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University of Southampton Research Repository Eprints Soton
University of Southampton Research Repository ePrints Soton Copyright © and Moral Rights for this thesis are retained by the author and/or other copyright owners. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given e.g. AUTHOR (year of submission) "Full thesis title", University of Southampton, name of the University School or Department, PhD Thesis, pagination http://eprints.soton.ac.uk UNIVERSITY OF SOUTHAMPTON School of Humanities: Music Making the weather in contemporary jazz: an appreciation of the musical art of Josef Zawinul by Alan Cooper Thesis for the degree of Doctor of Philosophy October 2012 i UNIVERSITY OF SOUTHAMPTON ABSTRACT Making the weather in contemporary jazz: an appreciation of the musical art of Josef Zawinul by Alan Cooper Josef Zawinul (1932-2007) holds a rare place in the world of jazz in view of the fact that as a European he forged a long and distinguished musical career in America. Indeed, from a position of relative obscurity when he arrived in New York in 1959, he went on to become one of contemporary jazz’s most prolific and commercially successful composers. The main focus of this dissertation will be Zawinul’s rise to prominence in American jazz during the 1960s and 1970s. -
Whiskey River (Take My Mind) I
whiskey river (take my mind) i introduction 00 Bush rev pg proofs 000i-xxiv i i 12/11/06 9:58:38 AM THIS PAGE INTENTIONALLY LEFT BLANK whiskey river (take my mind) iii The True Story of Texas Honky-Tonk by johnny bush with rick mitchell foreword by willie nelson University of Texas Press, Austin introduction 00 Bush rev pg proofs 000i-xxiv iii iii 12/11/06 9:58:39 AM iv copyright © 2007 by the university of texas press All rights reserved Printed in the United States of America First edition, 2007 Requests for permission to reproduce material from this work should be sent to: Permissions University of Texas Press P.O. Box 7819 Austin, TX 78713-7819 www.utexas.edu/utpress/about/bpermission.html ∞ The paper used in this book meets the minimum requirements of ansi/niso z39.48-1992 (r1997) (Permanence of Paper). library of congress cataloging-in-publication data Bush, Johnny. Whiskey river (take my mind) : the true story of Texas honky-tonk / by Johnny Bush with Rick Mitchell ; foreword by Willie Nelson. — 1st ed. p. cm. Includes discography (p. ), bibliographical references (p. ), and index. isbn-13: 978-0-292-71490-8 (cl. : alk. paper) isbn-10: 0-292-71490-4 1. Bush, Johnny. 2. Country musicians—Texas—Biography. 3. Spasmodic dysphonia—Patients—Texas—Biography. 4. Honky-tonk music—Texas— History and criticism. I. Mitchell, Rick, 1952– II. Title. ml420.b8967a3 2007 782.421642092—dc22 [B] 2006033039 whiskey river (take my mind) 00 Bush rev pg proofs 000i-xxiv iv iv 12/11/06 9:58:39 AM Dedicated to v John Bush Shinn, Jr., my dad, who encouraged me to follow my dreams. -
"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. -
A Piece of History
A Piece of History Theirs is one of the most distinctive and recognizable sounds in the music industry. The four-part harmonies and upbeat songs of The Oak Ridge Boys have spawned dozens of Country hits and a Number One Pop smash, earned them Grammy, Dove, CMA, and ACM awards and garnered a host of other industry and fan accolades. Every time they step before an audience, the Oaks bring four decades of charted singles, and 50 years of tradition, to a stage show widely acknowledged as among the most exciting anywhere. And each remains as enthusiastic about the process as they have ever been. “When I go on stage, I get the same feeling I had the first time I sang with The Oak Ridge Boys,” says lead singer Duane Allen. “This is the only job I've ever wanted to have.” “Like everyone else in the group,” adds bass singer extraordinaire, Richard Sterban, “I was a fan of the Oaks before I became a member. I’m still a fan of the group today. Being in The Oak Ridge Boys is the fulfillment of a lifelong dream.” The two, along with tenor Joe Bonsall and baritone William Lee Golden, comprise one of Country's truly legendary acts. Their string of hits includes the Country-Pop chart-topper Elvira, as well as Bobbie Sue, Dream On, Thank God For Kids, American Made, I Guess It Never Hurts To Hurt Sometimes, Fancy Free, Gonna Take A Lot Of River and many others. In 2009, they covered a White Stripes song, receiving accolades from Rock reviewers. -
The Haverford Journal
The Haverford Journal The Haverford Journal Volume 3, Issue 1 April 2007 Volume 3, Issue 1 The Cultural Politics of British Opposition to Italian Opera, 1706-1711 Veronica Faust ‘06 Childbirth in Medieval Art Kate Phillips ‘06 Baudrillard, Devo, and the Postmodern De-evolution of the Simulation James Weissinger ‘06 Politics and the Representation of Gender and Power in Rubens’s The Disembarkation at Marseille from The Life of Marie de’ Medici April 2007 Aaron Wile ‘06 “Haverford’s best student work in the humanities and social sciences.” April 2007 (Vol. 3, Issue 1) 1 The Haverford Journal Volume 3, Issue 1 February 2007 Published by The Haverford Journal Editorial Board Managing Editors Pat Barry ‘07 Julia Erdosy ‘07 Board Members Production Leigh Browning ‘07 Sam Kaplan ‘10 Julia McGuire ‘09 Sarah Walker ‘08 Faculty Advisor Phil Bean Associate Dean of the College The Haverford Journal is published annually by the Haverford Journal Editorial Board at Haverford College, 370 Lancaster Avenue, Haverford, PA 19041. The Journal was founded in the spring of 2004 by Robert Schiff in an effort to showcase some of Haverford’s best student work in the humanities and social sciences. Student work appearing in The Haverford Journal is selected by the Editorial Board, which puts out a call for papers at the end of every spring semester. Entries are judged on the basis of academic merit, clarity of writing, persuasiveness, and other factors that contribute to the quality of a given work. All student papers submitted to the Journal are numbered and classified by a third party and then distributed to the Board, which judges the papers without knowing the names or class years of the papers’ authors. -
Rhetorical Ripples: the Church of the Subgenius, Kenneth Burke & Comic, Symbolic Tinkering
Virginia Commonwealth University VCU Scholars Compass Theses and Dissertations Graduate School 2014 Rhetorical Ripples: The hC urch of the SubGenius, Kenneth Burke & Comic, Symbolic Tinkering Lee A. Carleton Virginia Commonwealth University, [email protected] Follow this and additional works at: http://scholarscompass.vcu.edu/etd Part of the American Popular Culture Commons, Discourse and Text Linguistics Commons, Interdisciplinary Arts and Media Commons, New Religious Movements Commons, and the Rhetoric and Composition Commons © The Author Downloaded from http://scholarscompass.vcu.edu/etd/3667 This Dissertation is brought to you for free and open access by the Graduate School at VCU Scholars Compass. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of VCU Scholars Compass. For more information, please contact [email protected]. Rhetorical Ripples: The Church of the SubGenius, Kenneth Burke & Comic, Symbolic Tinkering A Dissertation submitted in partial fulfillment of the requirements for the Media, Art and Text Doctor of Philosophy at Virginia Commonwealth University by Lee Allen Carleton B.S. Bible, Lancaster Bible College, 1984 M.A. English Composition, Virginia Commonwealth University, 1996 Director: Dr. Nicholas Sharp Assistant Professor English Department Virginia Commonwealth University Richmond, Virginia November 2014 ii Dedication This work is dedicated to my wife Clary, my son Holden (6) and my daughter Huxley (3) who have inspired my ongoing efforts and whose natural joy, good humor and insight lit my wandering path. On the eve of my 53rd birthday, I can honestly say that I am a very fortunate and happy man. Acknowledgements Without a doubt, these few words can hardly express the gratitude I feel for my committee and their longsuffering patience with me as I finally found my focus. -
Antimodernism and Genre from Country-Rock to Alt.Country, 1968-98
Antimodernism and Genre from Country-Rock to Alt.Country, 1968-98 Jason Bianchi Kirby San Jose, California B.A. Sociology and Literature, University of California—Santa Cruz, 2002 M.A. American Culture Studies, Bowling Green State University, 2006 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 August 2016 Abstract This dissertation is a cultural history exploring expressions of and responses to antimodernism within country-rock and “alternative country” music, drawing on reception history, intellectual history of underground and mainstream left-wing American political movements, interview discourse with artists, and close readings of songs. In this dissertation I argue that despite styling itself as a type of purer root or “folk” form of contemporary country music, in terms of its ideologies, studio production techniques, fan and critical discourse, and business practices, alt.country is a type of rock music. It embodies some of rock’s core beliefs, particularly rock’s critique of the more bureaucratic and “rationalized” dimensions of postindustrial capitalism, particularly as this relates to the everyday impact of new technologies. I argue that this anti-modernism, emerging here from the American political left, has been different in different eras, from the back-to-the-land movement of the late 1960s, to late- ‘80s/early-‘90s expressions of left populist punk’s longing for “folk” community. In this project I look beyond contemporary scholarly understandings of alt.country as mostly ironic, as ultimately I suggest that this music illustrates what Keir Keightley calls rock’s aesthetic of “seriousness,” more precisely than it does an understanding of country music ideology. -
Lpitc~1 I.C.,Mo
BULl rlATE U.S. POSTAGE PAID Per.it No. 2419 lPITC~1 I.C.,Mo. THE PENNY PITCH PAGE 3 romn •. LEX:rJlt~ TABLE OF CONTENTS: . ., .. ~ ... ::'). WEST ~OAST REPORT .••....••..•....•.•.... 4 LEROI S REVIEWS ••••.•..•.•.•..••... L •••• 5 TRUE TALES OF LEPINEY •••••. , .•••..••.... 7 THE PENNY PITCH ENCOURAGES READERS TO CON LOU I SA'S STORy ••••.•.• I ••••••••••••••••• ~ TRIBUTE--LETTERS~ ARTICLES~ POETRY AND ART. 4128 BROADWAY YOUR ENTRIES MAY BE PRINTED. ORIGINALS KANSAS CITY, MISS.oURI64111 ~6~~~~,~NJ~i~A~~~ES::::::::::::::::::::'9 WILL NOT BE RETURNED. SEND TO: (816) 561-1580 DICK WRIGHT •.•.•.•......••..••••...•.•. 10 OLE UNKEL BOB'S OLD TIME JAZZ ••.•.•..•• ~l CHARLES CHANCE~ SR. EDITOR ....... Charles Chance, Sr. SOUTH AFR ICA .••••..•.•.....••..•....•.. f2 PENNY PITCH ASSISTING ... Rev. Dwight Frizzell KING SHINE INTERNATIONAL •••.•.•.....•.. t2 4128 BROADWAY ••• J'ay Mandeville REGGA E••.••.. ) •.•..••. ; ...•.... , ...•... i K.C. ~ MO 64111 YOUSEFF YANCY S TALKIN JAZZ ........•.. 35 CONTRIBUTORS: Rosie Scrivo, Gary Houston, WINFIELD •.•••.•..•.•.•.....••..•....•.• 6 PENNY PITCH: Rev. DWl.ght Frizzell, Jay Handeville, Chris SWINGIN' GRASS (BLUEGRASS) .••....•..••. 17 Kim A, LcRoi Johnson, Milton MorriS, Horris Help!? We just returned from another fun Martin, ROdney Franks, John Geier, Scott METAL .•.•. '.' ·1························ '~1 week at Winfield, Ks--I missed getting a O'Kelley, Ole Unkel Bob Mossman, E. Collins, ~~~~~0~u~~~R1pART·ii):::::::::::::::::: 2 record of the De Dannan group. They are I-Sheryl, ltifilil-Irie, Youseff Yancy, Lane AGENT ORANGE EXPOSED .••..••...••.•••••. 3 the best Irish group I've ever heard. Turner, BoL Redford, Joe Stelnger, John CLASSICAL NOTES ..•••.•....••.••.••.•.•. 24 Can you tell me where to get their albums Heuertz, Brian Co}gan, Sid Musso, Chad Mus UNCLASS IF I ED .•.•..•••.•.•••...•••••..•• 22 5 and how much? The pink trailer was out so, BroQkes DeSoto, Brian Auger, Dan Conn, FRESH AIRE ...•........•...••..•...••.. -
History of Rock and Roll Syllabus 2021.Docx
History of Rock and Roll Syllabus MUS 1313; Survey of Rock and Roll Fall 2021, Goldthwaite High School Susan Reynolds, Adjunct, ASU Office Phone: 325-648-3081, ext. 214 Email: [email protected] Office Hours: M-F 4:00-5:00, appointment only Required Text What’s That Sound; An Introduction to Rock and Its History, 5th edition, by John Covach and Andrew Flory. This text may be purchased in eBook form for $40 at What's That Sound? Click on the Purchase Options icon on the top right of the landing page for more information. Students will need to have access to a computer capable of sound playback as part of the testing process includes identification of the tunes the students will be hearing in class. Included as an addendum to this syllabus is a list of the tunes played in class, and YouTube links to these tunes are available for study purposes, however, because of copyright laws, these links are often removed from YouTube. Please note that computers may be used in class to take notes or for study purposes only. Any student using their computer for any other reason will take notes on paper and study outside of class time. Course Description MUSI 1313 is a study of the predecessors to and the evolution of rock music from the early 50’s through recent years. The course is designed to be non-musician friendly. Some of the materials presented in this class, in addition to being historical, are very graphic and direct, using language that some may object to, and referring to practices that are not only outside of the mainstream, but in many cases, illegal. -
Devo IS Wholeso11le 11Luslc Loving Glance, Bereavement
r • ~· ~ -Jdfaced· by the facts THE CHICKS By TWO HOUNDSENDS An opened leiter to our despicable. While we're on the subject. Pee-yare, why THE HORRID LIMITED [ascisl Prime Minis1er don't you drop that middle name schtick. too? Dear Mister Pierre Elliot "not-man-enough Only a true man like George John the Chief Publishers of The Chronically-Horrid to-be English" Trudeau: could get away with that. and you can't e"cn Well, smartypants. things sure are different suggest that your manhood stacks up to the late now. aren't they? Just yesterday, us nice simple great Diefie's in ANY way. Besides, 'Elliot' is just The Cluonica/ly-Horrid stands in the way of the A tlantif Provinces' progress and develop Maritime folk didn't have any power at all, and too 'faggy', you know what I mean? (Nothing ment and is dedicated to the maintenance of the ignorancf of the people that no good cause now, because of a MARITlME-ORIGINATil'iG personal.) shall thrive unopposed and that wrong shall not lack a chmnpion. earthquake, we've got it drifting around all over Those're all things you could do t<J rna~. the place! Only good homegrown MARITIME yourself more presentable to us, but there's still design could build a nuclear station that breaks plenty to do. since we're talking about changes. Thursday. January 28, 19R2 apart in teeny little pieces so big chunks don't go A good example is that John Chretien character. flying through the air, hurting some pretty little So where did you dig him up, could you teli me Irving Girl. -
Too Fast to Live, Too Young to Die: Punk Graphics, 1976–1986
Too Fast to Live, Too Young to Die: Punk Graphics, 1976–1986 teachers’ resource packet teachers’ resource packet museum of arts and design welcome 1 what’s inside 03 welcome 04 introduction 05 how does a museum work? 07 helpful hints for your visit 11 object lessons 11 COPY AND PASTE: THE APPROPRIATED IMAGE 15 CUT AND PASTE: COLLAGE AND BRICOLAGE 20 DO IT YOURSELF: ZINES AND FLYERS 25 FOR ART'S SAKE 31 PASTICHE 36 AGITPROP: POWER TO THE PEOPLE 41 SCARY MONSTERS AND SUPER CREEPS 46 COMIC RELIEF 50 ECCENTRIC ALPHABETS: PUNK TYPOGRAPHY 44 glossary 46 online resources 47 credits museum of arts and design welcome 2 welcome Thank you for your interest in visiting the Museum of Arts and Design (MAD) and the current exhibition Too Fast to Live, Too Young to Die: Punk Graphics, 1976–1986. During a MADlab school visit, Artist Educators facilitate engaging discussions around selected works in our current exhibitions that prompt students to think about the aesthetic, psychological, and activist dimensions of art and design and serve as inspiration for their own creative expression. The studio portion of MADlab focuses on experimenting with different materials and processes, and as students create their own artworks based on concepts discussed in the galleries. Moreover, each school group has the opportunity to interact with residents in MAD’s Artist Studios program and witness a diversity of creative processes in an open studio setting. MAD encourages students to take advantage of its full range of offerings as a cultural resource in the heart of New York City and, in doing so, seeks to foster a sense of ownership and belonging in young people. -
Classical & Instrumental
MUSIC PROGRAM GUIDE MOOD:MEDIA TABLE OF CONTENTS + Core Programs + Elements (Mixes) moodmedia.com | harmony.moodmedia.com 3 CORE PROGRAMS Hot FM Pop Hot Adult Contemporary Hits Sample Artists: Ed Sheeran, Alessia Cara, Maroon 5, Vance Joy, Imagine Dragons, Colbie Caillat, Andy Grammer, Shawn Be-Tween Mendes, Jess Glynne, Jason Mraz Kid-friendly, Modern Pop Hits Sample Artists: 5 Seconds of Summer, Sabrina Carpenter, Metro Alessia Cara, NOTD, Taylor Swift, The Vamps, Troye Sivan, R5, Chic Metropolitan Blend Shawn Mendes, Carly Rae Jepsen Sample Artists: Little Dragon, Rhye, Disclosure, Jungle, Maggie Rogers, Roosevelt, Christine and The Queens, Flight Cashmere Facilities, Maribou State, Poolside Warm Cosmopolitan Vocals Sample Artists: Emily King, Chaka Khan, Durand Jones & The Pop Style Indications, Sam Smith, Maggie Rogers, Teskey Brothers, Youthful Pop Hits Diplomats of Solid Sound, Norah Jones, Jason Mraz, Cat Sample Artists: Justin Bieber, Taylor Swift, DNCE, Troye Sivan, Power Ellie Goulding, Ariana Grande, Charlie Puth, Kygo, The Vamps, Sabrina Carpenter Divas Dynamic Female Vocals Reflections Sample Artists: Chaka Khan, Amy Winehouse, Aretha Franklin, Mature Pop and Classic Jazz Vocals Ariana Grande, Betty Wright, Madonna, Mary J. Blige, ZZ Sample Artists: Johnny Hartman, Josh Rouse, Sam and Dave, Ward, Diana Ross, Christine And The Queens, Janelle Monae Hilary McRae, Keely Smith, James Torme, Eagle-Eye Cherry, Nancy Wilson, Vance Joy, Maddie Poppe FM1 ‡ Adult Contemporary Hits Shine Sample Artists: Hootie and The Blowfish, Rob