Brevard Live Live March 2020
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Read Razorcake Issue #27 As A
t’s never been easy. On average, I put sixty to seventy hours a Yesterday, some of us had helped our friend Chris move, and before we week into Razorcake. Basically, our crew does something that’s moved his stereo, we played the Rhythm Chicken’s new 7”. In the paus- IInot supposed to happen. Our budget is tiny. We operate out of a es between furious Chicken overtures, a guy yelled, “Hooray!” We had small apartment with half of the front room and a bedroom converted adopted our battle call. into a full-time office. We all work our asses off. In the past ten years, That evening, a couple bottles of whiskey later, after great sets by I’ve learned how to fix computers, how to set up networks, how to trou- Giant Haystacks and the Abi Yoyos, after one of our crew projectile bleshoot software. Not because I want to, but because we don’t have the vomited with deft precision and another crewmember suffered a poten- money to hire anybody to do it for us. The stinky underbelly of DIY is tially broken collarbone, This Is My Fist! took to the six-inch stage at finding out that you’ve got to master mundane and difficult things when The Poison Apple in L.A. We yelled and danced so much that stiff peo- you least want to. ple with sourpusses on their faces slunk to the back. We incited under- Co-founder Sean Carswell and I went on a weeklong tour with our aged hipster dancing. -
Listening Patterns – 2 About the Study Creating the Format Groups
SSRRGG PPuubblliicc RRaaddiioo PPrrooffiillee TThhee PPuubblliicc RRaaddiioo FFoorrmmaatt SSttuuddyy LLiisstteenniinngg PPaatttteerrnnss AA SSiixx--YYeeaarr AAnnaallyyssiiss ooff PPeerrffoorrmmaannccee aanndd CChhaannggee BByy SSttaattiioonn FFoorrmmaatt By Thomas J. Thomas and Theresa R. Clifford December 2005 STATION RESOURCE GROUP 6935 Laurel Avenue Takoma Park, MD 20912 301.270.2617 www.srg.org TThhee PPuubblliicc RRaaddiioo FFoorrmmaatt SSttuuddyy:: LLiisstteenniinngg PPaatttteerrnnss Each week the 393 public radio organizations supported by the Corporation for Public Broadcasting reach some 27 million listeners. Most analyses of public radio listening examine the performance of individual stations within this large mix, the contributions of specific national programs, or aggregate numbers for the system as a whole. This report takes a different approach. Through an extensive, multi-year study of 228 stations that generate about 80% of public radio’s audience, we review patterns of listening to groups of stations categorized by the formats that they present. We find that stations that pursue different format strategies – news, classical, jazz, AAA, and the principal combinations of these – have experienced significantly different patterns of audience growth in recent years and important differences in key audience behaviors such as loyalty and time spent listening. This quantitative study complements qualitative research that the Station Resource Group, in partnership with Public Radio Program Directors, and others have pursued on the values and benefits listeners perceive in different formats and format combinations. Key findings of The Public Radio Format Study include: • In a time of relentless news cycles and a near abandonment of news by many commercial stations, public radio’s news and information stations have seen a 55% increase in their average audience from Spring 1999 to Fall 2004. -
MTO 11.4: Spicer, Review of the Beatles As Musicians
Volume 11, Number 4, October 2005 Copyright © 2005 Society for Music Theory Mark Spicer Received October 2005 [1] As I thought about how best to begin this review, an article by David Fricke in the latest issue of Rolling Stone caught my attention.(1) Entitled “Beatles Maniacs,” the article tells the tale of the Fab Faux, a New York-based Beatles tribute group— founded in 1998 by Will Lee (longtime bassist for Paul Schaffer’s CBS Orchestra on the Late Show With David Letterman)—that has quickly risen to become “the most-accomplished band in the Beatles-cover business.” By painstakingly learning their respective parts note-by-note from the original studio recordings, the Fab Faux to date have mastered and performed live “160 of the 211 songs in the official canon.”(2) Lee likens his group’s approach to performing the Beatles to “the way classical musicians start a chamber orchestra to play Mozart . as perfectly as we can.” As the Faux’s drummer Rich Pagano puts it, “[t]his is the greatest music ever written, and we’re such freaks for it.” [2] It’s been over thirty-five years since the real Fab Four called it quits, and the group is now down to two surviving members, yet somehow the Beatles remain as popular as ever. Hardly a month goes by, it seems, without something new and Beatle-related appearing in the mass media to remind us of just how important this group has been, and continues to be, in shaping our postmodern world. For example, as I write this, the current issue of TV Guide (August 14–20, 2005) is a “special tribute” issue commemorating the fortieth anniversary of the Beatles’ sold-out performance at New York’s Shea Stadium on August 15, 1965—a concert which, as the magazine notes, marked the “dawning of a new era for rock music” where “[v]ast outdoor shows would become the superstar standard.”(3) The cover of my copy—one of four covers for this week’s issue, each featuring a different Beatle—boasts a photograph of Paul McCartney onstage at the Shea concert, his famous Höfner “violin” bass gripped in one hand as he waves to the crowd with the other. -
Development of a Literary Dispositif
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 4-5-2018 Development of a Literary Dispositif: Convening Diasporan, Blues, and Cosmopolitan Lines of Inquiry to Reveal the Cultural Dialogue Among Giuseppe Ungaretti, Langston Hughes, and Antonio D’Alfonso Anna Ciamparella 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 African American Studies Commons, American Literature Commons, Comparative Literature Commons, Ethnic Studies Commons, European Languages and Societies Commons, French and Francophone Language and Literature Commons, Italian Language and Literature Commons, and the Literature in English, North America Commons Recommended Citation Ciamparella, Anna, "Development of a Literary Dispositif: Convening Diasporan, Blues, and Cosmopolitan Lines of Inquiry to Reveal the Cultural Dialogue Among Giuseppe Ungaretti, Langston Hughes, and Antonio D’Alfonso" (2018). LSU Doctoral Dissertations. 4563. https://digitalcommons.lsu.edu/gradschool_dissertations/4563 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]. DEVELOPMENT OF A LITERARY DISPOSITIF: CONVENING DIASPORAN, BLUES, AND COSMOPOLITAN LINES OF INQUIRY TO REVEAL THE CULTURAL DIALOGUE AMONG GIUSEPPE UNGARETTI, LANGSTON HUGHES, AND ANTONIO D’ALFONSO 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 Interdisciplinary Program in Comparative Literature by Anna Ciamparella M.A. -
Lee Ving in Shock Cinema
Page 8 SHOCK CINEMA As founder and lead singer of FEAR, Lee fool.You don't believe me, lay down and measure. were chasing me and I found a place to hide inan Ving was the roaring voice of the west coast punk (laughs) old world Swiss looking street, just down the hill movement of the '70s and early '80s. FEAR cut SHOCK CINEMA: (laughs) from the Bates house of PSYCHO fame, I began thru a sea of mumbling, wrist cutting, overdosing, Ving: Shock Cinema. Now is that like Shock to have a feeling of Deja Vu, of having been there musically challenged bands with an in-your-face, Theater back in Philadelphia? Growing up I had before but knew I never had. More than twenty get-out-of-my-way, 1,2,3,4 sonic wall, that sounds John Zacharly as Roland every Friday-Saturday years later while watching FRANKENSTEIN on as fresh today as it did back then. FEAR still sells night. late night TV, I realized, that was where I knew out clubs in New York, Chicago, Miami, Boston, that street from on that day at Universal. It was Philadelphia, Seattle, Austin, Dallas, Denver, and SC: So you loved movies from an early age? the street in the little Swiss-Austrian town where the Sunset Strip, with a seemingly ageless and What kind of films did you like growing up? Baron Frankenstein lived and was preparing for endless string of 15-18 year old fans still lining up What kind of films do you like now? his son's wedding. -
FY 2016 and FY 2018
Corporation for Public Broadcasting Appropriation Request and Justification FY2016 and FY2018 Submitted to the Labor, Health and Human Services, Education, and Related Agencies Subcommittee of the House Appropriations Committee and the Labor, Health and Human Services, Education, and Related Agencies Subcommittee of the Senate Appropriations Committee February 2, 2015 This document with links to relevant public broadcasting sites is available on our Web site at: www.cpb.org Table of Contents Financial Summary …………………………..........................................................1 Narrative Summary…………………………………………………………………2 Section I – CPB Fiscal Year 2018 Request .....……………………...……………. 4 Section II – Interconnection Fiscal Year 2016 Request.………...…...…..…..… . 24 Section III – CPB Fiscal Year 2016 Request for Ready To Learn ……...…...…..39 FY 2016 Proposed Appropriations Language……………………….. 42 Appendix A – Inspector General Budget………………………..……..…………43 Appendix B – CPB Appropriations History …………………...………………....44 Appendix C – Formula for Allocating CPB’s Federal Appropriation………….....46 Appendix D – CPB Support for Rural Stations …………………………………. 47 Appendix E – Legislative History of CPB’s Advance Appropriation ………..…. 49 Appendix F – Public Broadcasting’s Interconnection Funding History ….…..…. 51 Appendix G – Ready to Learn Research and Evaluation Studies ……………….. 53 Appendix H – Excerpt from the Report on Alternative Sources of Funding for Public Broadcasting Stations ……………………………………………….…… 58 Appendix I – State Profiles…...………………………………………….….…… 87 Appendix J – The President’s FY 2016 Budget Request...…...…………………131 0 FINANCIAL SUMMARY OF THE CORPORATION FOR PUBLIC BROADCASTING’S (CPB) BUDGET REQUESTS FOR FISCAL YEAR 2016/2018 FY 2018 CPB Funding The Corporation for Public Broadcasting requests a $445 million advance appropriation for Fiscal Year (FY) 2018. This is level funding compared to the amount provided by Congress for both FY 2016 and FY 2017, and is the amount requested by the Administration for FY 2018. -
August 2016 Washington Blues Society Calendar
In This Issue... Larry Williams Bobby Rush! Bobby Rush! Bobby Rush! Larry Williams and Suzanne Swanson (Photo Art by Dan Hill) (Photo by Suzanne Swanson) (Photo by Theresa Southwick) Letter from the President 2 On the Cover 4 2016 Blues Music Awards 9 Letter from the Editor 3 Honoring Larry Williams 6 July Blues Bash Review 12 Thanks to Our Advertisers 4 Preview: Taste of Music 8 August Blues Bash Reminder 14 Officers and Directors 4 Blues Bash Preview 8 Membership Opportunities 14 Letter from Washington Blues Society President Tony Frederickson Hi Blues Fans, Mark Riley (Solo/Duo), and Brett Benton (Solo/ A new development with the Grammys! Thanks Duo). With the talent in the finals the state of to the hard the hard work of one of my Blues I’m sitting here at the Winthrop Rhythm & Blues Washington, the Washington Blues Society will Foundation board members, Michael Freeman, Festival as I write this month’s Letter from the be well represented once again! I highly recom- the “Blues” now has two different album catego- President, and going through the first half of the mend making plans ahead of time to see our finals ries! One for Traditional Blues Album and one for Blues Festival season in my mind. What a year at the very least if not the entire Taste of Music. Contemporary Blues album. This is big news for it’s been so far! From early in February at the At only $10 per day it will prove to be one of the our world. The Blues Music Awards are wonder- Coeur D’Alene Blues Festival, to the Walla Walla best values of the second half of the Blues Festi- ful and do a great job recognizing the musicians, Guitar Festival, on to the Untapped Music Fes- val season. -
N Ic K E R S a N D N E Ig
Mylestone Equine Rescue 6 0 0 Every horse we save makes a difference 2 G N I FINDING LIZZY ... R P S Katrina, one of our devoted vets, met me at a home that was look- S ing to get rid of an old pony. From the outside, garbage and debris were strewn all over; in the back was a barn in disrepair with a small corral that was overgrown. We didn’t see a pony, though the H elderly owner told us she was in the barn. Katrina and I proceed- ed to the barn, where a board hanging in part of the entranceway closed the doorway. There was manure all over the outside of the entrance. The barn was filthy and you could tell it had just been G cleaned out for our visit. The manure line along the walls was at I least a foot high.There tied to the wall was a small black pony with long curled up hooves. She pawed wildly at us, as if to say,“Get me the heck out of here.” She was covered in matted manure under- neath her left side and belly. She was thin but had been getting E some hay and grain they recently bought. Katrina and I agreed immediately we had to take her. My friend Maryanne arrived with her trailer and Lizzy dragged Katrina and I out of the barn and on to the trailer. Lizzy had been N alone and tied to the barn wall for at least 6 months. It is difficult to imagine day in and out being tied, barely able to turn around or lie down for all that time. -
DB Music Shop Must Arrive 2 Months Prior to DB Cover Date
05 5 $4.99 DownBeat.com 09281 01493 0 MAY 2010MAY U.K. £3.50 001_COVER.qxd 3/16/10 2:08 PM Page 1 DOWNBEAT MIGUEL ZENÓN // RAMSEY LEWIS & KIRK WHALUM // EVAN PARKER // SUMMER FESTIVAL GUIDE MAY 2010 002-025_FRONT.qxd 3/17/10 10:28 AM Page 2 002-025_FRONT.qxd 3/17/10 10:29 AM Page 3 002-025_FRONT.qxd 3/17/10 10:29 AM Page 4 May 2010 VOLUME 77 – NUMBER 5 President Kevin Maher Publisher Frank Alkyer Editor Ed Enright Associate Editor Aaron Cohen Art Director Ara Tirado Production Associate Andy Williams Bookkeeper Margaret Stevens Circulation Manager Kelly Grosser ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] Classified Advertising Sales Sue Mahal 630-941-2030 [email protected] OFFICES 102 N. Haven Road Elmhurst, IL 60126–2970 630-941-2030 Fax: 630-941-3210 www.downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, John McDonough, Howard Mandel Austin: Michael Point; Boston: Fred Bouchard, Frank-John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Robert Doerschuk; New Orleans: Erika Goldring, David Kunian; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D. -
Playbill Apr
2014–2015 SEASON PLAYBILL APR. 7–APR. 25 © The &oca&ola &ompany Ľ&okeľ and the &ontour Bottle are trademarks of The &oca&ola &ompany 2 /`ba 1S\bS` C;Oaa 4W\S ]T bVS ac^^]`bS` Wa O ^`]cR 1]QO1]ZO1 0`Od]0 / C ] a Wa A Notable Lifestyle Celebrating lifelong enjoyment of the arts Discover gracious, refined independent living in a social and dynamic environment. Meet passionate, enlightened residents–from academics to artists–that will inspire you. The Loomis Communities offer an unparalleled lifestyle with superior amenities and services—with the added peace of mind for the future that comes from access to LiveWell@Loomis. APPLEWOOD LOOMIS VILLAGE Amherst, MA South Hadley, MA 413-253-9833 413-532-5325 The Western Massachusetts www.loomiscommunities.org Pioneer in Senior Living 3 Insuring The Arts Play Onn Local Insurance Agency Local Insurance Agency InsuringYourWay.com 'MPSFODFt&BTUIBNQUPO Can Study Abroad! YOU Scholarships available Education Abroad Advising Center ,QWHUQDWLRQDO3URJUDPV2I¼FH 5P+LOOV6RXWK DFURVVIURP6WXGLR$UWV%XLOGLQJ www.ipo.umass.eduip d 2SHQ0®)AM–4 PM 4 5 Good thinking. NEW ENGLAND PUBLIC RADIO News. Classical. Jazz. Amherst / Springfield / Hartford .................................. WFCR 88.5 FM North Adams .................................................................................. 101.1 FM Great Barrington ............................................................................98.7 FM Lee ....................................................................................................98.3 FM Pittsfield / -
Brevard Live May 2006
Brevard Live May 2006 - 2 - Brevard Live May 2006 Brevard Live May 2006 - - Brevard Live May 2006 FAVORITE ORIGINAL BAND FAVORITE COVER BAND FAVORITE VOCALIST ❑ Black Eyed Soul ❑ John Quinlivan Band ❑ David Andrew Spilker ❑ Such Is Life ❑ Medusa ❑ Brian Maxwell ❑ Pinch ❑ Wunderdogs ❑ Brenda (Medusa) ❑ Medusa ❑ Ozone ❑ Ken Moores (JQB) ❑ Swamp Fox ❑ Paradym Shift ❑ Greg Caputo (Pinch) FAVORITE GUITARIST FAVORITE BASSIST FAVORITE DRUMMER ❑ John Quinlivan (JQB) ❑ Terry Wallace (JQB) ❑ Mike St. Pete (JQB) ❑ Mike McMullen (Ozone) ❑ Eric Nyman ❑ Randy Crouch (APB) ❑ Darren (Medusa) ❑ Vince McGee (Medusa) ❑ Pat Bautz (Middle Finger) ❑ ❑ John Bernam (Middle Finger) ❑ Kerry Morris (Middle Finger) Crak Staton (BES) ❑ Greg Caputo (Pinch) ❑ Mike Della Cioppa (BES) ❑ John Frank (Pinch) FAVORITE KEYBOARD FAVORITE MISC ENTERTAINER OF THE YEAR ❑ Ken Moores (JQB) ❑ Ken Moores (JQB) ❑ Black Eyed Soul ❑ Glen Hess (Medusa) ❑ Will Powers (Middle Finger) ❑ John Quinlivan Band ❑ Dave Hoag ❑ Bobby Mills (Mills Bros) ❑ Medusa ❑ Misty Dureault (BES) ❑ Anthony Darmana ❑ Middle Finger Band ❑ J.B. Daniels (Middle Finger) ❑ Rene (AB) ❑ Pinch Brevard Live May 2006 - 6 - Brevard Live May 2006 Marchseries 4, 1953 - THOSE WERE PART VIII August 20, 2005 on drums, and Calvin on bass until Mark Glisson joined as The Glory Days bass player and played for so HHHHHHHHHHHHHHHHHHHHHHHHHH by Judy Tatum Lane many years with the Groove Monsters and became very close to Dave. Dave kept hanges in music and had just recorded an album. when my husband John Lane the Groove Monsters going Csociety were happening The group was none other sat in on bass for them (Ken- after Austin and Steve Miller at such a tremendously fast than a version of “New Days ny played sax, which was his parted from the band, and the pace. -
Buddy Guy Florida Theatre New Date October 23
Contact: Kathryn Wills, Director of Marketing 904-3562-5983/[email protected] For immediate release BUDDY GUY FLORIDA THEATRE NEW DATE OCTOBER 23 Buddy Guy Scores Fifth #1 Blues Album In The Country With Born To Play Guitar Legendary blues icon and six-time Grammy Award winning artist Buddy Guy claimed the #1 spot last week onBillboard's Top Blues Album charts with his latest masterpiece Born To Play Guitar, according to Nielsen SoundScan. Released July 31st on Silvertone/RCA Records, Born To Play Guitar marks Buddy's fifth #1 album on Billboard's Top Blues chart and twelfth Top 10 Billboard Blues album. Since its release, the album peaked at #1 on the overall Amazon music chart and remains #1 on the iTunes Blues Albums chart. Internationally, Born To Play Guitar debuts at #1 on the Australian ARIA Jazz & Blues Album chart and remains Top 5 on iTunes Blues Album charts in UK, France, Germany, Australia, Japan, Italy, Sweden, Finland, Portugal and more! The follow-up to his spectacular 2013 #1 Billboard Blues album Rhythm and Blues, Born To Play Guitar has brought Buddy back to the top of the charts while receiving critical praise from media and fans alike. Rolling Stone cites "he sings and solos with reliable ferocity" while Glide Magazine gave the album 9 out of 10 stars and states "Guy's seasoned voice and tasty licks on his '57 Stratocaster would satisfy any and all fans of his music and the genre itself." The Journal Starproclaims that Guy "delivered a fresh, fully alive album that keeps the blues alive and shows he remains the best at it," while Rambles.net declares "At 79, he generates more heat and energy than players half his age and, instead of being content to rest on his well-earned reputation, continues to lead the way toward the future of the blues, even as he keeps the past fresh and vibrant." ### .