Wavelength (November 1984)
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Neil Foster Spiritualises Carole Lateman Lets Us Into Her Life John
October 2014 October 81 ALL ARTICLES/IMAGES ARE COPYRIGHT OF THEIR RESPECTIVE AUTHORS. FOR REPRODUCTION, PLEASE CONTACT ALAN LLOYD VIA TFTW.ORG.UK Cosimo Matassa & Senator Jones, Sea Saint Studios, New Orleans, 04-05-79 © Paul Harris Dominique, our man in la belle France, wishes to write an extensive biography of Cosimo to be published in future issues so here is Paul’s picture to confirm we aren’t ignoring Cosimo’s passing. Neil Foster spiritualises Carole Lateman lets us into her life John Howard rocks it up in Las Vegas Keith gets to know more about Iain Terry Soul Kitchen, Jazz Junction, Blues Rambling And more... 1 The recent piece by Tony Papard has spurred me to write a little about the paranormal and the arguments both for and against it. First, an experience (concerning a communication from the dead) that my mother had. She once told me that she often used to wake up in the middle of the night to see her late father standing by the bed, not as a vague shape, but as real-looking as if he were still alive. I asked her if she was frightened by the apparition and she replied, “Well, I didn't like it but I knew he wasn't real, so I pulled the clothes over my head and went back to sleep.” So, did she really see her dead father standing by the bed or...? Obviously, she could never “prove” that it happened as she described and no one else could prove that it didn't. However, there is a way around this logical impasse. -
Neil Foster Carries on Hating Keith Listens To
April 2017 April 96 In association with "AMERICAN MUSIC MAGAZINE" ALL ARTICLES/IMAGES ARE COPYRIGHT OF THEIR RESPECTIVE AUTHORS. FOR REPRODUCTION, PLEASE CONTACT ALAN LLOYD VIA TFTW.ORG.UK Chuck Berry, Capital Radio Jazzfest, Alexandra Palace, London, 21-07-79, © Paul Harris Neil Foster carries on hating Keith listens to John Broven The Frogman's Surprise Birthday Party We “borrow” more stuff from Nick Cobban Soul Kitchen, Jazz Junction, Blues Rambling And more.... 1 2 An unidentified man spotted by Bill Haynes stuffing a pie into his face outside Wilton’s Music Hall mumbles: “ HOLD THE THIRD PAGE! ” Hi Gang, Trust you are all well and as fluffy as little bunnies for our spring edition of Tales From The Woods Magazine. WOW, what a night!! I'm talking about Sunday 19th March at Soho's Spice Of Life venue. Charlie Gracie and the TFTW Band put on a show to remember, Yes, another triumph for us, just take a look at the photo of Charlie on stage at the Spice, you can see he was having a ball, enjoying the appreciation of the audience as much as they were enjoying him. You can read a review elsewhere within these pages, so I won’t labour the point here, except to offer gratitude to Charlie and the Tales From The Woods Band for making the evening so special, in no small part made possible by David the excellent sound engineer whom we request by name for our shows. As many of you have experienced at Rock’n’Roll shows, many a potentially brilliant set has been ruined by poor © Paul Harris sound, or literally having little idea how to sound up a vintage Rock’n’Roll gig. -
Wavelength (December 1981)
University of New Orleans ScholarWorks@UNO Wavelength Midlo Center for New Orleans Studies 12-1981 Wavelength (December 1981) Connie Atkinson University of New Orleans Follow this and additional works at: https://scholarworks.uno.edu/wavelength Recommended Citation Wavelength (December 1981) 14 https://scholarworks.uno.edu/wavelength/14 This Book is brought to you for free and open access by the Midlo Center for New Orleans Studies at ScholarWorks@UNO. It has been accepted for inclusion in Wavelength by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. ML I .~jq Lc. Coli. Easy Christmas Shopping Send a year's worth of New Orleans music. to your friends. Send $10 for each subscription to Wavelength, P.O. Box 15667, New Orleans, LA 10115 ·--------------------------------------------------r-----------------------------------------------------· Name ___ Name Address Address City, State, Zip ___ City, State, Zip ---- Gift From Gift From ISSUE NO. 14 • DECEMBER 1981 SONYA JBL "I'm not sure, but I'm almost positive, that all music came from New Orleans. " meets West to bring you the Ernie K-Doe, 1979 East best in high-fideUty reproduction. Features What's Old? What's New ..... 12 Vinyl Junkie . ............... 13 Inflation In Music Business ..... 14 Reggae .............. .. ...... 15 New New Orleans Releases ..... 17 Jed Palmer .................. 2 3 A Night At Jed's ............. 25 Mr. Google Eyes . ............. 26 Toots . ..................... 35 AFO ....................... 37 Wavelength Band Guide . ...... 39 Columns Letters ............. ....... .. 7 Top20 ....................... 9 December ................ ... 11 Books ...................... 47 Rare Record ........... ...... 48 Jazz ....... .... ............. 49 Reviews ..................... 51 Classifieds ................... 61 Last Page ................... 62 Cover illustration by Skip Bolen. Publlsller, Patrick Berry. Editor, Connie Atkinson. -
Cast a Cold Eye: the Late Works of Andy Warhol
G A G O S I A N G A L L E R Y October 11, 2006 PRESS RELEASE GAGOSIAN GALLERY GAGOSIAN GALLERY 555 WEST 24TH STREET 522 WEST 21ST STREET NEW YORK NY 10011 NEW YORK NY 10011 T. 212.741.1111 T. 212.741.1717 F. 212.741.9611 F. 212.741.0006 GALLERY HOURS: Tue – Sat 10:00am–6:00pm ANDY WARHOL: Cast a Cold Eye: The Late Works of Andy Warhol Wednesday, October 25 – Friday, December 22, 2006 Opening reception: Wednesday, October 25th, from 6 – 8pm “If you want to know about Andy Warhol, just look at the surface of my paintings and films and me, and there I am. There’s nothing behind it.” --Andy Warhol Gagosian Gallery is pleased to announce the exhibition "Cast a Cold Eye: The Late Work of Andy Warhol.” The extensive exhibition, which occupies all galleries at 555 West 24th Street as well as a new gallery at 522 West 21st Street, draws together many of Warhol’s most iconic paintings from the following series executed during the 70s and 80s: Mao, Ladies & Gentlemen, Hammer & Sickle, Skulls, Guns, Knives, Crosses, Reversals, Retrospectives, Shadows, Rorschach, Camouflage, Oxidation, The Last Supper, Self Portraits and more. Comprised of works from the last eighteen years of Warhol’s life, “Cast a Cold Eye…” includes masterpieces that have been rarely or never before seen in New York, as well as important loans from The Metropolitan Museum of Art, The Museum of Modern Art, New York, The Andy Warhol Museum, and private collections. In his later career, Warhol was often vilified by art critics for being little more than a society portraitist and social impresario. -
Fats Domino Goin' Home
“Goin’ Home” We’ll Miss You, Fats “Everybody started calling my music rock and roll, but it wasn't anything but the same rhythm and blues I'd been playing down in New Orleans.” - FATS DOMINO “As far as I know, the music makes people happy. I know it makes me happy.” - FATS DOMINO “Let's face it, I can't sing like Fats Domino can. I know that.” - ELVIS PRESLEY “Well, I wouldn't want to say that I started it (rock „n‟ roll), but I don't remember anyone else before me playing that kind of stuff.” - FATS DOMINO “Even if Fats didn‟t actually invent rock „n‟ roll, he was certainly responsible for accidentally inventing ska, and thus reggae … Antoine „Fats‟ Domino was definitely a great innovator, and richly deserves a much fatter entry in the history books.” – OWEN ADAMS On Tuesday, 3:30 a.m., October 24, 2017, New Orleans and the world lost a pioneering titan of rock „n‟ roll, “Fats” Domino. The popular pianist and singer-songwriter of the Lower 9th Ward was 89. During his career, this influential, yet humble performer sold more than 65 million records and had over 35 hits in the U.S. Billboard Top 40, including “Ain‟t That a Shame,” “Blueberry Hill” and “Blue Monday”. With producer and arranger Dave Bartholomew, “Fats” helped put his hometown on the rock „n‟ roll map. This shy lifelong New Orleanian influenced numerous artists including Paul McCartney and Randy Newman, who once confessed, “I was so influenced by Fats Domino that it‟s still hard for me to write a song that‟s not a New Orleans shuffle.” Domino‟s distinctive barreling triplet-based piano style, backed by a solid backbeat, was something exceptional, a step above traditional rhythm and blues. -
MEIEA 2010.Indd
Journal of the Music & Entertainment Industry Educators Association Volume 10, Number 1 (2010) Bruce Ronkin, Editor Northeastern University Published with Support from Reviews Monica A. Coates. The Beginner’s Guide to the Gospel Music Indus- try: A Handbook for Aspiring Artists and Industry Executives. Franklin, Tenn.: Paul Marchell Publishing, 2009. www.moni- cacoates.com. As a veteran of the Gospel music industry—including stints at EMI Gospel and Verity, and experience in artist management, publicity, radio promotions, and A&R—Monica Coates is well positioned to enlighten the reader about the workings of the Gospel music industry, as well as comment on the mindset and motivation within the Gospel music genre. Through her explanations and examples, any student of the music industry will recognize that many business practices of the genre are common to other genres. For those who have had little exposure to the Gospel mu- sic industry, Coates supplies insight to its unique aspects such as viewing one’s job more as a calling, or encouraging artists to defi ne not only their sound, but their ministry. Those readers more steeped in the genre will appreciate the real-world examples using contemporary Gospel artists, as well as the application of scripture. Throughout the 216 pages of the book, her tone is inspirational and the content accessible, applicable, and infor- mative. The book is divided into four parts: Part I: The Basics; Part II: For the Aspiring Artist; Part III: For the Aspiring Industry Executive; and Part IV: Changing Times. To begin her book, Coates’ preface succinctly introduces and defi nes key terms and concepts encountered throughout the work. -
Examensarbete
EXAMENSARBETE Jesus - världens första rocker? En jämförande studie mellan kristen och sekulär metal Daniel Berg 2014 Filosofie kandidatexamen Musik Luleå tekniska universitet Institutionen för konst, kommunikation och lärande JESUS - världens första rocker? En jämförande studie av kristen och sekulär metal Daniel Berg Handledare: Harri Ihanus Luleå Tekniska Universitet C-uppsats Musik Institutionen för Konst, kommunikation och Lärande (KKL) 1 ABSTRAKT Kristen metal? Kan man verkligen kalla något kristen metal? Heavy metal är ju en rebellisk reaktion mot en samhällsstruktur av människor som inte känner sig hemma där. Och kristendomen är ju en religiös rörelse som står för ordning, reda, renhet och kärlek. Eller? Syftet med denna studie är har varit att studera likheter och skillnader i låtstruktur, dynamik och klangfärg mellan kristna och sekulära metalband och se om de används på samma sätt i förhållande till texten. Jag har gjort en komparativ analys av låtar av kristna och sekulära metalband och tittat på möjliga likheter och skillnader. Detta innefattar även en konstnärlig del där jag, i relation till det analyserade materialet, skrivit två låtar själv och dokumenterat dessa i klingande form. Som material till denna studie har jag använt mig av vetenskapliga artiklar, låtmaterial samt intervjuat pastor Bob Beeman från Nashville, som är en av pionjärerna bakom kristen metal. Nyckelord Kristen, hårdrock, heavy metal 2 INNEHÅLLSFÖRTECKNING 1. Inledning 4 2. Syfte, material och metod 5 3. Bakgrund 6 3.1 Tidigare forskning 6 3.2 Vad är metal? 6 3.3 Vad är kristen metal? 8 3.4 Kristen metals historia 10 3.5 Klangfärg, struktur och dynamik 14 4 Analys 16 5 Jämförelse 37 6 Mina egna kompositioner 39 7 Diskussion 41 8 Referenser 43 Bilagor 46 1 Intervju med Bob Beeman 46 2 Leadsheets 48 3 1. -
From King Records Month 2018
King Records Month 2018 = Unedited Tweets from Zero to 180 Aug. 3, 2018 Zero to 180 is honored to be part of this year's celebration of 75 Years of King Records in Cincinnati and will once again be tweeting fun facts and little known stories about King Records throughout King Records Month in September. Zero to 180 would like to kick off things early with a tribute to King session drummer Philip Paul (who you've heard on Freddy King's "Hideaway") that is PACKED with streaming audio links, images of 45s & LPs from around the world, auction prices, Billboard chart listings and tons of cool history culled from all the important music historians who have written about King Records: “Philip Paul: The Pulse of King” https://www.zeroto180.org/?p=32149 Aug. 22, 2018 King Records Month is just around the corner - get ready! Zero to 180 will be posting a new King history piece every 3 days during September as well as October. There will also be tweeting lots of cool King trivia on behalf of Xavier University's 'King Studios' historic preservation collaborative - a music history explosion that continues with this baseball-themed celebration of a novelty hit that dominated the year 1951: LINK to “Chew Tobacco Rag” Done R&B (by Lucky Millinder Orchestra) https://www.zeroto180.org/?p=27158 Aug. 24, 2018 King Records helped pioneer the practice of producing R&B versions of country hits and vice versa - "Chew Tobacco Rag" (1951) and "Why Don't You Haul Off and Love Me" (1949) being two examples of such 'crossover' marketing. -
Fats Domino, Early Rock 'N' Roller with a Boogie-Woogie Piano, Is Dead at 89
Fats Domino, Early Rock ’n’ Roller With a Boogie-Woogie Piano, Is Dead at 89 https://www.nytimes.com/2017/10/25/obituaries/fats-domino-89-one-of-rock-n-rolls-first-stars-is-dead.html October 25, 2017 By JON PARELES and WILLIAM GRIMES Fats Domino in 1967. Fats Domino, the New Orleans rhythm-and-blues singer whose two-fisted boogie-woogie piano and nonchalant vocals, heard on dozens of hits, made him one of the biggest stars of the early rock ’n’ roll era, died on Tuesday at his home in Harvey, La., across the Mississippi River from New Orleans. He was 89. His death was confirmed by the Jefferson Parish coroner’s office. Mr. Domino had more than three dozen Top 40 pop hits through the 1950s and early ’60s, among them “Blueberry Hill,” “Ain’t It a Shame” (also known as “Ain’t That a Shame,” which is the actual lyric), “I’m Walkin’,” “Blue !1 Monday” and “Walkin’ to New Orleans.” Throughout he displayed both the buoyant spirit of New Orleans, his hometown, and a droll resilience that reached listeners worldwide. He sold 65 million singles in those years, with 23 gold records, making him second only to Elvis Presley as a commercial force. Presley acknowledged Mr. Domino as a predecessor. “A lot of people seem to think I started this business,” Presley told Jet magazine in 1957. “But rock ’n’ roll was here a long time before I came along. Nobody can sing that music like colored people. Let’s face it: I can’t sing it like Fats Domino can. -
Crossing Over: from Black Rhythm Blues to White Rock 'N' Roll
PART2 RHYTHM& BUSINESS:THE POLITICAL ECONOMY OF BLACKMUSIC Crossing Over: From Black Rhythm Blues . Publishers (ASCAP), a “performance rights” organization that recovers royalty pay- to WhiteRock ‘n’ Roll ments for the performance of copyrighted music. Until 1939,ASCAP was a closed BY REEBEEGAROFALO society with a virtual monopoly on all copyrighted music. As proprietor of the com- positions of its members, ASCAP could regulate the use of any selection in its cata- logue. The organization exercised considerable power in the shaping of public taste. Membership in the society was generally skewed toward writers of show tunes and The history of popular music in this country-at least, in the twentieth century-can semi-serious works such as Richard Rodgers and Lorenz Hart, Cole Porter, George be described in terms of a pattern of black innovation and white popularization, Gershwin, Irving Berlin, and George M. Cohan. Of the society’s 170 charter mem- which 1 have referred to elsewhere as “black roots, white fruits.’” The pattern is built bers, six were black: Harry Burleigh, Will Marion Cook, J. Rosamond and James not only on the wellspring of creativity that black artists bring to popular music but Weldon Johnson, Cecil Mack, and Will Tyers.’ While other “literate” black writers also on the systematic exclusion of black personnel from positions of power within and composers (W. C. Handy, Duke Ellington) would be able to gain entrance to the industry and on the artificial separation of black and white audiences. Because of ASCAP, the vast majority of “untutored” black artists were routinely excluded from industry and audience racism, black music has been relegated to a separate and the society and thereby systematically denied the full benefits of copyright protection. -
Drumset Fundamentals
○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ 1 Drumset FUNdamentals Marshall Maley ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ Names of drummers you should know: Louie Bellson, Hal Blaine, Earl Palmer, Bernard Purdie, Gary Chester, Gene Krupa, Baby Dodds, Zutty Singleton, William Ludwig, Sr., and Dee Dee Chandler History • Drumset began to evolve in the 1890s—the result of the popularity of John Philip Sousa’s music, the lack of enough drummers, the inclination of music contractors to hire too few drummers, the lack of space in orchestra pits for enough percussionists, and the emergence of urban music (especially from New Orleans) • The New Orleans musicians changed the Sousa format of three drummers to two (a snare drummer and a bass drummer with cymbal); the second line rhythm with press rolls • Double drumming emerged, where one drummer plays bass drum and snare drum using only his or her hands • Drummers, therefore, began looking for ways to play the bass drum some other way. The bass drum pedal was the natural consequence. Dee Dee Chandler is generally considered the first to play with a pedal in the late 1880s or early 1890s. • Once the bass drum pedal appeared, the drumset began to evolve. The Ludwig Drum Company got started when William Ludwig developed the first successful metal pedal. Music The Sousa drum parts emphasized the upbeat and downbeat. Sousa’s drummers actually played crush/press rolls accenting the upbeat. ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ 2 Drumset FUNdamentals Marshall Maley ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ The New Orleans drummers adopted the Sousa approach with a little “swing.” Time was played on the snare till the 1930s, when drummers began using cymbals like we use today. Let’s focus on how the cymbal and hi-hat work. -
NO RAMBLING ON: the LISTLESS COWBOYS of HORSE Jon Davies
WARHOL pages_BFI 25/06/2013 10:57 Page 108 If Andy Warhol’s queer cinema of the 1960s allowed for a flourishing of newly articulated sexual and gender possibilities, it also fostered a performative dichotomy: those who command the voice and those who do not. Many of his sound films stage a dynamic of stoicism and loquaciousness that produces a complex and compelling web of power and desire. The artist has summed the binary up succinctly: ‘Talk ers are doing something. Beaut ies are being something’ 1 and, as Viva explained about this tendency in reference to Warhol’s 1968 Lonesome Cowboys : ‘Men seem to have trouble doing these nonscript things. It’s a natural 5_ 10 2 for women and fags – they ramble on. But straight men can’t.’ The brilliant writer and progenitor of the Theatre of the Ridiculous Ronald Tavel’s first two films as scenarist for Warhol are paradigmatic in this regard: Screen Test #1 and Screen Test #2 (both 1965). In Screen Test #1 , the performer, Warhol’s then lover Philip Fagan, is completely closed off to Tavel’s attempts at spurring him to act out and to reveal himself. 3 According to Tavel, he was so up-tight. He just crawled into himself, and the more I asked him, the more up-tight he became and less was recorded on film, and, so, I got more personal about touchy things, which became the principle for me for the next six months. 4 When Tavel turned his self-described ‘sadism’ on a true cinematic superstar, however, in Screen Test #2 , the results were extraordinary.