Wavelength (August 1987)
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Navigating Jazz: Music, Place, and New Orleans by Sarah Ezekiel
Navigating Jazz: Music, Place, and New Orleans by Sarah Ezekiel Suhadolnik A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Musicology) in the University of Michigan 2016 Doctoral Committee: Associate Professor Charles Hiroshi Garrett, Chair Professor David Ake, University of Miami Associate Professor Stephen Berrey Associate Professor Christi-Anne Castro Associate Professor Mark Clague © Sarah Ezekiel Suhadolnik 2016 DEDICATION To Jarvis P. Chuckles, an amalgamation of all those who made this project possible. ii ACKNOWLEDGEMENTS My dissertation was made possible by fellowship support conferred by the University of Michigan Rackham Graduate School and the University of Michigan Institute for the Humanities, as well as ample teaching opportunities provided by the Musicology Department and the Residential College. I am also grateful to my department, Rackham, the Institute, and the UM Sweetland Writing Center for supporting my work through various travel, research, and writing grants. This additional support financed much of the archival research for this project, provided for several national and international conference presentations, and allowed me to participate in the 2015 Rackham/Sweetland Writing Center Summer Dissertation Writing Institute. I also remain indebted to all those who helped me reach this point, including my supervisors at the Hatcher Graduate Library, the Music Library, the Children’s Center, and the Music of the United States of America Critical Edition Series. I thank them for their patience, assistance, and support at a critical moment in my graduate career. This project could not have been completed without the assistance of Bruce Boyd Raeburn and his staff at Tulane University’s William Ransom Hogan Jazz Archive of New Orleans Jazz, and the staff of the Historic New Orleans Collection. -
The GAVIN REP SINCE 1958 an Exclusive Interview 'S
IS3UE 1635 OECEIWBEF 5, 1986 the GAVIN REP SINCE 1958 An Exclusive Interview 's Chinwag P.D. Notebook Alabama" Promotions Photo File ONE HALLIDIE PLAZA, SUITE 725 SAN FRANCISCO, CALIFORNIA E4102 4`5.392.7750 www.americanradiohistory.com P A U L S I M O N G R A C E L A N D ©1986 Warner Bros. Records Inc. From the album Graceland COEC CIO FIATE YOVFR PLAYLIST WITH THESE FOVFR SINGLES. mowÁ F.MVY R1 :AT HErn T oft!1"11:.:.;i From the album Rod Stewart www.americanradiohistory.com the GAVIN REPORT Editor: Dave Sholin TOP 40 CHART Reports accepted Mondays at SAM through 11AM Wednesdays Station Reporting Phone (415)392 -7750 MOST ADDED TW 2 2 1 BRUCE HORNSBY & THE RANGE - The Way It Is (RCA) 5 3 2 WANG CHUNG - Have Fun Tonight (Geffen) 8 4 3 BANGLES - Walk Like An Egyptian (Columbia) 1 1 4 Huey Lewis & The News - Hip To Be Square (Chrysalis) 10 7 5 PRETENDERS - Don't Get Me Wrong ( Sire/Warner Bros.) 14 8 6 DURAN DURAN - Notorious (Capitol) 15 12 7 SURVIVOR - Is This Love (Scotti Bros.) A BOSTON 13 11 8 HOWARD JONES - You Know I Love You...Don't You? (Elektra) Were Ready 17 13 9 GENESIS - Land Of Confusion (Atlantic) (MCA) 24 17 10 BRUCE SPRINGSTEEN- War (Columbia) 120 Adds 19 15 11 J OBBIE NEVIL - C'est La Vie (Manhattan) 3 5 12 Peter Cetera & Amy Grant - The Next Time I Fall In Love (Full Moon/W.B.) 27 19 13 GREGORY ABBOTT - Shake You Down (Columbia) LIONEL RICHIE 12 14 14 Billy Idol - To Be A Lover (Chrysalis) Ballerina Girl 25 22 15 GLASS TIGER - Someday (Manhattan) (Motown) 21 18 16 BILLY OCEAN - Love Is Forever (Jive/Arista) 70 Adds 22 20 17 BEN E. -
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. -
Page 1 ED 333 726 AUTHOR TITLE INSTITUTION SPONS AGENCY
DOCUXENT REM= ED 333 726 FL 019 215 AUTHOR Weiser, Ernest V., Ed.; And Others TITLE Foreign Languages: Improving and Expanding Instruction. A Compendium of Teacher-Authored Activities for Foreign Language Classes. INSTITUTION Florida Atlantic Univ., Boca Raton. SPONS AGENCY Department of Education,Washington, DC. PUB DATE May 90 NOTE 295p. PUB TYPE Guides - Classroom Use -Teaching Guides (For Teacher) (052) EDRS PRICE MF01/PC12 Plus Postage. DESCRIPTORS Audiovisual Aids; *Classroom Communication; Classroom Techniques; *Communicative Competence (Languages); Inservice Teacher Education; Instructional Improvement; Intermediate Grades; *Lesson Plans; Secondary Education; *Second Lenguage Instruction; *Teacher Developed Materials ABSTRACT This collection of 98 lesson plans for foreign language instruction is the result of a series of eight Saturday workshops focusing on ways that language teachers can develop their own communicative activities for application in the classroom. The ).essons wert produced by 30 foreign language teachers, each of whom was required to write a brief report on how techniques and methods of instruction covered in each workshop session could be incorporated into lesson planning, and to create an actual lesson plan based on the report. Most were successfully implemented before inclusion in the collection. While the reports and plans are language-specific, the activities can be adapted for any modern language. Strategies on which the lessons are built include confidence-building, student-centered communication, use of audio-visual materials, development of oral/aural skills, increasing motivation, introducing and stimulating cultural awareness and appreciation, and evaluating skill development. Some lesson plans are illust.rated or contain reproducible materials. (MSE) illeft*********************A*********************************************** Reproductions supplied by EDRS are the best that can be made from the original document. -
Jazz and the Cultural Transformation of America in the 1920S
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2003 Jazz and the cultural transformation of America in the 1920s Courtney Patterson Carney Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the History Commons Recommended Citation Carney, Courtney Patterson, "Jazz and the cultural transformation of America in the 1920s" (2003). LSU Doctoral Dissertations. 176. https://digitalcommons.lsu.edu/gradschool_dissertations/176 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. JAZZ AND THE CULTURAL TRANSFORMATION OF AMERICA IN THE 1920S A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of History by Courtney Patterson Carney B.A., Baylor University, 1996 M.A., Louisiana State University, 1998 December 2003 For Big ii ACKNOWLEDGEMENTS The real truth about it is no one gets it right The real truth about it is we’re all supposed to try1 Over the course of the last few years I have been in contact with a long list of people, many of whom have had some impact on this dissertation. At the University of Chicago, Deborah Gillaspie and Ray Gadke helped immensely by guiding me through the Chicago Jazz Archive. -
Chapter 2 Music in the United States Before the Great Depression
American Music in the 20th Century 6 Chapter 2 Music in the United States Before the Great Depression Background: The United States in 1900-1929 In 1920 in the US - Average annual income = $1,100 - Average purchase price of a house = $4,000 - A year's tuition at Harvard University = $200 - Average price of a car = $600 - A gallon of gas = 20 cents - A loaf of Bread = 20 cents Between 1900 and the October 1929 stock market crash that triggered the Great Depression, the United States population grew By 47 million citizens (from 76 million to 123 million). Guided by the vision of presidents Theodore Roosevelt1 and William Taft,2 the US 1) began exerting greater political influence in North America and the Caribbean.3 2) completed the Panama Canal4—making it much faster and cheaper to ship its goods around the world. 3) entered its "Progressive Era" by a) passing anti-trust laws to Break up corporate monopolies, b) abolishing child labor in favor of federally-funded puBlic education, and c) initiating the first federal oversight of food and drug quality. 4) grew to 48 states coast-to-coast (1912). 5) ratified the 16th Amendment—estaBlishing a federal income tax (1913). In addition, by 1901, the Lucas brothers had developed a reliaBle process to extract crude oil from underground, which soon massively increased the worldwide supply of oil while significantly lowering its price. This turned the US into the leader of the new energy technology for the next 60 years, and opened the possibility for numerous new oil-reliant inventions. -
Soaring Wings Vineyard Bluesfest
Volume FiFteen, number Six • June 2011 Soaring Wings Vineyard Bluesfest Saturday, June 4, 2011 17111 S 138th St • Springfield, NE 68059 5:30-6:30 Elwin James Band - 2012 Nebraska NBC finalist 7:00-8:00 Shannon & The Rhythm Kings Popular - KC Blues Band 8:30-9:30 The Candymakers - Winner of the Iowa Blues Challenge 9:30-10:00 JAM Session 2011 OutdOOr cOncerts at a glance Big James and The Chicago Playboys are 6/4.............................................................Soaring.Wings.Vineyard.Bluesfest confirmed to headline “The Blues Society of 6/4........................................................................ Lincoln.BBQ.and.Blues.Fest. Omaha presents The Aksarben Village BluesFest” 6/10...........................................................Big.Head.Todd.&.The.Monsters.w/ on Saturday, June 25th. The Fest will be held at . Toots.&.The.Maytals.at.STIR Stinson Park on 64th & Center. Opening the show 6/10-12..............................................................Omaha.Summer.Arts.Festival at 4pm will be (2) BluesEd Bands, Us & Them and 6/12............................................BluesEd.Benefit.at.Slattery.Vintage.Estates Mojo Bag, followed by Lou DeLuca and the R&M 6/19..................................................Blues.at.Bel.Air.(120th.&.W..Center.Rd.). Blues Band, and then Blue House with the 6/25..............................................BSO.presents.Aksarben.Village.BluesFest. Rent to Own Horns, prior to Big James’ set. 6/25.................................Carolyn.Wonderland.at.Glenwood.Amphitheater -
Concert and Music Performances Ps48
J S Battye Library of West Australian History Collection CONCERT AND MUSIC PERFORMANCES PS48 This collection of posters is available to view at the State Library of Western Australia. To view items in this list, contact the State Library of Western Australia Search the State Library of Western Australia’s catalogue Date PS number Venue Title Performers Series or notes Size D 1975 April - September 1975 PS48/1975/1 Perth Concert Hall ABC 1975 Youth Concerts Various Reverse: artists 91 x 30 cm appearing and programme 1979 7 - 8 September 1979 PS48/1979/1 Perth Concert Hall NHK Symphony Orchestra The Symphony Orchestra of Presented by The 78 x 56 cm the Japan Broadcasting Japan Foundation and Corporation the Western Australia150th Anniversary Board in association with the Consulate-General of Japan, NHK and Hoso- Bunka Foundation. 1981 16 October 1981 PS48/1981/1 Octagon Theatre Best of Polish variety (in Paulos Raptis, Irena Santor, Three hours of 79 x 59 cm Polish) Karol Nicze, Tadeusz Ross. beautiful songs, music and humour 1989 31 December 1989 PS48/1989/1 Perth Concert Hall Vienna Pops Concert Perth Pops Orchestra, Musical director John Vienna Singers. Elisa Wilson Embleton (soprano), John Kessey (tenor) Date PS number Venue Title Performers Series or notes Size D 1990 7, 20 April 1990 PS48/1990/1 Art Gallery and Fly Artists in Sound “from the Ros Bandt & Sasha EVOS New Music By Night greenhouse” Bodganowitsch series 31 December 1990 PS48/1990/2 Perth Concert Hall Vienna Pops Concert Perth Pops Orchestra, Musical director John Vienna Singers. Emma Embleton Lyons & Lisa Brown (soprano), Anson Austin (tenor), Earl Reeve (compere) 2 November 1990 PS48/1990/3 Aquinas College Sounds of peace Nawang Khechog (Tibetan Tour of the 14th Dalai 42 x 30 cm Chapel bamboo flute & didjeridoo Lama player). -
Blues Breakers with John Mayall & Eric Clapton: Guitar Play-Along Vol
FREE BLUES BREAKERS WITH JOHN MAYALL & ERIC CLAPTON: GUITAR PLAY-ALONG VOL. 176 PDF John Mayall | 88 pages | 26 Nov 2014 | Hal Leonard Publishing Corporation | 9781480354227 | English | United States John Mayall & the Bluesbreakers - Wikipedia Eric Patrick Clapton born March 30, is an English musician, singer-songwriter and guitarist. He is the only three-time inductee to the Rock and Roll Hall of Fame: once as a solo artist and separately as a member of the Yardbirds and Cream. Clapton has been referred to as one of the most important and influential guitarists of all time. Because of this, he was Blues Breakers with John Mayall & Eric Clapton: Guitar Play-Along Vol. 176 coined with the nickname "Clapton is God" in graffiti on the wall at an Islington Underground station in The phrase began to appear in other areas throughout the mids. Clapton grew up with his grandparents in Surrey, England. He studied at the Kingston College of Art but was dismissed because his focus was more on music than art. At age 17 he began playing with bands. Two of his most popular recordings were "Layla", recorded while he was a member of band Derek and the Dominos; and Robert Johnson's "Crossroads", recorded by band Cream. Following the freak accident which killed his son Conor inClapton's grief was expressed in the song "Tears in Heaven", which featured in his Unplugged album. InClapton, a recovering alcoholic and drug addict, founded the Crossroads Centre on Antigua, a medical facility for recovering substance abusers. Clapton was awarded a Grammy Lifetime Achievement Award in as a member of the rock group, Cream. -
1978-05-22 P MACHO MAN Village People RCA 7" Vinyl Single 103106 1978-05-22 P MORE LIKE in the MOVIES Dr
1978-05-22 P MACHO MAN Village People RCA 7" vinyl single 103106 1978-05-22 P MORE LIKE IN THE MOVIES Dr. Hook EMI 7" vinyl single CP 11706 1978-05-22 P COUNT ON ME Jefferson Starship RCA 7" vinyl single 103070 1978-05-22 P THE STRANGER Billy Joel CBS 7" vinyl single BA 222406 1978-05-22 P YANKEE DOODLE DANDY Paul Jabara AST 7" vinyl single NB 005 1978-05-22 P BABY HOLD ON Eddie Money CBS 7" vinyl single BA 222383 1978-05-22 P RIVERS OF BABYLON Boney M WEA 7" vinyl single 45-1872 1978-05-22 P WEREWOLVES OF LONDON Warren Zevon WEA 7" vinyl single E 45472 1978-05-22 P BAT OUT OF HELL Meat Loaf CBS 7" vinyl single ES 280 1978-05-22 P THIS TIME I'M IN IT FOR LOVE Player POL 7" vinyl single 6078 902 1978-05-22 P TWO DOORS DOWN Dolly Parton RCA 7" vinyl single 103100 1978-05-22 P MR. BLUE SKY Electric Light Orchestra (ELO) FES 7" vinyl single K 7039 1978-05-22 P HEY LORD, DON'T ASK ME QUESTIONS Graham Parker & the Rumour POL 7" vinyl single 6059 199 1978-05-22 P DUST IN THE WIND Kansas CBS 7" vinyl single ES 278 1978-05-22 P SORRY, I'M A LADY Baccara RCA 7" vinyl single 102991 1978-05-22 P WORDS ARE NOT ENOUGH Jon English POL 7" vinyl single 2079 121 1978-05-22 P I WAS ONLY JOKING Rod Stewart WEA 7" vinyl single WB 6865 1978-05-22 P MATCHSTALK MEN AND MATCHTALK CATS AND DOGS Brian and Michael AST 7" vinyl single AP 1961 1978-05-22 P IT'S SO EASY Linda Ronstadt WEA 7" vinyl single EF 90042 1978-05-22 P HERE AM I Bonnie Tyler RCA 7" vinyl single 1031126 1978-05-22 P IMAGINATION Marcia Hines POL 7" vinyl single MS 513 1978-05-29 P BBBBBBBBBBBBBOOGIE -
Musical Traditions of Southern Louisiana
Musical Traditions of Southern Louisiana Rosalon Moorhead GENERAL INTRODUCTION This unit was developed for use in French classes at the secondary level. It gives students opportunities to Research the history and patterns of French settlement in Louisiana Discover three types of music (New Orleans jazz, Cajun, Zydeco) which are representative of the Francophone presence in Louisiana. Make connections between the rhythms of the music and those of the French language. Although I intend to use the unit in my fourth-year French classes at Bellaire High School, the material is probably better suited to the curriculum of second- or third-year classes, as some of the state-adopted textbooks at those levels have chapters that deal with Louisiana. I believe that the unit could be modified for use at any level of French language instruction. BACKGROUND NARRATIVE In the nearly twenty years that I have been teaching French, I have observed that while the students‟ motivations to take the class have remained largely the same (it‟s a beautiful language, I want to travel/live in France, my mother made me), the emphases in the teaching of the language have changed quite a bit. As a student and in the early years of my teaching career, I (along with other Americans) studied the sound system and patterns of the language, attempting to mimic the pronunciation and intonation of French as my primary goal. That approach was superseded variously by those focusing on the grammar, the vocabulary, or the learning of language in context as revealed by reading. The one aspect of the study of French that seemed to be static was the culture; until very recently, the references were to France, and more specifically, to Paris. -
Review: Barefoot in the Park Montessorj New School Students
4«SIDELINES Friday, November 22, 1985 Features/Entertainment The metamorphosis from girl to The song, with drums and bass from you it froze me deep inside." woman is the subject of "When She setting a steady beat, focuses on the The following "Kyoto Song" is an Was a Girl," a haunting look at so- problem of irresponsible writers, oriental-influenced tune tinged ciety and its insecurities juxtaposed spreading vicious rumors about with sensuality in its use of a slow against a wall of reverberating people. The line: pace and lush, exotic instrumenta- guitars and a driving rhythm sec- "Sometimes words so innocent, cut tion backing up Smith's broken tion. so deep," voice which sings of a strange This maturity probably governed reveals the band's concern for the dream: "A nightmare of you/Of death in the choice of covering the Bob power of the media. The song, with the pool/I see no further now than Dylan classic "Cod on Our Side." its distinct 60s pop sound, reminds Musically, the sound leans toward one of Paul Revere and the Raiders. this dream." The hard, Latin influences of China-era Red Rockers, while Side one ends with "Like Wow- "The Blood" and the slow, sweet Wire Train Kevin Hunter's lackadaisical vocal Hoodoo Gurus Wipeout," a heavily American-in- The Cure melody of "Six Different Wavs" dis- delivery waters down Dylan's biting fluenced song with a very catchy Between Two Mars Needs Guitars play the diverse musical styles for social commentary. chorus, another characteristic of The Head On Words And though Hunters voice is Big Time 60s rock.