The People in the Picture
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WDAM Radio's History of Dionne Warwick
WDAM Radio's Hit Singles History Of Dionne Warwick # Artist Title Chart Position/Year Label Comments 001 Drifters “Mexican Divorce” –/1962 Atlantic Dionne Warwick’s back-up vocals on this recording are what caught the attention of Hal David & Burt Bacharach, who signed her to their production company. Recorded in 1961, but released as the B-side of When My Little Girl Is Smiling (#28-Rock-U.S. + #31- U.K./1962). Composers – Burt Bacharach & Bob Hilliard. 002 Burt & The Backbeats “Move It On The Backbeat” –/1961 Big Top Burt Bacharach, Dionne Warwick & Dee Dee Warwick. Composers – Hal David & Burt Bacharach. 003 Dionne Warwick “It’s Love That Really Counts” –/1962 Scepter Demo for song that was presented to the Shirelles. It also was a cut on Dionne’s debut LP – Presenting Dionne Warwick – released in 1963. Composers – Hal David & Burt Bacharach. 003A Shirelles “It’s Love That Really Counts” #102/1962 Scepter 004 Dionne Warwick “I Smiled Yesterday” –/1962 Scepter A-Side. Composers – Hal David & Burt Bacharach. 005 Dionne Warwick “Don’t Make Me Over” #21-Rock & #5-R&B- Scepter B-side. Song title inspired by Dionne’s angry U.S. + #38-Rock- statement to Hal David & Burt Bacharach Canada/1962 gave Make It Easy On Yourself to Jerry Butler first instead of her. Composers – Hal David & Burt Bacharach. 005A Swinging Blue Jeans “Don’t Make Me Over” #116-Rock-U.S. + #31- Imperial U.K./1966 005B Brenda & The “Don’t Make Me Over” #77-Rock & #15-R&B- Top And Bottom Co-producer – Van McCoy. Tabulations U.S./1970 005C Jennifer Warnes “Don’t Make Me Over” #67-Rock, #14-AC & Arista #84-C&W-U.S./1980 005D Sybil “Don’t Make Me Over” #20-Rock, #2-R&B & Next Plateau #4-Dance-U.S. -
The Coasters on Atco and King by Claus Röhnisch
Those Hoodlum Friends – The Coasters: Supplement The Coasters on Atco and King by Claus Röhnisch Special supplement to Those Hoodlum Friends – edited by Claus Röhnisch http://www.angelfire.com/mn/coasters/supplement.pdf see Those Hoodlum Friends at http://www.angelfire.com/mn/coasters/ThoseHoodlumFriends.pdf The classic Coasters: Billy Guy, Carl Gardner, Will “Dub” Jones, Cornell Gunter, and guitarist Adolph Jacobs (in late 1958). The Coasters on Atco and King 1 Those Hoodlum Friends – The Coasters: Supplement The Coasters in 2008: Ronnie Bright, Carl Gardner Jr, J.W. Lance, and Alvin Morse (with guitarist Thomas “Curley” Palmer). (photo: Denny Culbert, 2theAdvocate.com, Louisiana) The Coasters receiving their two Golden Records for the double-hit "Searchin´" / "Young Blood" on the Steve Allen TV-show on August 25, 1957. Gardner, Guy, Nunn, Allen, Hughes, and seated Jacobs. (from Cash Box magazine, September 14, 1957 issue). 2 The Coasters on Atco and King Those Hoodlum Friends – The Coasters: Supplement THE COASTERS on Atco and King The Coasters’ Atco recordings – Sessionography, featuring: “There’s A Riot Goin’ On: The Coasters On Atco” – Rhino Handmade 4-set CD RHM2 7740 (December 12, 2007) The Coasters’ recording line-ups are listed as headings. Carl Gardner, lead vocal unless otherwise indicated. The Coasters’ stage guitarists Adolph Jacobs, Albert “Sonny” Forriest, and Thomas “Curley” Palmer also worked in the studios with the vocal group (as shown on personnel listings). Recording location is valid until new location is listed. All unmarked labels are Atco. Only US original issues are listed – singles, EPs and LPs, and when originally not issued on any US single or LP, the first album issue (LP/CD). -
Sight to Sound
The Kalamazoo Symphony Orchestra Presents Sight to Sound Youth Concert 2014-2015 Teacher GUIDE KSO Youth Concerts 2014-2015 “Sight to Sound” Teacher Guide Pages Concert Introduction………………………………………………………………………………..………………..2 Artwork Submissions………………………………...……………………………………………………………...3 Symphony Orchestra Instrument Families………………………………..……………………………….4 Symphony Orchestra Template……………………………………………………………...………………...6 “Sunrise Ignites Daybreak’s Veil” from Chasing Light, by Shwantner….……………..….…...8 In the Steppes of Central Asia, by Borodin..……………………....………………………………...….10 Music Composition Templates………………………………………..……………………………………….12 “The Storm of Chenery Auditorium”………….…………………………………………………...….......14 “The Royal March of the Lion” from Carnival of the Animals, by Saint-Saens……….....16 Mosquito Dance, by White……...……….………………..……………………………………...….....…..18 “The Elephant” from Carnival of the Animals, by Saint-Saens…………..………………….…..20 “Flight of the Bumblebee” from The Tale of Tsar Saltan, by Korsakov….…...…………….20 “The Moldau” from Ma Vlast by Smetana……………….……………….……………………….……..22 “The Flying Theme” from E.T., by Williams………………....………...………………...…………….24 Flying Theme Pictures for Writing Activity……………………………………………………………..26 What a Wonderful World, by Thiele/Weiss…….………….…..……………………….…………….28 Special Needs Modifications……….……………………………………………………..……...………...30 The Conductor’s Role……………………………………………………………..………..……..……………31 Review: Show What You Know & Post-Concert Reflection…………………….……………..32 Concert Behavior: Setting Up Your Students for Success…………………..………………….33 -
Res.2020.1.2.163.Pdf by MPS North America LLC, Ucpress Mpslimited on 01 December 2020 a Genius Song Stylist
JESSICA BOYKIN-SETTLES Two Heads Are Better Than One The Artistry of Shirley Horn ABSTRACT Washington, DC–born vocalist and pianist Shirley Horn was one of the most singular and respected musicians on the jazz scene during a career that spanned more than five decades. Despite minimal accolades, Horn’s contributions to the art form are rarely rivaled. She was a virtuoso pianist and Downloaded from http://online.ucpress.edu/res/article-pdf/1/2/163/407286/res.2020.1.2.163.pdf by MPS North America LLC, ucpress mpslimited on 01 December 2020 a genius song stylist. In a 1992 article in the Washington Post, prolific composer and arranger Johnny Mandel explained that “Horn’s playing wasn’t just self-accompaniment. It was percussive counterpart and harmonic commentary that worked with the singing to create a whole, a work of art that was more than the sum of its parts. ‘It’s almost as if when Shirley plays, she has two brains. I don’t know how she can play what she plays and sing what she sings. ...Playing piano like that is a very complex undertaking, and singing with that amount of sensitivity and concentration—she sounds like Siamese twins.’”1 Through recorded performances that best exhibit vocal phrasing, chord voicings, and comping patterns in the jazz tradition, Horn’s piano and vocal performance will be analyzed in order to demonstrate why her genius should occupy the top echelons of revered American musicians this country has ever produced. Jazz and classical musicians whom Horn cited as her biggest influences will be discussed to demonstrate how she absorbed and expertly integrated chosen elements of those individual styles into her own performance to create a distinctive sound and a unique approach to interpreting standard jazz repertoire. -
Cbs Collection 072 Ucla
CBS COLLECTION 072 UCLA by Bill Wrobel [NOTE: I first worked on the CBS Collection 072 (Deed of Gift # 1) when it was officially opened to researchers, perhaps in May 1989. I did not make note of the exact day. On April 18, 1995 I had an unexpected opportunity to look at the Deed of Gifts document information dated July 1, 1991. Here Robert Drasnin, Head of Music CBS/MTM Studios in North Hollywood, stated that the music section will close soon, so he authorized to send the rest of the old CBS materials to UCLA. The 1st Deed of Gift was in late November/early December 1988. This 2nd Deed of Gift is dated November 1991. CBS Studios at that time was purchased by Sony Corporation that was initiating a belt-tightening policy. So manuscript music scores, timing sheets, log books of original recording sessions, business records, correspondence, reels, etc., were donated to UCLA. I believe there were 466 boxes in Deed of Gift # 2. Boxes 1-36 (the numbering is different now) had scores, timing sheets, etc. Boxes 37-300 had CBS records of recording sessions in three-ring binders. Boxes 326-8 are foreign library recordings. Boxes 329-342 had miscellaneous production correspondence & other documents. Boxes 343-347 had misc. scores with production documents. Boxes 348-9 had photocopies of scores in three- ring binders. Boxes 350-353 had mix productions, some scripts. Boxes 354-374 contained music on tapes in 10 inch hubs or 7 inch reels. Boxes 357-389 had production documents. Boxes 390-393 had published popular sheet music. -
'After the Dawn': Popular Music in Australia Around 1900
(This was first published in Shofar: An Interdisciplinary Journal of Jewish Studies, vol 27, no 3, 2009, pp. 102-127) Jews Dreaming of Acceptance: From the Brill Building to Suburbia with Love ‘This is the way I always dreamed it would be The way it is When you are holding me.’ ‘I Can Hear Music’ Jeff Barry, Ellie Greenwich, Phil Spector (1966) Ken Emerson reminds us that the ‘Brill Building sound’ actually came not only from the Brill Building at 1619 Broadway but also, and at least as importantly, from 1650 Broadway.1 Indeed, the bulk of the composers I will focus on in this article worked at 1650 Broadway where, from May 1958, Aldon Music was located. This music publishing enterprise was started by twenty-one year old Don Kirshner and forty-two year old Al Nevins who had played with the Three Suns. They immediately signed Neil Sedaka and Howard Greenfield and, by 1962, employed eighteen composers, all between the ages of nineteen and twenty-six. These included the composing pairs most associated with the ‘Brill Building sound’: Carole King and Gerry Goffin, Barry Mann and Cynthia Weil, Jeff Barry and Ellie Greenwich, in addition to Sedaka and Greenfield. As Mick Brown remarks in his biography of Phil Spector with only slight exaggeration: ‘There wasn’t a writer at Aldon who wasn’t Jewish.’2 In an important article on the legacy of the Brill Building music, Ian Inglis writes that: ‘while it may be difficult to argue that there was a specific Brill Building “sound”, it has been noted that certain themes and components do recur in many of the songs. -
Susan Watson
Susan Watson THE MUSIC NEVER ENDS Orchestrated and Arranged by Michele Brourman & Stephan Oberhoff Having spent over seven decades on this planet, I can say: The Songs of My Story 1 n Old Friends 3 n My Ship (music & lyrics by Stephen Sondheim) (music by Kurt Weill; lyrics by Ira Gershwin) NO COMPLAINTS AND NO REGRETS I STILL BELIEVE IN CHASING DREAMS AND PLACING BETS This CD is for my “old friends,” you know Many a romance starts with a dream AND I HAVE LEARNED THAT ALL YOU GIVE IS ALL YOU GET who you are, and I love you all a lot! AGLOW WITH A MILLION PEARLS? SO GIVE IT ALL YOU’VE GOT. But — (Artie Butler’s song: “Here’s To Life”) Music by Artie Butler | Lyrics by Phyllis Molinary BUT US, OLD FRIEND, THAT DREAM NEED NEVER BE WHAT’S TO DISCUSS, OLD FRIEND? IF THE SHIP I SING, HERE’S TO US – WHO’S LIKE US? DOESN’T ALSO BRING This CD is about the romances that we’ve all DAMN FEW!” MY OWN TRUE LOVE TO ME. had — the flirtations, the “getting serious,” getting married, getting un-married, It was Stephen Sondheim who got me onto My dream started in London ... rebounding, and the resilience of the human the wicked stage when his West Side Story heart. It’s about friends and lovers, looking lured me from New York’s Julliard School of 4 n A Foggy Day (In London Town) for Mr. Right, maybe falling for Mr. Right Music to join the show’s London company. -
CATALOGUE 19-20.Indd
Catalogue of New Plays 2019–2020 © 2019 Dramatists Play Service, Inc. CCATALOGUEATALOGUE 119-20.indd9-20.indd 1 77/25/2019/25/2019 11:44:46:44:46 PPMM Dramatists Play Service, Inc. A Letter from the President Dear Subscriber: Giving new playwrights a home has been Dramatists Play Service’s goal since we were founded by the Dramatists Guild and dedicated play agents back in 1936. This year’s catalogue provides ample proof. New additions to our stellar roster of writers include Ngozi Anyanwu (GOOD GRIEF, a moving, lyrical look at a young woman coping with the death of her childhood best friend); Frank Basloe (PLEASE CONTINUE, the disturbing story of “obedience experiments” at Yale in the 1960s); William Jackson Harper (TRAVISVILLE, a powerful drama about gentrification in a Texas town during the 1960s Civil Rights movement); Greg Keller (DUTCH MASTERS, a tense two-hander about a chance encounter in a New York subway car); Mike Lew (TEENAGE DICK, a contemporary take on RICHARD III in which Richard is reimagined as a high school boy with cerebral palsy); Donja R. Love (SUGAR IN OUR WOUNDS, a magical-realism tale of black gay love set during the Civil War); Ming Peiffer (USUAL GIRLS, a painful and wry study of one young woman’s journey to adulthood); Christina Quintana (SCISSORING, about a woman’s struggle to be true to herself—but also keep her job); Kate Scelsa (EVERYONE’S FINE WITH VIRGINIA WOOLF, a biting, hilarious parody of Albee’s famous play); and Lloyd Suh (THE CHINESE LADY, based on the true story of the first Chinese woman to set foot in America—where she was put on display for paying customers). -
Program Year After Year
Gary Brown Morton & Susan Stuhlbarg Robert Burroughs Dr. Jonathan Talberg Dr. Ella M. Burnett Spencer Tien (In memory of Minnie Glenn) Joseph & Hester VanRuiten The California Community Foundation Dr. William Weber Dr. & Ms. Shun-Lin Chou Richard M. Whitaker (In honor of Dr. & Mrs. Shen-Pin Chou) Undine Wildman (In honor of Leland Vail) Dan Conniff Yamaha Corporation of America Randolph Currin, Jr. Norman & Diane Delaterre Bravo ($500- $999) Laurel Ellison Aquarium of the Pacific Donna Estrin Mr. & Mrs. Murray Auerbach Louise Fenn Kay Bailey Fidelity Charitable Gift Fund Bud Bisbee Dr. Linda B. Ford Sandra Bron Forty-Niner Shops Robert & Ginny Burroughs Friend of the Strings Deborah Carnahan Friend of the University Jim & Rozanne Churchill Emily Goesel Mary Patricia Dicamillo PACIFIC Mr. Mike Goldberg Catherine J. Dickinson Lawrence Guess Dr. Fred Diluzio (In memory of Judy Guess) Nancy M. Manriquez-Dowell Eugene & Michelle Haun Dr. Burkhard Englert Jewish Community Foundation Amalia C. Francalangia Jack & Marilyn Kates Friends of the LA Bach Festival Mr. & Mrs. Clifford Lee Steffanie Grogan STANDARD TIME Mr. & Mrs. Frank Lee Amy Gordon, Steven & Debra Gordon (In memory of Elaine Richey) Tom & Barbara Greathead Paul & Jane Lindsey Christine Guter Los Angeles Philharmonic Association Stephannie Hamilton CHRISTINE GUTER, DIRECTOR Long Beach Community Foundation Dr. Sherman Holvey Los Altos United Methodist Church Carol & Stuart Hubbard Myrna Mallek-Roth Huntington Harbour Philharmonic Patrick & Karen McDonough Eric & Normajean Janssen Roberta Medford Mary Knauer Eric Lou Mellencamp Sue & Gary Lance Gail Meredith Laur MacArthur Mark & Roberta Morrison Linda Maxwell Mike & Erin Mugnai * Roberta Medford JAZZ & TONIC Mr. & Mrs. Richard Nelson William & Elaine Miller Pacific Gas & Electric Company Terese Moon Dr. -
The Shangri-Las, Girl Rebellion, and the Cold War Emmalouise St
REBEL REDUX: THE SHANGRI-LAS, GIRL REBELLION, AND THE COLD WAR EMMALOUISE ST. AMAND EASTMAN SCHOOL OF MUSIC, ROCHESTER, NY In the mid-1960s, a group of teenaged girls released a spate of highly emotional, vividly realized songs that consistently placed high on pop charts both in the United States and the United Kingdom. The group, called the Shangri-Las, was composed of sisters Mary and Betty Weiss and twins Marge and Mary Ann Ganser. The girls began singing together as high school students in Queens, New York, before rocketing to fame upon the 1964 release of their first major single: “Remember (Walking in the Sand).” Their recorded body of work is small, comprised of only around thirty songs, and by 1968 the group had disbanded amid murky circumstances and legal trouble. Today, scholars remember their work as marked by an intense, melodramatic aesthetic and themes of premature death, bad boyfriends, and girl rebellion. Youthful rebellion is a well-documented Cold War cultural trope that appears in many pop culture products of the time, and these transgressive teenagers came to stand for much more than simple adolescent strife. As the work of psychoanalysts Robert Lindner and Erik Erikson gained notoriety, a multiplicity of meanings accrued in the teenage rebel archetype. Still, despite their multivalence as cultural symbols, Cold War rebels looked remarkably homogenous. The best-known rebel figures are young, middle-class, white, and male. In this piece, I suggest that current work on the archetype of the rebel in Cold War popular culture has not adequately addressed girl rebellion. -
Lainie Cooke Reviews
Lainie Cooke Reviews The Music is the Magic CADENCE April 2015 Bob Rusch LAINIE COOKE’s [voc], THE MUSIC IS THE MAGIC [Onyx 005] is a full length CD and I’m glad it is. At 73 when she recorded this, she shows little sign of voice deterioration and her choice of material is refreshingly hip. Beside the title track, one of Abbey Lincoln’s finest compositions, there is Ronnell Bright’s “Sweet Pumpkin”, Monk’s “How I wish” [Ask Me Now], Peggy Lee’s “Mañana”, Frishberg’s “Our Love Rolls On” and Kellaway’s “I Have The Feeling I’ve Been Here Before”. These titles are joined by “Lazy Afternoon”, “Loving You”, “When I Look Into Your Eyes”, “Fascinating Rhythm”, “Out Of this World” and “Them Their Eyes”. Besides fine renderings of the program (the aging of this singer is only apparent on ballads like “When I Look Into Your Eyes” but with it comes an emotional punch youth could not bring) add to that fine jazz work from the rest of the group [Tedd Firth-p, Luques Curtis or Tabari Lake-b, Myron Walden-sax, Ralph Peterson-dms/tpt] and you get music well worth listening to. All About Jazz C. Michael Bailey Published: April 4, 2015 Lainie Cooke is a singer not afraid to take chances. Her third recording, The Music is the Magic, she populates her recital with near standards: songs that are familiar but not cliche. Supported by a reeds-led quartet anchored by drummer (and producer on this recording) Ralph Peterson, Lainie displays a command of vocal jazz that is impressive. -
January 2014
WHO’S WHAT / WHAT’S WHERE JANUARY 2014 A Non-Profit Fraternal Organization of Radio and Television Broadcast Professionals Superstar Neil Sedaka Honored at ORDER YOUR LUNCHEON November Celebrity Luncheon TICKETS NOW! Friday, January 24, 2014 n enthusiastic crowd of PPBers and their guests jammed the Empire Room at Sportsmen’s Lodge in November to PPB will honor beloved Acelebrate the life and career of singer, songwriter, com- Spanish language voice of poser, pianist, and author NEIL SEDAKA. the Los Angeles Dodgers JAIME JARRÍN Presenting the Art Gilmore Career Achievement Award VIN SCULLY Scheduled to appear on the dais: LAURA DIAZ, JORGE JARRÍN, LARRY KING, TOMMY LASORDA On the Dais - Front Row: ARTIE BUTLER, MARC SEDAKA, honoree NEIL SEDAKA, MARILYN McCOO, PPB Board Chair JEANNE DeVIVIER BROWN, Back Row: WINK MARTINDALE, LOU GOSSETT, JR., DAVID FOSTER, PHIL CODY, BILLY DAVIS, JR. (Photo: David Keeler) Board Chair JEANNE DeVIVIER BROWN read letters of congratulations from CONNIE FRANCIS, LORNA LUFT, MICHAEL FEINSTEIN, and JOSEPH W. POLISI, President, The Juilliard School. On the dais, WINK MARTINDALE, who met Neil when inter- PPB President CHUCK STREET welcomed honoree NEIL SEDAKA and his viewing him on KMPC, said “when a Neil Sedaka song came on wife LEBA to the celebrity luncheon on November 15th at Sportsmen’s Lodge, the radio, you knew it was Neil’s immediately – he was the king Studio City. (Photo: David Keeler - Text: Gerry Fry) of writing intros.” LOU GOSSETT, JR., who attended high MARILYN McCOO called Neil a gentleman and a gentle man. school in Brooklyn with Neil, said that once a week Neil would Her husband, BILLY DAVIS, JR., said that “Neil’s songs fit go to assembly and make magic at the piano and told a moving every decade in a six decade career.