Wavelength (January 1982)
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Masaryk University Faculty of Arts
Masaryk University Faculty of Arts Department of English and American Studies Teaching English Language and Literature for Secondary Schools Petr Husseini Nick Cave’s Lyrics in Official and Amateur Czech Translations Master‟s Diploma Thesis Supervisor: Mgr. Renata Kamenická, Ph.D. 2009 Declaration I declare that I have worked on this thesis independently, using only the primary and secondary sources listed in the bibliography. .................................................. Author‟s signature 2 Acknowledgements I would like to thank my supervisor, Mgr. Renata Kamenická, Ph.D., for her kind help, support and valuable advice. 3 Table of Contents Introduction ..................................................................................................................... 5 1. Translation of Lyrics and Poetry .............................................................................. 9 1.1 Introduction ................................................................................................... 9 1.2 General Nature of Lyrics and Poetry ........................................................ 11 1.3 Tradition of Lyrics Translated into Czech ............................................... 17 1.4 Conclusion ................................................................................................... 20 2. Nick Cave’s Lyrics in King Ink and King Ink II ................................................... 22 2.1 Introduction ................................................................................................. 22 -
MCA-700 Midline/Reissue Series
MCA 700 Discography by David Edwards, Mike Callahan & Patrice Eyries © 2018 by Mike Callahan MCA-700 Midline/Reissue Series: By the time the reissue series reached MCA-700, most of the ABC reissues had been accomplished in the MCA 500-600s. MCA decided that when full price albums were converted to midline prices, the albums needed a new number altogether rather than just making the administrative change. In this series, we get reissues of many MCA albums that were only one to three years old, as well as a lot of Decca reissues. Rather than pay the price for new covers and labels, most of these were just stamped with the new numbers in gold ink on the front covers, with the same jackets and labels with the old catalog numbers. MCA 700 - We All Have a Star - Wilton Felder [1981] Reissue of ABC AA 1009. We All Have A Star/I Know Who I Am/Why Believe/The Cycles Of Time//Let's Dance Together/My Name Is Love/You And Me And Ecstasy/Ride On MCA 701 - Original Voice Tracks from His Greatest Movies - W.C. Fields [1981] Reissue of MCA 2073. The Philosophy Of W.C. Fields/The "Sound" Of W.C. Fields/The Rascality Of W.C. Fields/The Chicanery Of W.C. Fields//W.C. Fields - The Braggart And Teller Of Tall Tales/The Spirit Of W.C. Fields/W.C. Fields - A Man Against Children, Motherhood, Fatherhood And Brotherhood/W.C. Fields - Creator Of Weird Names MCA 702 - Conway - Conway Twitty [1981] Reissue of MCA 3063. -
Steve Cropper | Primary Wave Music
STEVE CROPPER facebook.com/stevecropper twitter.com/officialcropper Image not found or type unknown youtube.com/channel/UCQk6gXkhbUNnhgXHaARGskg playitsteve.com en.wikipedia.org/wiki/Steve_Cropper open.spotify.com/artist/1gLCO8HDtmhp1eWmGcPl8S If Yankee Stadium is “the house that Babe Ruth built,” Stax Records is “the house that Booker T, and the MG’s built.” Integral to that potent combination is MG rhythm guitarist extraordinaire Steve Cropper. As a guitarist, A & R man, engineer, producer, songwriting partner of Otis Redding, Eddie Floyd and a dozen others and founding member of both Booker T. and the MG’s and The Mar-Keys, Cropper was literally involved in virtually every record issued by Stax from the fall of 1961 through year end 1970.Such credits assure Cropper of an honored place in the soul music hall of fame. As co-writer of (Sittin’ On) The Dock Of The Bay, Knock On Wood and In The Midnight Hour, Cropper is in line for immortality. Born on October 21, 1941 on a farm near Dora, Missouri, Steve Cropper moved with his family to Memphis at the age of nine. In Missouri he had been exposed to a wealth of country music and little else. In his adopted home, his thirsty ears amply drank of the fountain of Gospel, R & B and nascent Rock and Roll that thundered over the airwaves of both black and white Memphis radio. Bit by the music bug, Cropper acquired his first mail order guitar at the age of 14. Personal guitar heroes included Tal Farlow, Chuck Berry, Jimmy Reed, Chet Atkins, Lowman Pauling of the Five Royales and Billy Butler of the Bill Doggett band. -
Discography of the Mainstream Label
Discography of the Mainstream Label Mainstream was founded in 1964 by Bob Shad, and in its early history reissued material from Commodore Records and Time Records in addition to some new jazz material. The label released Big Brother & the Holding Company's first material in 1967, as well as The Amboy Dukes' first albums, whose guitarist, Ted Nugent, would become a successful solo artist in the 1970s. Shad died in 1985, and his daughter, Tamara Shad, licensed its back catalogue for reissues. In 1991 it was resurrected in order to reissue much of its holdings on compact disc, and in 1993, it was purchased by Sony subsidiary Legacy Records. 56000/6000 Series 56000 mono, S 6000 stereo - The Commodore Recordings 1939, 1944 - Billy Holiday [1964] Strange Fruit/She’s Funny That Way/Fine and Mellow/Embraceable You/I’ll Get By//Lover Come Back to Me/I Cover the Waterfront/Yesterdays/I Gotta Right to Sing the Blues/I’ll Be Seeing You 56001 mono, S 6001 stereo - Begin the Beguine - Eddie Heywood [1964] Begin the Beguine/Downtown Cafe Boogie/I Can't Believe That You're in Love with Me/Carry Me Back to Old Virginny/Uptown Cafe Boogie/Love Me Or Leave Me/Lover Man/Save Your Sorrow 56002 mono, S 6002 stereo - Influence of Five - Hawkins, Young & Others [1964] Smack/My Ideal/Indiana/These Foolish Things/Memories Of You/I Got Rhythm/Way Down Yonder In New Orleans/Stardust/Sittin' In/Just A Riff 56003 mono, S 6003 stereo - Dixieland-New Orleans - Teagarden, Davison & Others [1964] That’s A- Plenty/Panama/Ugly Chile/Riverboat Shuffle/Royal Garden Blues/Clarinet -
Lightning in a Bottle
LIGHTNING IN A BOTTLE A Sony Pictures Classics Release 106 minutes EAST COAST: WEST COAST: EXHIBITOR CONTACTS: FALCO INK BLOCK-KORENBROT SONY PICTURES CLASSICS STEVE BEEMAN LEE GINSBERG CARMELO PIRRONE 850 SEVENTH AVENUE, 8271 MELROSE AVENUE, ANGELA GRESHAM SUITE 1005 SUITE 200 550 MADISON AVENUE, NEW YORK, NY 10024 LOS ANGELES, CA 90046 8TH FLOOR PHONE: (212) 445-7100 PHONE: (323) 655-0593 NEW YORK, NY 10022 FAX: (212) 445-0623 FAX: (323) 655-7302 PHONE: (212) 833-8833 FAX: (212) 833-8844 Visit the Sony Pictures Classics Internet site at: http:/www.sonyclassics.com 1 Volkswagen of America presents A Vulcan Production in Association with Cappa Productions & Jigsaw Productions Director of Photography – Lisa Rinzler Edited by – Bob Eisenhardt and Keith Salmon Musical Director – Steve Jordan Co-Producer - Richard Hutton Executive Producer - Martin Scorsese Executive Producers - Paul G. Allen and Jody Patton Producer- Jack Gulick Producer - Margaret Bodde Produced by Alex Gibney Directed by Antoine Fuqua Old or new, mainstream or underground, music is in our veins. Always has been, always will be. Whether it was a VW Bug on its way to Woodstock or a VW Bus road-tripping to one of the very first blues festivals. So here's to that spirit of nostalgia, and the soul of the blues. We're proud to sponsor of LIGHTNING IN A BOTTLE. Stay tuned. Drivers Wanted. A Presentation of Vulcan Productions The Blues Music Foundation Dolby Digital Columbia Records Legacy Recordings Soundtrack album available on Columbia Records/Legacy Recordings/Sony Music Soundtrax Copyright © 2004 Blues Music Foundation, All Rights Reserved. -
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. -
Jerry Garcia Song Book – Ver
JERRY GARCIA SONG BOOK – VER. 9 1. After Midnight 46. Chimes of Freedom 92. Freight Train 137. It Must Have Been The 2. Aiko-Aiko 47. blank page 93. Friend of the Devil Roses 3. Alabama Getaway 48. China Cat Sunflower 94. Georgia on My Mind 138. It Takes a lot to Laugh, It 4. All Along the 49. I Know You Rider 95. Get Back Takes a Train to Cry Watchtower 50. China Doll 96. Get Out of My Life 139. It's a Long, Long Way to 5. Alligator 51. Cold Rain and Snow 97. Gimme Some Lovin' the Top of the World 6. Althea 52. Comes A Time 98. Gloria 140. It's All Over Now 7. Amazing Grace 53. Corina 99. Goin' Down the Road 141. It's All Over Now Baby 8. And It Stoned Me 54. Cosmic Charlie Feelin' Bad Blue 9. Arkansas Traveler 55. Crazy Fingers 100. Golden Road 142. It's No Use 10. Around and Around 56. Crazy Love 101. Gomorrah 143. It's Too Late 11. Attics of My Life 57. Cumberland Blues 102. Gone Home 144. I've Been All Around This 12. Baba O’Riley --> 58. Dancing in the Streets 103. Good Lovin' World Tomorrow Never Knows 59. Dark Hollow 104. Good Morning Little 145. Jack-A-Roe 13. Ballad of a Thin Man 60. Dark Star Schoolgirl 146. Jack Straw 14. Beat it on Down The Line 61. Dawg’s Waltz 105. Good Time Blues 147. Jenny Jenkins 15. Believe It Or Not 62. Day Job 106. -
Andy Higgins, BA
Andy Higgins, B.A. (Hons), M.A. (Hons) Music, Politics and Liquid Modernity How Rock-Stars became politicians and why Politicians became Rock-Stars Thesis submitted for the degree of Ph.D. in Politics and International Relations The Department of Politics, Philosophy and Religion University of Lancaster September 2010 Declaration I certify that this thesis is my own work and has not been submitted in substantially the same form for the award of a higher degree elsewhere 1 ProQuest Number: 11003507 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 11003507 Published by ProQuest LLC(2018). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 Abstract As popular music eclipsed Hollywood as the most powerful mode of seduction of Western youth, rock-stars erupted through the counter-culture as potent political figures. Following its sensational arrival, the politics of popular musical culture has however moved from the shared experience of protest movements and picket lines and to an individualised and celebrified consumerist experience. As a consequence what emerged, as a controversial and subversive phenomenon, has been de-fanged and transformed into a mechanism of establishment support. -
By David Kunian, 2013 All Rights Reserved Table of Contents
Copyright by David Kunian, 2013 All Rights Reserved Table of Contents Chapter INTRODUCTION ....................................................................................... 1 1. JAZZ AND JAZZ IN NEW ORLEANS: A BACKGROUND ................ 3 2. ECONOMICS AND POPULARITY OF MODERN JAZZ IN NEW ORLEANS 8 3. MODERN JAZZ RECORDINGS IN NEW ORLEANS …..................... 22 4. ALL FOR ONE RECORDS AND HAROLD BATTISTE: A CASE STUDY …................................................................................................................. 38 CONCLUSION …........................................................................................ 48 BIBLIOGRAPHY ….................................................................................... 50 i 1 Introduction Modern jazz has always been artistically alive and creative in New Orleans, even if it is not as well known or commercially successful as traditional jazz. Both outsiders coming to New Orleans such as Ornette Coleman and Cannonball Adderley and locally born musicians such as Alvin Battiste, Ellis Marsalis, and James Black have contributed to this music. These musicians have influenced later players like Steve Masakowski, Shannon Powell, and Johnny Vidacovich up to more current musicians like Terence Blanchard, Donald Harrison, and Christian Scott. There are multiple reasons why New Orleans modern jazz has not had a greater profile. Some of these reasons relate to the economic considerations of modern jazz. It is difficult for anyone involved in modern jazz, whether musicians, record -
Gospel Music and the Sonic Fictions of Black Womanhood in Twentieth-Century African American Literature
“UP ABOVE MY HEAD”: GOSPEL MUSIC AND THE SONIC FICTIONS OF BLACK WOMANHOOD IN TWENTIETH-CENTURY AFRICAN AMERICAN LITERATURE Kimberly Gibbs Burnett A dissertation submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the degree requirements for the degree of Doctor of Philosophy in the Department of English and Comparative Literature in the Graduate School. Chapel Hill 2020 Approved by: Danielle Christmas Florence Dore GerShun Avilez Glenn Hinson Candace Epps-Robertson ©2020 Kimberly Gibbs Burnett ALL RIGHTS RESERVED ii ABSTRACT Kimberly Burnett: “Up Above My Head”: Gospel Music and the Sonic Fictions of Black Womanhood in TWentieth-Century African American Literature (Under the direction of Dr. Danielle Christmas) DraWing from DuBois’s Souls of Black Folk (1903), which highlighted the Negro spirituals as a means of documenting the existence of a soul for an African American community culturally reduced to their bodily functions, gospel music figures as a reminder of the narrative of black women’s struggle for humanity and of the literary markers of a black feminist ontology. As the attention to gospel music in texts about black women demonstrates, the material conditions of poverty and oppression did not exclude the existence of their spiritual value—of their claim to humanity that was not based on conduct or social decorum. At root, this project seeks to further the scholarship in sound and black feminist studies— applying concepts, such as saturation, break, and technology to the interpretation of black womanhood in the vernacular and cultural recordings of gospel in literature. Further, this dissertation seeks to offer neW historiography of black female development in tWentieth century literature—one which is shaped by a sounding culture that took place in choir stands, on radios in cramped kitchens, and on stages all across the nation. -
Spring Season Brings All That Jazz
Tulane University Spring Season Brings All That Jazz April 25, 2008 1:00 AM Kathryn Hobgood [email protected] This spring brings a bustle of activity for jazz musicians at Tulane University. In addition to multiple performances at the famous New Orleans Jazz and Heritage Festival, campus musicians students as well as more experienced jazzmen on the faculty have a whole lot going on. John Doheny, a professor of practice, plays sax while Jim Markway, a tutor in the Newcomb Department of Music, plays bass in the Professors of Pleasure jazz quintet. (Photo by Kathryn Hobgood) This week, the Tulane Jazz Orchestra will be busy with several appearances. On Tuesday (April 29), the orchestra will have its end-of-semester concert at 8 p.m. in Dixon Theatre. Smaller jazz combos will perform on Wednesday (April 30) beginning at 6 p.m. in Dixon Recital Hall. And on Friday (May 2), the orchestra will perform on the Gentilly Stage at the New Orleans Jazzfest at 11:35 a.m. Tulane students are the musicians in the Tulane Jazz Orchestra. The orchestra is directed by John Doheny, a professor of practice in the Newcomb Department of Music, who is extra busy this season. Doheny teaches jazz theory, history and applied private lessons, in addition to directing the student jazz ensembles. He also is a working musician. A project that came to fruition for Doheny recently was the Tulane faculty jazz quintet's first CD. Dubbing themselves the “Professors of Pleasure,” the quintet features Doheny on saxophone; John Dobry, a professor of practice, on guitar; Jim Markway on bass; and Kevin O'Day on drums. -
All That Glitters
..,....- Sex brings up (and fails to address?)- why it's Madonna's (use of images of) bise)(uality in not 'queer enough', why it's boring, and (my some depth, but concludes "I do not thinkthat Perfect Beat v2 n1 July 1994 favourite) why it is the true sequel to Gone an unconditional celebration of Madonna's With the Wind. John Champagne is a lot more work is a good political choice"(l67). Pat serious (and a lot more graphic, one assumes Califa, discussing the S/M element ofSex, also partly in reaction to the fact that Sex is ·~ust says "I feel deeply ambivalent about some not foul enough" [116]) but also deals with body who has not paid her dues using my the numerous contradictory critical responses community as a series of bizarre backdrops aroused by Sex. Interestingly, unlike hooks, ~ for a photo shoot"(I77), but nevertheless ar Champagne saw the Vanity Fair spread as gues from an anti-antipom position that the S/ parodies of 1950s Playboy layouts, exhibiting M community "will still find itself in the a 'camp sensibility' that boded well for Sex, but awkward position of defending Sex"(i84). he was ultimately disappointed. 'Camp' re appears {frequently) in Carol A. Queen's Perhaps the most telling testament to Ma Lewis, G.H. (ed) (1993) correct! y), "these diverse views of country championing ofSex -perhaps we are all being donna's charisma and star power is that none begin to suggest what a fascinating and multi prudes in that the thing we talk least about is of the writers in the two volumes (other than All that Glitters - Country Music in faceted phenomenon this music is".