few library researchers and scholars made a case for the importance of public libraries' acquisition of popular music, particularly rock music sound recordings. Their arguments were based on the anticipated historical and cultural importance of obtaining and maintaining a collection of these materials. Little new research in this direction has been performed since then. The question arose as to what, if anything, has changed since this time. This question was answered by examining the compact disc holdings of the Cleveland Public Library, a major research-oriented facility. This examination was accomplished using three discographies of essential rock music titles, as well as recent "Billboard" Top 200 Album charts. The results indicated a strong orientation toward the acquisition of recent releases, with the "Billboard" charts showing the largest percentages of holdings for the system. Meanwhile, the holdings vis-a-vis the essential discographies ran directly opposite the "Billboard" holdings. This implies a program of short-term patron satisfaction by providing current "hits," while disregarding the long-term benefits of a collection based on demonstrated artistic relevance. -
“Sh-Boom” and the Bomb: a Postwar Call and Response
1 “Sh-Boom” and the Bomb: A Postwar Call and Response Raging fire balls, vaporized islands, ear-splitting clamor, mushroom clouds, shock waves, moral abomination, massive guilt, backyard bomb shelters, and thinking the unthinkable—all of these were part of the psychological and emotional Zeitgeist of Postwar America. Test Able, the first atom-bomb test off Bikini in the Marshall Islands, took place in the summer of 1946. At that time, many Americans feared the consequences. Some believed gravity would be destroyed, or that the ocean would turn to gas, or perhaps an underwater explosion would blow a hole in the bottom of the sea and cause it to run completely out. Others expected earthquakes, tidal waves, or radioactive waves that would, a Portland, Oregon taxi driver feared, “peel his skin like a banana.”1 None of these suspicions materialized, though the site of the explosion became the name of a woman’s two-piece bathing suit. In Homeward Bound, Elaine Tyler May links the photograph of Hollywood sex symbol Rita Hayworth that was physically attached to the bomb to the “name for the abbreviated swimsuit the female ‘bombshells’ would wear. The designer of the revealing suit,” she says, “chose the name ‘bikini’ four days after the bomb was dropped to suggest the swimwear’s explosive potential.”2 William O’Neill, the author of American High, points out that nuclear weaponry at that time was a concern so frightening that “popular culture absorbed and trivialized” it.3 Looking back, it seems excessive to have worried so about a fission bomb. -
1960S America Music
1960s America Music Kaleigh Coffey 8th December 2018 Abstract This is a downloadable document outlining the content, images, andref- erences used in the Music section of the WordPress site. This document will cover the content of the Music top-level page and its three children pages—Woodstock Music Festival, American Folk Music, and Girl Groups and Girl Bands of the 1960s. Contents Contents i List of Figures ii 1 Music Homepage 1 2 Woodstock Music Festival 1 2.1 Woodstock Overview ........................ 1 2.2 Musical Acts ............................. 3 2.3 Cultural Significance ........................ 3 3 American Folk Music 7 3.1 American Folk Music Revival of the 1960s ............ 7 4 Girl Groups and Bands of the 1960s 9 4.1 Introduction to Girl Groups and Bands .............. 9 4.2 Formation of Girl Groups and Bands . 10 4.3 Popular Girl Groups of the 1960s . 11 4.4 Popular Girl Bands of the 1960s . 12 References 14 i List of Figures 1 Woodstock Opening Ceremony .................... 2 2 Guitar stock image ............................ 2 3 The Supremes in 1970 .......................... 3 4 Promotional image of the Jimi Hendrix Experience .......... 4 5 The Who Band photographed in 1972 ................. 5 6 Joplin in 1970 ............................... 6 7 Woodstock Redmond Crowd ...................... 6 8 Two Hippies at Woodstock ....................... 7 9 Joan Baez and Bob Dylan ........................ 8 10 Joan Baez photograph .......................... 9 11 The Dandy Girls ............................. 10 12 The Shirelles ............................... 12 13 The Liverbirds .............................. 13 ii 1 Music Homepage Undoubtedly, the 1960s was a decade of immense social change for the United States.1 Although this transformation is immeasurable, it was marked by sig- nificant events and ideologies.