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The Aftermath of the Porn Rock Wars
Loyola of Los Angeles Entertainment Law Review Volume 7 Number 2 Article 1 3-1-1987 Radio-Active Fallout and an Uneasy Truce - The Aftermath of the Porn Rock Wars Jonathan Michael Roldan Follow this and additional works at: https://digitalcommons.lmu.edu/elr Part of the Law Commons Recommended Citation Jonathan Michael Roldan, Radio-Active Fallout and an Uneasy Truce - The Aftermath of the Porn Rock Wars, 7 Loy. L.A. Ent. L. Rev. 217 (1987). Available at: https://digitalcommons.lmu.edu/elr/vol7/iss2/1 This Article is brought to you for free and open access by the Law Reviews at Digital Commons @ Loyola Marymount University and Loyola Law School. It has been accepted for inclusion in Loyola of Los Angeles Entertainment Law Review by an authorized administrator of Digital Commons@Loyola Marymount University and Loyola Law School. For more information, please contact [email protected]. RADIO-ACTIVE FALLOUT AND AN UNEASY TRUCE-THE AFTERMATH OF THE PORN ROCK WARS Jonathan Michael Roldan * "Temperatures rise inside my sugar walls." - Sheena Easton from the song "Sugar Walls."' "Tight action, rear traction so hot you blow me away... I want a piece of your action." - M6tley Criie from the album Shout at the Devil.2 "I'm a fairly with-it person, but this stuff is curling my hair." - Tipper Gore, parent.3 "Fundamentalist frogwash." - Frank Zappa, musician.4 I. OVERTURE TO CONFLICT It began as an innocent listening of Prince's award-winning album, "Purple Rain,"5 and climaxed with heated testimony before the Senate Committee on Commerce in September 1985.6 In the interim the phrase "cleaning up the air" took on new dimensions as one group of parents * B.A., Journalism/Political Science, Cal. -
January / February
CELTIC MUSIC • KENNY HALL • WORLD MUSIC • KIDS MUSIC • MEXICAN PAPER MAKING • CD REVIEWS FREE Volume 3 Number 1 January-February 2003 THE BI-MONTHLY NEWSPAPER ABOUT THE HAPPENINGS IN & AROUND THE GREATER LOS ANGELES FOLK COMMUNITY A Little“Don’t you know that Folk Music Ukulele is illegal in Los Angeles?” — WARREN C ASEYof theWicket Tinkers is A Lot of Fun – a Beginner’s Tale BY MARY PAT COONEY t all started three workshop at UKE-topia hosted by Jim Beloff at years ago when I McCabe’s Guitar Shop in Santa Monica. I was met Joel Eckhaus over my head in about 15 minutes, but I did at the Augusta learn stuff during the rest of the hour – I Heritage Festival just couldn’t execute any of it! But in Elkins, West my fear of chords in any key but I Virginia. The C was conquered. Augusta Heritage The concert that Festival is has been in existence evening was a for over 25 years, and produces delight with an annual 5-week festival of traditional music almost every uke and dance. Each week of the Festival specialist in the explores different styles, including Cajun, SoCal area on the bill. Irish, Old-Time, Blues, Bluegrass. The pro- The theme was old gram also features folk arts and crafts, espe- time gospel, in line with cially those of West Virginia. Fourteen years the subject of Jim’s latest ago Swing Week was instigated by Western book, and the performers that evening had Swing performers Liz Masterson and Sean quite a romp – some playing respectful Blackburn of Denver, CO as a program of gospel, and others playing whatever they music. -
Twenty Years on the Border
Between Worlds: Twenty Years on the Border Years Twenty Between Worlds: Twenty Years on the Border BURMESE BORDER CONSORTIUM BURMESE BORDER CONSORTIUM cover PB: 2-3 05.3.8, 3:47:44 PM BBCbook 001-014 intro PB: 1 05.3.8, 2:49:29 PM BBCbook 001-014 intro PB: 2-3 05.3.8, 2:49:50 PM BBCbook 001-014 intro PB: 2-3 05.3.8, 2:49:50 PM contents Introduction......................................................................................................................7 1. Twenty years—a history...........................................................................................15 2. People.........................................................................................................................29 3. Life in the camps......................................................................................................43 4. Challenges and responses.......................................................................................73 5. Last words.................................................................................................................89 6. The Burmese Border Consortium........................................................................105 4 5 BBCbook 001-014 intro PB: 4-5 05.3.8, 2:50:38 PM contents Introduction......................................................................................................................7 1. Twenty years—a history...........................................................................................15 2. People.........................................................................................................................29 -
COVER Feature
COVER FE ATURE 90 PROVINCETOWN ARTS 2016 Over the Years, Listening and Talking, with Marie Howe By Richard McCann About the writing of the poem, she says: Don’t hold back. She says: Write into things. Shine a light into the underlit places. About the writing of the poem, she says: The hard part is getting past the blah blah blah. Past the I think I think I think. Once, one New Year’s Eve in Provincetown, Heidegger, she says. Vorhanden. Objectively pres- maybe in the late 1990s, a bunch of us were back- ent. Present-at-hand. ing back home down Commercial Street in the Over the years, we have made an unintended snow. Mark Doty. Tony Hoagland. Maybe Nick habit of talking about poetry by talking about Flynn. Marie. And me. The snow had started to that snow. fall while we were huddled in a restaurant, laugh- She says: The things of the world don’t need ing and talking. As soon as we stepped out, we our language. Not in order to become more than could feel the winds pick up. The snowstorm was what they already are. turning into a blizzard. I’ve never had a mentor, not as a writer, except We had to link our arms, just so we could make maybe for Tillie Olsen, who used to tell me stories it down the street. from her life. Walking back one night from a lec- Then Tony called out, I know how each of you ture about the stages of grieving, for instance, not would write about this snow. -
Access the Best in Music. a Digital Version of Every Issue, Featuring: Cover Stories
Bulletin YOUR DAILY ENTERTAINMENT NEWS UPDATE MARCH 23, 2020 Page 1 of 27 INSIDE Lil Uzi Vert’s ‘Eternal Atake’ Spends • Roddy Ricch’s Second Week at No. 1 on ‘The Box’ Leads Hot 100 for 11th Week, Billboard 200 Albums Chart Harry Styles’ ‘Adore You’ Hits Top 10 BY KEITH CAULFIELD • What More Can (Or Should) Congress Do Lil Uzi Vert’s Eternal Atake secures a second week No. 1 for its first two frames on the charts dated Dec. to Support the Music at No. 1 on the Billboard 200 albums chart, as the set 28, 2019 and Jan. 4, 2020. Community Amid earned 247,000 equivalent album units in the U.S. in Eternal Atake would have most likely held at No. Coronavirus? the week ending March 19, according to Nielsen Mu- 1 for a second week without the help of its deluxe • Paradigm sic/MRC Data. That’s down just 14% compared to its reissue. Even if the album had declined by 70% in its Implements debut atop the list a week ago with 288,000 units. second week, it still would have ranked ahead of the Layoffs, Paycuts The small second-week decline is owed to the chart’s No. 2 album, Lil Baby’s former No. 1 My Turn Amid Coronavirus album’s surprise reissue on March 13, when a new (77,000 units). The latter set climbs two rungs, despite Shutdown deluxe edition arrived with 14 additional songs, a 27% decline in units for the week.Bad Bunny’s • Cost of expanding upon the original 18-song set. -
Traditions Music Black Secularnon-Blues
TRADITIONS NON-BLUES SECULAR BLACK MUSIC THREE MUSICIANS PLAYING ACCORDION, BONES, AND JAWBONE AT AN OYSTER ROAST, CA. 1890. (Courtesy Archives, Hampton Institute) REV JAN 1976 T & S-178C DR. NO. TA-1418C © BRI Records 1978 NON-BLUES SECULAR BLACK MUSIC been hinted at by commercial discs. John Lomax grass, white and black gospel music, songs for IN VIRGINIA and his son, Alan, two folksong collectors with a children, blues and one anthology, Roots O f The Non-blues secular black music refers to longstanding interest in American folk music, Blues devoted primarily to non-blues secular ballads, dance tunes, and lyric songs performed began this documentation for the Library of black music (Atlantic SD-1348). More of Lomax’s by Afro-Americans. This music is different from Congress in 1933 with a trip to the State recordings from this period are now being issued blues, which is another distinct form of Afro- Penitentiary in Nashville, Tennessee. On subse on New World Records, including Roots Of The American folk music that developed in the deep quent trips to the South between 1934 and 1942, Blues (New World Records NW-252). * South sometime in the 1890s. Blues is character the Lomaxes cut numerous recordings, often at In recent years the emphasis of most field ized by a twelve or eight bar harmonic sequence state prisons, from Texas to Virginia.2 They researchers traveling through the South in search and texts which follow an A-A-B stanza form in found a surprising variety of both Afro-American of Afro-American secular music has been on the twelve bar pattern and an A-B stanza form in and Anglo-American music on their trips and blues, although recorded examples of non-blues the eight bar pattern. -
Title "Stand by Your Man/There Ain't No Future In
TITLE "STAND BY YOUR MAN/THERE AIN'T NO FUTURE IN THIS" THREE DECADES OF ROMANCE IN COUNTRY MUSIC by S. DIANE WILLIAMS Presented to the American Culture Faculty at the University of Michigan-Flint in partial fulfillment of the requirements for the Master of Liberal Studies in American Culture Date 98 8AUGUST 15 988AUGUST Firs t Reader Second Reader "STAND BY YOUR MAN/THERE AIN'T NO FUTURE IN THIS" THREE DECADES OF ROMANCE IN COUNTRY MUSIC S. DIANE WILLIAMS AUGUST 15, 19SB TABLE OF CONTENTS Preface Introduction - "You Never Called Me By My Name" Page 1 Chapter 1 — "Would Jesus Wear A Rolen" Page 13 Chapter 2 - "You Ain’t Woman Enough To Take My Man./ Stand By Your Man"; Lorrtta Lynn and Tammy Wynette Page 38 Chapter 3 - "Think About Love/Happy Birthday Dear Heartache"; Dolly Parton and Barbara Mandrell Page 53 Chapter 4 - "Do Me With Love/Love Will Find Its Way To You"; Janie Frickie and Reba McEntire F'aqe 70 Chapter 5 - "Hello, Dari in"; Conpempory Male Vocalists Page 90 Conclusion - "If 017 Hank Could Only See Us Now" Page 117 Appendix A - Comparison Of Billboard Chart F'osi t i ons Appendix B - Country Music Industry Awards Appendix C - Index of Songs Works Consulted PREFACE I grew up just outside of Flint, Michigan, not a place generally considered the huh of country music activity. One of the many misconception about country music is that its audience is strictly southern and rural; my northern urban working class family listened exclusively to country music. As a teenager I was was more interested in Motown than Nashville, but by the time I reached my early thirties I had became a serious country music fan. -
Merry Christmas Everyone’
Press release, United Kingdom: November 26th 2020 SHAKIN’ STEVENS CELEBRATES CAREER SPANNING ANTHOLOGY AND SINGLES COLLECTION WITH 4K VIDEO RESTORATION OF ‘MERRY CHRISTMAS EVERYONE’ Watch ‘Merry Christmas Everyone’ in 4K: shakinstevens.lnk.to/premierePR *PREMIERE AT 5PM* ORDER FIRE IN THE BLOOD & SINGLED OUT: shakinstevens.lnk.to/fitbPR Tomorrow (November 27th 2020), Shakin' Stevens, one of the greatest hitmakers in UK chart history, releases two catalogue spanning collections; the lavish, 19-disc anthology bookpack Fire In The Blood, and the 3CD, 2LP singles collection Singled Out. To celebrate the two releases, Shaky has made available an upscaled 4K video of his Christmas classic, the platinum-selling no. 1 single ‘Merry Christmas Everyone’. Post-production company Vanderquest have restored the footage from the original 16mm film negatives, converting the uncut analogue tape to digital on Telecine equipment, and editing the footage using multiple 1” video tape machines. The team then painstakingly went through each and every shot (using the original cut as reference) to find the corresponding shot in the 82 minutes of film to the exact frame. Any dissolves and transitions were also replicated to create a frame accurate matching edit of the original. The finished edit was given a visual polish using a host of modern grading, colour correcting, and digital restoration tools correcting any grain blemishes, visual noise, and imperfections, producing a video of much higher quality than would have been possible at the time of its original release. Finally, the audio was re-laid with the most up-to-date stereo version of the track. Shaky also releases two career spanning music collections, which were announced a few weeks back alongside two newly released songs; ‘I Need You Now’, and ‘Wild At Heart’. -
The Pennsylvania State University the Graduate School College of the Liberal Arts LYRICAL STRATEGIES: the POETICS of the TWENTIE
The Pennsylvania State University The Graduate School College of the Liberal Arts LYRICAL STRATEGIES: THE POETICS OF THE TWENTIETH-CENTURY AMERICAN NOVEL A Dissertation in English by Katie Owens-Murphy Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy May 2013 The dissertation of Katie Owens-Murphy was reviewed and approved* by the following: Robert L. Caserio Professor of English Dissertation Co-Advisor Co-Chair of Committee Kathryn Hume Edwin Erle Sparks Professor of English Dissertation Co-Advisor Co-Chair of Committee John L. Selzer Professor of English Kathryn M. Grossman Professor of French Garrett A. Sullivan, Jr. Professor of English and Director of Graduate Studies Robin Schulze Professor of English The University of Delaware Special Member Brian McHale Humanities Distinguished Professor of English The Ohio State University Special Member *Signatures are on file at the Graduate School. ii ABSTRACT Lyrical Strategies: The Poetics of the Twentieth-Century American Novel takes a comparative approach to genre by examining twentieth-century American novels in relation to the lyric, rather than the narrative, tradition. Narrative theorists have long noted that modern and contemporary novels paradoxically abandon the defining characteristics of narrative—plot, sequence, external action—for other rhetorical strategies. I argue for a strain of the twentieth-century American novel that is better suited to the reading practices of lyric poetry, in which we read not for story but for structural repetition, -
Songs by Artist
Songs by Artist Title Title (Hed) Planet Earth 2 Live Crew Bartender We Want Some Pussy Blackout 2 Pistols Other Side She Got It +44 You Know Me When Your Heart Stops Beating 20 Fingers 10 Years Short Dick Man Beautiful 21 Demands Through The Iris Give Me A Minute Wasteland 3 Doors Down 10,000 Maniacs Away From The Sun Because The Night Be Like That Candy Everybody Wants Behind Those Eyes More Than This Better Life, The These Are The Days Citizen Soldier Trouble Me Duck & Run 100 Proof Aged In Soul Every Time You Go Somebody's Been Sleeping Here By Me 10CC Here Without You I'm Not In Love It's Not My Time Things We Do For Love, The Kryptonite 112 Landing In London Come See Me Let Me Be Myself Cupid Let Me Go Dance With Me Live For Today Hot & Wet Loser It's Over Now Road I'm On, The Na Na Na So I Need You Peaches & Cream Train Right Here For You When I'm Gone U Already Know When You're Young 12 Gauge 3 Of Hearts Dunkie Butt Arizona Rain 12 Stones Love Is Enough Far Away 30 Seconds To Mars Way I Fell, The Closer To The Edge We Are One Kill, The 1910 Fruitgum Co. Kings And Queens 1, 2, 3 Red Light This Is War Simon Says Up In The Air (Explicit) 2 Chainz Yesterday Birthday Song (Explicit) 311 I'm Different (Explicit) All Mixed Up Spend It Amber 2 Live Crew Beyond The Grey Sky Doo Wah Diddy Creatures (For A While) Me So Horny Don't Tread On Me Song List Generator® Printed 5/12/2021 Page 1 of 334 Licensed to Chris Avis Songs by Artist Title Title 311 4Him First Straw Sacred Hideaway Hey You Where There Is Faith I'll Be Here Awhile Who You Are Love Song 5 Stairsteps, The You Wouldn't Believe O-O-H Child 38 Special 50 Cent Back Where You Belong 21 Questions Caught Up In You Baby By Me Hold On Loosely Best Friend If I'd Been The One Candy Shop Rockin' Into The Night Disco Inferno Second Chance Hustler's Ambition Teacher, Teacher If I Can't Wild-Eyed Southern Boys In Da Club 3LW Just A Lil' Bit I Do (Wanna Get Close To You) Outlaw No More (Baby I'ma Do Right) Outta Control Playas Gon' Play Outta Control (Remix Version) 3OH!3 P.I.M.P. -
Sounding Sentimental: American Popular Song from Nineteenth-Century Ballads to 1970S Soft Rock Emily Margot Gale Vancouver, BC B
Sounding Sentimental: American Popular Song From Nineteenth-Century Ballads to 1970s Soft Rock Emily Margot Gale Vancouver, BC Bachelor of Music, University of Ottawa, 2005 Master of Arts, Music Theory, University of Western Ontario, 2007 A Dissertation presented to the Graduate Faculty of the University of Virginia in Candidacy for the Degree of Doctor of Philosophy Department of Music University of Virginia May, 2014 © Copyright by Emily Margot Gale All Rights Reserved May 2014 For Ma with love iv ABSTRACT My dissertation examines the relationship between American popular song and “sentimentality.” While eighteenth-century discussions of sentimentality took it as a positive attribute in which feelings, “refined or elevated,” motivated the actions or dispositions of people, later texts often describe it pejoratively, as an “indulgence in superficial emotion.” This has led an entire corpus of nineteenth- and twentieth-century cultural production to be bracketed as “schmaltz” and derided as irrelevant by the academy. Their critics notwithstanding, sentimental songs have remained at the forefront of popular music production in the United States, where, as my project demonstrates, they have provided some of the country’s most visible and challenging constructions of race, class, gender, sexuality, nationality, and morality. My project recovers the centrality of sentimentalism to American popular music and culture and rethinks our understandings of the relationships between music and the public sphere. In doing so, I add the dimension of sound to the extant discourse of sentimentalism, explore a longer history of popular music in the United States than is typical of most narratives within popular music studies, and offer a critical examination of music that—though wildly successful in its own day—has been all but ignored by scholars. -
Project Gutenberg Etext of 20 Years at Hull House by Jane Addams
TWENTY YEARS AT HULL-HOUSE WITH AUTOBIOGRAPHICAL NOTES BY JANE ADDAMS CONTENTS Preface I. EARLIEST IMPRESSIONS II. INFLUENCE OF LINCOLN III. BOARDING-SCHOOL IDEALS IV. THE SNARE OF PREPARATION V. FIRST DAYS AT HULL-HOUSE VI. THE SUBJECTIVE NECESSITY FOR SOCIAL SETTLEMENTS VII. SOME EARLY UNDERTAKINGS AT HULL-HOUSE VIII. PROBLEMS OF POVERTY IX. A DECADE OF ECONOMIC DISCUSSION X. PIONEER LABOR LEGISLATION IN ILLINOIS XI. IMMIGRANTS AND THEIR CHILDREN XII. TOLSTOYISM XIII. PUBLIC ACTIVITIES AND INVESTIGATIONS XIV. CIVIC COOPERATION 1 XV. THE VALUE OF SOCIAL CLUBS XVI. ARTS AT HULL-HOUSE XVII. ECHOES OF THE RUSSIAN REVOLUTION XVIII. SOCIALIZED EDUCATION Selected Bibliography Index TO THE MEMORY OF MY FATHER PREFACE [She was, the British labor leader John Burns said, “the only saint America had produced.” It was as Saint Jane that she was known to millions around the earth and none now will challenge her right to that name. —Henry Steele Commager Amherst, Mass.] [Every preface is, I imagine, written after the book has been completed and now that I have finished this volume I will state several difficulties which may put the reader upon his guard unless he too postpones the preface to the very last.] […]Many times during the writing of these reminiscences, I have become convinced that the task was undertaken all too soon. One’s fiftieth year is indeed an impressive milestone at which one may well pause to take an accounting[….][, but the people with whom I have so long journeyed 2 have] become so intimate a part of my lot that they cannot be