Polka Sax Man More Salute to Steel 3 from the TPN Archives Donnie Wavra July 2006: 40Th National Polka by Gary E
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Twenty-Eight Year Old Buck Ford Is a Singing and Recording Country Music Sensation!!!!
TWENTY-EIGHT YEAR OLD BUCK FORD IS A SINGING AND RECORDING COUNTRY MUSIC SENSATION!!!! Nashville recording artist Buck Ford is a young, pure country singing sensation that focuses on keeping the traditional country sound and rhythm flowing. Bucks influences consist of George Strait, Merle Haggard, George Jones and Keith Whiteley, just to name a few. Buck and his band pride themselves on the fact that their performances “bring back to life” the sound and feel of real old country music. Biography Buck began his story as a professional motocross racer, riding the circuit for over a decade. He received a full ride endorsement with a Honda team through the West Coast Super Cross Series in 2009. He placed his riding career on hold to pursue his love and passion for country music. Despite his dedication and talent in the professional motocross scene, his heart has always been in country music. His performances include his own written and composed music and covers songs from greats such as the likes of George Strait, Merle Haggard, George Jones, Keith Whitley, Craig Morgan, Wade Hayes, Mark Chesnutt, Tracy Lawrence, Chris Young, Billy Currington, Hank Jr., Brooks and Dunn, Alan Jackson, Waylon Jennings, Garth Brooks and many more. Buck has been successfully playing for over 7 years, and played with other fine musicians, such as The Time Jumpers, Vince Gill, Dawn Sears, Wade Hayes, James Mitchell, Mike Johnson, Brent Mason, Paul Franklin, Kevin Grant, Lonnie Wilson, Larry Franklin, and many other talented musicians throughout the West Coast, South West and Nashville regions. Buck has performed at fairs, festivals, rodeos, clubs, many private events, weddings, and parties. -
Vince Gill Bakersfield Mp3, Flac, Wma
Vince Gill Bakersfield mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Folk, World, & Country Album: Bakersfield Country: US Released: 2014 Style: Country MP3 version RAR size: 1328 mb FLAC version RAR size: 1368 mb WMA version RAR size: 1867 mb Rating: 4.8 Votes: 913 Other Formats: RA MMF DXD MIDI DTS AC3 WMA Tracklist Hide Credits Foolin' Around Acoustic Guitar, Lead Guitar [Electric], Harmony Vocals – Vince GillBass – Willie 1 WeeksDrums – Greg MorrowFiddle – Kenny SearsKeyboards – John HobbsPedal Steel 2:55 Guitar – Paul FranklinRhythm Guitar [Electric] – JT CorenflosWritten-By – Buck Owens, Harlan Howard Branded Man Acoustic Guitar, Lead Guitar [Electric] – Vince GillBass – Willie WeeksDrums – Greg 2 MorrowHarmony Vocals – Dawn Sears, Vince GillPedal Steel Guitar – Paul 3:47 FranklinPiano – John HobbsRhythm Guitar [Electric] – JT CorenflosWritten-By – Merle Haggard Together Again Acoustic Guitar – Vince GillDouble Bass [Upright] – Brad AlbinDrums – Greg 3 3:45 MorrowKeyboards – John HobbsPedal Steel Guitar – Paul FranklinRhythm Guitar [Electric] – JT CorenflosWritten-By – Buck Owens The Bottle Let Me Down Acoustic Guitar, Lead Guitar [Electric] – Vince GillBass – Willie WeeksDrums – Greg 4 MorrowHarmony Vocals – Dawn Sears, Vince GillKeyboards – John HobbsPedal Steel 3:21 Guitar – Paul FranklinRhythm Guitar [Electric] – JT CorenflosWritten-By – Merle Haggard He Don't Deserve You Anymore Acoustic Guitar, Lead Guitar [Electric], Harmony Vocals – Vince GillBass – Willie 5 3:44 WeeksDrums – Greg MorrowKeyboards – John HobbsPedal Steel -
'What Ever Happened to Breakdancing?'
'What ever happened to breakdancing?' Transnational h-hoy/b-girl networks, underground video magazines and imagined affinities. Mary Fogarty Submitted in partial fulfillment Of the requirements for the degree of Interdisciplinary MA in Popular Culture Brock University St. Catharines, Ontario © November 2006 For my sister, Pauline 111 Acknowledgements The Canada Graduate Scholarship (SSHRC) enabled me to focus full-time on my studies. I would also like to express my deepest gratitude to my committee members: Andy Bennett, Hans A. Skott-Myhre, Nick Baxter-Moore and Will Straw. These scholars have shaped my ideas about this project in crucial ways. I am indebted to Michael Zryd and Francois Lukawecki for their unwavering kindness, encouragement and wisdom over many years. Steve Russell patiently began to teach me basic rules ofgrammar. Barry Grant and Eric Liu provided comments about earlier chapter drafts. Simon Frith, Raquel Rivera, Anthony Kwame Harrison, Kwande Kefentse and John Hunting offered influential suggestions and encouragement in correspondence. Mike Ripmeester, Sarah Matheson, Jeannette Sloniowski, Scott Henderson, Jim Leach, Christie Milliken, David Butz and Dale Bradley also contributed helpful insights in either lectures or conversations. AJ Fashbaugh supplied the soul food and music that kept my body and mind nourished last year. If AJ brought the knowledge then Matt Masters brought the truth. (What a powerful triangle, indeed!) I was exceptionally fortunate to have such noteworthy fellow graduate students. Cole Lewis (my summer writing partner who kept me accountable), Zorianna Zurba, Jana Tomcko, Nylda Gallardo-Lopez, Seth Mulvey and Pauline Fogarty each lent an ear on numerous much needed occasions as I worked through my ideas out loud. -
Pumpkins! So Country Music Brought Me with Yvan Moreau field
Page 12 Friday, September 18, 2020 [email protected] The Record Wish You Were Here Book review by Nancy Coggeshall Raised in Sherbrooke, he left victims in Kulich. Quebec and Alberta. The Sûreté du Quebéc theorized ohn Allore and Patricia Pearson’s In 1981 Grégoire was sentenced that Theresa was pulled under by the second collaboration Wish You Were for a year in Quebec after pleading “riptide of seventies party culture.” JHere: A Murdered Girl, a Brother’s guilty to a lesser charge of indecent In the Sherbrooke area biker gangs Quest and the Hunt for a Serial Killer assault against a Quebec woman whose distributed drugs to surrounding is a compelling read. It details the trauma was so great it choked any communities. At Compton’s two consequences of Theresa Allore’s death, verbal expression of the horror she dormitories drug use was unchecked. which resonate through time. The endured. Her marriage was ruined, Two adult staff members supervised murdered girl, John’s older sister, was and she left the city. A year later he was more than 200 16 and 17-year-old street smart, independent, and witty. granted day parole, and in January 1983 residents. Adding to a situation Earning A’s in all her science courses, he was fully paroled. That was revoked. signaling possible mayhem in pulsating her overall average was in the eighties. He returned to prison until 1984. In neon, night-time transportation She liked extreme sports and owned an 1986 in Edmonton he was convicted for between campus and the Compton Italian racing bike. -
Conducting an Animal Dance Party
Conducting an Animal Dance Party 1 Learning Objectives • Understand the research behind the Animal Dance Party • Understand the structure and outline of the activity for in-person and virtual parties • Review tips for running a successful recruitment party 2 Agenda • Why run a dance party? • Supplies, Set Up and Schedules • Running an In-Person Animal Dance Party • Running a Virtual Animal Dance Party • Tips & Tricks For Successful Recruitment Parties 3 Why run a dance party? • The goal of all You’re Invited parties are to spark interest in the girls so they will ask their parents/caregivers to attend. • Girls in Kindergarten – 3rd grade said they were likely to ask their parents to attend a dance party. • The dance party activity is adapted directly from our programming: Brownie Outdoor Art Creator badge. • Girls will earn their first Girl Scout patch for participating in the activity. 4 In-Person Party Supplies • At least 2-3 staff or volunteers • Council or event banner, tablecloth and decorations • Laptop or tablet to play music & register new families • Sign in sheets, pens/markers, name tags, index cards • Coloring books or games for younger siblings • Council Information Cards • What is Girl Scouts/Why Girl Scouts flyer • Calendar of upcoming council activities 5 In-Person Party Set Up Follow local + council guidelines on social distancing • Provide multiple sign-in sheets for parents to provide their contact information. 1. Registration • Display council branded signage and tablecloths; What is Girl Scouts/Why Girl Scouts flyer; council information cards; calendar of upcoming council events • Decorate for a party! Consider the theme but generally focus on bright and fun decorations 2. -
Karaoke by Keysdan Comedy Artist Title 'Weird' Al Yankovic Achy Breaky Song 'Weird' Al Yankovic Achy Breaky Song Wvocal 'Weird'
Karaoke by KeysDAN Comedy Artist Title 'Weird' Al Yankovic Achy Breaky Song 'Weird' Al Yankovic Achy Breaky Song Wvocal 'Weird' Al Yankovic Addicted To Spuds 'Weird' Al Yankovic Alimony 'Weird' Al Yankovic Amish Paradise 'Weird' Al Yankovic Another Rides The Bus 'Weird' Al Yankovic Bedrock Anthem 'Weird' Al Yankovic Bedrock Anthem Wvocal 'Weird' Al Yankovic Dare To Be Stupid 'Weird' Al Yankovic Dare To Be Stupid Wvocal 'Weird' Al Yankovic Eat It 'Weird' Al Yankovic Ebay 'Weird' Al Yankovic Fat 'Weird' Al Yankovic Grapefruit Diet 'Weird' Al Yankovic Gump 'Weird' Al Yankovic Gump Wvocal 'Weird' Al Yankovic I Lost On Jeopardy 'Weird' Al Yankovic I Love Rocky Road 'Weird' Al Yankovic I Want A New Duck 'Weird' Al Yankovic It's All About The Pentiums 'Weird' Al Yankovic It's All About The Pentiums Wvocal 'Weird' Al Yankovic Like A Surgeon 'Weird' Al Yankovic Like A Surgeon Wvocal 'Weird' Al Yankovic My Bologna 'Weird' Al Yankovic One More Minute 'Weird' Al Yankovic One More Minute Wvocal 'Weird' Al Yankovic Phony Calls 'Weird' Al Yankovic Ricky 'Weird' Al Yankovic Saga Begins 'Weird' Al Yankovic She Drives Like Crazy 'Weird' Al Yankovic Smells Like Nirvana 'Weird' Al Yankovic Smells Like Nirvana Wvocal 'Weird' Al Yankovic Spam 'Weird' Al Yankovic The Saga Begins 'Weird' Al Yankovic Yoda 'Weird' Al Yankovic You Don't Love Me Anymore 2 Live Crew Me So Horny Adam Sandler At A Medium Pace (ADVISORY) Adam Sandler Ode To My Car Adam Sandler Ode To My Car (ADVISORY) Adam Sandler Piece Of S--t Car Adam Sandler What The H--- Happened To Me Adam Sandler What The Hell Happened To Me www.KeysDAN.com 501.470.6386 Karaoke by KeysDAN Comedy Bill Clinton Parody Bimbo No.5 Britney Spears Parody Oops I Farted Again CLEDUS T JUDD MY CELLMATE THINKS I'M SEXY Cheech & Chong Earache My Eye Chef Chocolate Salty Balls Chef Love Gravy Chef No Substitute, Oh Kathy Lee Chef Simultaneous Chef & Meatloaf Tonight Is Right for Love Chef & No Substitute Oh Kathy Lee Chef (South Park) Chocolate Salty Balls (P.S. -
16 Artist Index BILLJ~OYD (Cont'd) Artist Index 17 MILTON BROWN
16 Artist Index Artist Index 17 BILLJ~OYD (cont'd) MILTON BROWN (cont'd) Bb 33-0501-B 071185-1 Jennie Lou (Bill Boyd-J.C. Case)-1 82800-1 071186-1 Tumble Weed Trail (featured in PRC film "Tumble Do The Hula Lou (Dan Parker)-1 Bb B-5485-A, Weed Trail") (Bill Boyd-Dick Reynolds)-1 Bb B-9014-A MW M-4539-A, 071187-1 Put Your Troubles Down The Hatch (Bill Boyd• 82801-1 M-4756-A Marvin Montgomery) -3 Bb 33-0501-A Garbage Man Blues (Dan Parker) -1,3 Bb B-5558-B, 071188-1 Home Coming Waltz Bb B-890Q-A, 82802-1 MWM-4759-A RCA 2Q-2069-A Four, Five Or Six Times (Dan Parker) -1,3* Bb B-5485-B, 071189-1 Over The Waves Waltz (J. Rosas) Bb B-8900-B, MW M-4539-B, RCA 2Q-2068-B M-4756-B Reverse of RCA 2Q-2069 is post-war Bill Boyd title. First pressings of Bb B-5444 were issued as by The Fort Worth Boys with "Milton Brown & his Musical Brownies" in parentheses. On this issue, co-writer for "Oh You Pretty Woman" is listed as Joe Davis. 1937 issues of 82801 ("staff' Bluebird design) list title as "Garage Man Blues." JIM BOYD & AUDREY DAVIS (The Kansas Hill Billies) September 30, 1934; Fort Worth, Texas August 8, 1934; Texas Hotel, San Antonio, Texas. Jim Boyd, guitarllead vocal; Audrey Davis, fiddle/harmony vocal. Milton Brown, vocal-1; Cecil Brower, fiddle; Derwood Brown, guitar/vocal-2; Fred "Papa" Calhoun, piano; Wanna Coffman, bass; Ted Grantham, fiddle; Ocie Stockard, tenor banjo; Band backing vocal -3. -
San Antonio's West Side Sound
Olsen: San Antonio's West Side Sound San Antonio’s SideSound West Antonio’s San West Side Sound The West Side Sound is a remarkable they all played an important role in shaping this genre, Allen O. Olsen amalgamation of different ethnic beginning as early as the 1950s. Charlie Alvarado, Armando musical influences found in and around Almendarez (better known as Mando Cavallero), Frank San Antonio in South-Central Texas. It Rodarte, Sonny Ace, Clifford Scott, and Vernon “Spot” Barnett includes blues, conjunto, country, all contributed to the creation of the West Side Sound in one rhythm and blues, polka, swamp pop, way or another. Alvarado’s band, Charlie and the Jives, had such rock and roll, and other seemingly regional hits in 1959 as “For the Rest of My Life” and “My disparate styles. All of these have Angel of Love.” Cavallero had an influential conjunto group somehow been woven together into a called San Antonio Allegre that played live every Sunday sound that has captured the attention of morning on Radio KIWW.5 fans worldwide. In a sense, the very Almendarez formed several groups, including the popular eclectic nature of the West Side Sound rock and roll band Mando and the Chili Peppers. Rodarte led reflects the larger musical environment a group called the Del Kings, which formed in San Antonio of Texas, in which a number of ethnic during the late 1950s, and brought the West Side Sound to Las communities over the centuries have Vegas as the house band for the Sahara Club, where they exchanged musical traditions in a remained for nearly ten years.6 Sonny Ace had a number of prolific “cross-pollination” of cultures. -
A/L CHOPIN's MAZURKA
17, ~A/l CHOPIN'S MAZURKA: A LECTURE RECITAL, TOGETHER WITH THREE RECITALS OF SELECTED WORKS OF J. S. BACH--F. BUSONI, D. SCARLATTI, W. A. MOZART, L. V. BEETHOVEN, F. SCHUBERT, F. CHOPIN, M. RAVEL AND K. SZYMANOWSKI DISSERTATION Presented to the Graduate Council of the North Texas State University in Partial. Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS By Jan Bogdan Drath Denton, Texas August, 1969 (Z Jan Bogdan Drath 1970 ALL RIGHTS RESERVED TABLE OF CONTENTS Page INTRODUCTION . I PERFORMANCE PROGRAMS First Recital . , , . ., * * 4 Second Recital. 8 Solo and Chamber Music Recital. 11 Lecture-Recital: "Chopin's Mazurka" . 14 List of Illustrations Text of the Lecture Bibliography TAPED RECORDINGS OF PERFORMANCES . Enclosed iii INTRODUCTION This dissertation consists of four programs: one lec- ture-recital, two recitals for piano solo, and one (the Schubert program) in combination with other instruments. The repertoire of the complete series of concerts was chosen with the intention of demonstrating the ability of the per- former to project music of various types and composed in different periods. The first program featured two complete sets of Concert Etudes, showing how a nineteenth-century composer (Chopin) and a twentieth-century composer (Szymanowski) solved the problem of assimilating typical pianistic patterns of their respective eras in short musical forms, These selections are preceded on the program by a group of compositions, consis- ting of a. a Chaconne for violin solo by J. S. Bach, an eighteenth-century composer, as. transcribed for piano by a twentieth-century composer, who recreated this piece, using all the possibilities of modern piano technique, b. -
Gestural Patterns in Kujaw Folk Performing Traditions: Implications for the Performer of Chopin's Mazurkas by Monika Zaborowsk
Gestural Patterns in Kujaw Folk Performing Traditions: Implications for the Performer of Chopin’s Mazurkas by Monika Zaborowski BMUS, University of Victoria, 2009 A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of MASTER OF ARTS in the School of Music Monika Zaborowski, 2013 University of Victoria All rights reserved. This thesis may not be reproduced in whole or in part, by photocopy or other means, without the permission of the author. ii Supervisory Committee Gestural Patterns in Kujaw Folk Performing Traditions: Implications for the Performer of Chopin’s Mazurkas by Monika Zaborowski BMUS, University of Victoria, 2009 Supervisory Committee Susan Lewis-Hammond, (School of Music) Co-Supervisor Bruce Vogt, (School of Music) Co-Supervisor Michelle Fillion, (School of Music) Departmental Member iii Abstract Supervisory Committee Susan Lewis-Hammond, (School of Music) Co-Supervisor Bruce Vogt, (School of Music) Co-Supervisor Michelle Fillion, (School of Music) Departmental Member One of the major problems faced by performers of Chopin’s mazurkas is recapturing the elements that Chopin drew from Polish folk music. Although scholars from around 1900 exaggerated Chopin’s quotation of Polish folk tunes in their mixed agendas that related ‘Polishness’ to Chopin, many of the rudimentary and more complex elements of Polish folk music are present in his compositions. These elements affect such issues as rhythm and meter, tempo and tempo fluctuation, repetitive motives, undulating melodies, function of I and V harmonies. During his vacations in Szafarnia in the Kujawy region of Central Poland in his late teens, Chopin absorbed aspects of Kujaw performing traditions which served as impulses for his compositions. -
Usa Dance Suncoast Chapter 6004
Volume 31, Issue 4 Aug/September 2021 Studios and Gulfport Casino are now holding dances except for Largo Community Ctr, Rhapsody Ballroom. Wed Tea Dance begins August 4th at Dancers Co-op 2-4pm Here we are in Hurricane Season again, hoping that no hurricane The St Petersburg Coliseum will re- will threaten any of our monthly open Wed, October 6th, and our USA Dances at Suncoast Suncoast Chapter will hold a late Ballroom. celebration of National Ballroom Dance Week on Wed, October 20th Our Suncoast Chapter is 30 with $5 admission for USA Dance years old this year! In spite of members with their card. losing ballroom dancers every year to death and disability, I Memorial Dance for Wayne Meier hope we can keep going. will be held at Suncoast Ballroom nd 2-4pm Wed, September 1st. At our November 22 Dance we will elect a Board of Directors for Now that vaccinated dancers are a two-year term. Telephone getting mild symptoms of COVID, Tree Chair Lorraine Ostrowski Marjorie Reynolds, Lois Rotella Bayou Dance Club will require a will run for office so she can Lois Rotella loved ballroom dancing reservation and take your temp at attend Board meetings and help at local studios, the VFW, Gulfport the door. make decisions for the good of Casino for several years, and was our members. good friends with Marge Meigs, Volunteers Mary and Ed Zuranski Marjorie Reynolds, Trish Johnston. who assist me with this Tempo Everyone is welcome to run for designed a new format so that office at this election, so let me She is pictured here with Marjorie Mary can make changes more know as soon as possible if you who told me that Lois had died in easily. -
"Eustace the Monk" and Compositional Techniques
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2013 An original composition, Symphony No. 1, "Eustace the Monk" and compositional techniques used to elicit musical humor Samuel Howard Stokes 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 Music Commons Recommended Citation Stokes, Samuel Howard, "An original composition, Symphony No. 1, "Eustace the Monk" and compositional techniques used to elicit musical humor" (2013). LSU Doctoral Dissertations. 1053. https://digitalcommons.lsu.edu/gradschool_dissertations/1053 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]. AN ORIGINAL COMPOSITION, SYMPHONY NO. 1, "EUSTACE THE MONK" AND COMPOSITIONAL TECHNIQUES USED TO ELICIT MUSICAL HUMOR A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College In partial fulfillment of the Requirements of the degree of Doctor of Philosophy in The School of Music by Samuel Stokes B.M., University of Central Missouri, 2002 M.A., University of Central Missouri, 2005 M.M., The Florida State University, 2006 May 2013 ACKNOWLEDGMENTS I would like to thank Dinos Constantinides for his valuable guidance and enthusiasm in my development as a composer. He has expanded my horizons by making me think outside of the box while leaving me enough room to find my own compositional voice.