And Add To), Provided That Credit Is Given to Michael Erlewine for Any Use of the Data Enclosed Here
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Texas Beaches Face Tragedy Meadow Lane
PAGE SIXTEEN - EVENING HERALD, Tues., August 7, 1979 Area Students Metric Is the Way Piflraguay Aims to Annul Woodstock Generation: Violent Lightning StormStorr Pair of Arms Feature Finish Course Where Are They Now? Claims Traffic Signals Boston Red Sox Win ■AT. iiF But Costs Too Much Rights of War Criminal To Aid Nurses Page$ 6, 7 Page 10 - Page 11 WALTHAM, Mass. (UPI) - While I can’t believe they couldn’t learn in Page 2 MANCHESTER - Six area high Ny the debate continues over whether less than a month." school students recently completed America would lose or benefit by And so Webster dismissed the peo Manchester Memorial Hospital's converting Inches to centimeters; ple problem in metric conversion. High School Nurse Aide program and miles to kilometers; and quarts to And in testimony before the U.S. are now employed as aides on the liters, the president of a small Metric Board in June, he discounted iiaitrhpHtpr hospital's various patient care units. problems with capital equipment as The four-week voluntary course Massachussetts firm which manufac tures machine tools has already well. Clearing Today, was taught by the hospital's In- decided metric is the answer. “Our production machinery is Service Education Department and But the costs of metric conversion almost all numerically controlled or Sunny Tomorrow required nearly 105 hours of intensive have caused him to hold back, at equipped with digital readouts, which training in the basic skills for care of least for the time being. are easily converted to metrics,” he Detalle on page 2 the ill. -
Andy Arleo Université De Nantes (CRINI)
LAURA NYRO’S ELI AND THE THIRTEENTH CONFESSION: TRANSCENDING THE DICHOTOMIES OF THE WOODSTOCK YEARS Andy Arleo Université de Nantes (CRINI) As Wavy Gravy says, if you can remember the sixties, you weren't really there (Van Ronk 141) Introduction1 As a member of the so-called Woodstock Generation, I am aware of the potential pitfalls of writing about this period. As Dave Van Ronk points out in his quote from Merry Prankster Wavy Gravy (Hugh Romney), memories of those times tend to be hazy. On the other hand, research on memory has shown that there is a “reminiscence bump,” that is “people tend to remember disproportionately more events from the period between their adolescence and early adulthood” (Foster 64). In any case, it is clear that memory, whether it is individual and collective, reconstructs past experience, and that my own experience of the era has inevitably flavored the content of this article, making it impossible to aspire completely to the traditional ideals of scholarly distance and detachment. Future generations of cultural analysts will no doubt reassess the Woodstock Years through different lenses. The name “Laura Nyro” may not ring a bell for many readers, as it did not for many of my students, colleagues and friends whom I have informally surveyed. This is understandable since, unlike other singer-songwriter icons of the period (e.g., Bob Dylan, Joni Mitchell, James Taylor), Nyro was never really in the mainstream, although her songs have often been covered by a broad spectrum of singers and bands in a remarkable variety of musical styles, sometimes achieving a fair amount of commercial success. -
And Add To), Provided That Credit Is Given to Michael Erlewine for Any Use of the Data Enclosed Here
POSTER DATA COMPILED BY MICHAEL ERLEWINE Copyright © 2003-2020 by Michael Erlewine THIS DATA IS FREE TO USE, SHARE, (AND ADD TO), PROVIDED THAT CREDIT IS GIVEN TO MICHAEL ERLEWINE FOR ANY USE OF THE DATA ENCLOSED HERE. There is no guarantee that this data is complete or without errors and typos. This is just a beginning to document this important field of study. [email protected] ------------------------------ P --------- / CP060727 / CP060727 20th Anniversary Notes: The original art, done by Gary Grimshaw for ArtRock Gallery, in San Francisco Benefit: First American Tour 1969 Artist: Gary Grimshaw Promoter: Artrock Items: Original poster / CP060727 / CP060727 (11 x 17) Performers: : Led Zeppelin ------------------------------ GBR-G/G 1966 T-1 --------- 1966 / GBR G/G CP010035 / CS05131 Free Ticket for Grande Ballroom Notes: Grande Free Pass The "Good for One Free Trip at the Grande" pass has more than passing meaning. It was the key to distributing the Grande postcards on the street and in schools. Volunteers, mostly high-school-aged kids, would get a stack of cards to pass out, plus a free pass to the Grande for themselves. Russ Gibb, who ran the Grande Ballroom, says that this was the ticket, so to speak, to bring in the crowds. While posters in Detroit did not have the effect that posters in San Francisco had, and handbills were only somewhat better, the cards turned out to actually work best. These cards are quite rare. Artist: Gary Grimshaw Venue: Grande Ballroom Promoter: Russ Gibb Presents Items: Ticket GBR-G/G Edition 1 / CP010035 / CS05131 Performers: 1966: Grande Ballroom ------------------------------ GBR-G/G P-01 (H-01) 1966-10-07 P-1 -- ------- 1966-10-07 / GBR G/G P-01 (H-01) CP007394 / CP02638 MC5, Chosen Few at Grande Ballroom - Detroit, MI Notes: Not the very rarest (they are at lest 12, perhaps as 15-16 known copies), but this is the first poster in the series, and considered more or less essential. -
Annual Report 2010 / 2011
Annual Report 2010 / 2011 Table of Contents Grants for the Arts Progress Report . 4 Grants for the Arts FY 2010/2011 Budget . 5 Proposed 2010-11 Hotel Tax Revenue Allocation (in millions) . 6 Grants for the Arts Programs . 7 Annual Grants to San Francisco Arts Organizations . 8 Arts and Tourism—A Partnership with the San Francisco Convention and Visitors Bureau . 30 San Francisco Arts Monthly . 30 SFArts .org . 30 Nonrecurring Events Fund . 31 Handbook for Arts Organizations . 31 Special Initiatives . 31 Nonprofit Performing Arts Loan Program . 32 Cultural Data Project Statistics . 33 Grants for the Arts 2010/11 Annual Report 3 Grants for the Arts Progress Report BY Kary SCHULMAN, DIRECTOR n times of plenty, plan for scarcity; in times $250,000 grant, received by the Arts Commission of scarcity, plan for plenty . That old adage with matching funds from Grants for the Arts and The I has never been more apropos as now, when Mayor’s Office of Economic Development, will catalyze the arts continue to struggle through the current an artistic revitalization of the Mid-Market/Tenderloin period of scarcity which, unfortunately, few neighborhood . foresaw . However, we are encouraged by the undiminished creative energy of many groups And in terms of service to the field: actively engaged in artistic renewal to coincide with the time when plenty will return . • The Dynamic Adaptability Conference was held on January 28, 2010 . This conference brought Although the City of San Francisco’s finances showed a together over 700 arts workers and supporters deficit of over $400M, the Mayor’s budget kept funding in the Herbst Theatre for a free all-day event to all of the arts agencies at the previous year’s level in featuring a keynote speech by Jonah Lehrer recognition that we had already pared to the bone and (Proust was a Neuroscientist), and panels and that further decreases would threaten the integrity of presentations by a number of local and regional our programs . -
Mahogany Rush, Seattle Center Coliseum
CONCERTS 1) KISS w/ Cheap Trick, Seattle Center Coliseum, 8/12/77, $8.00 2) Aerosmith w/ Mahogany Rush, Seattle Center Coliseum,, 4/19/78, $8.50 3) Angel w/ The Godz, Paramount NW, 5/14/78, $5.00 4) Blue Oyster Cult w/ UFO & British Lions, Hec Edmondson Pavilion, 8/22/78, $8.00 5) Black Sabbath w/ Van Halen, Seattle Center Arena, 9/23/78, $7.50 6) 10CC w/ Reggie Knighton, Paramount NW, 10/22/78, $3.50 7) Rush w/ Pat Travers, Seattle Center Coliseum, 11/7/78, $8.00 8) Queen, Seattle Center Coliseum, 12/12/78, $8.00 9) Heart w/ Head East & Rail, Seattle Center Coliseum, 12/31/78, $10.50 10) Alice Cooper w/ The Babys, Seattle Center Coliseum, 4/3/79, $9.00 11) Jethro Tull w/ UK, Seattle Center Coliseum, 4/10/79, $9.50 12) Supertramp, Seattle Center Coliseum, 4/18/79, $9.00 13) Yes, Seattle Center Coliseum, 5/8/79, $10.50 14) Bad Company w/ Carillo, Seattle Center Coliseum, 5/30/79, $9.00 15) Triumph w/ Ronnie Lee Band (local), Paramount NW, 6/2/79, $6.50 16) New England w/ Bighorn (local), Paramount NW, 6/9/79, $3.00 17) Kansas w/ La Roux, Seattle Center Coliseum, 6/12/79, $9.00 18) Cheap Trick w/ Prism, Hec Edmondson Pavilion, 8/2/79, $8.50 19) The Kinks w/ The Heaters (local), Paramount NW, 8/29/79, $8.50 20) The Cars w/ Nick Gilder, Hec Edmondson Pavilion, 9/21/79, $9.00 21) Judas Priest w/ Point Blank, Seattle Center Coliseum, 10/17/79, Free – KZOK giveaway 22) The Dishrags w/ The Look & The Macs Band (local), Masonic Temple, 11/15/79, $4.00 23) KISS w/ The Rockets, Seattle Center Coliseum, 11/21/79, $10.25 24) Styx w/ The Babys, Seattle -
Rock & Keyser Roll Final 3.13.21
ROCK and KEYSER ROLL Music In My Life My Life In Music Dedicated to all the venues, bookers, house and stage managers, sound and lighting techs, promoters, publicists, photographers and videographers and roadies who have supported me and the bands I have represented over the past four plus decades. It is an honor and a privilege to work with so many highly talented musicians. I am filled with gratitude for the road I have traveled, and look forward to many more years of helping to bring live music to the world! Cover photo J.C. Juanis Cover lettering Mike Dolgushkin © 2021 Music has always been my passion. As a young guy I remember riding the #37 bus downtown to stop at the record store to pick up the latest albums. From my hometown of Baltimore I listened to WCAO radio Top 40 hits, and watched The Buddy Deane Dance Party every day after school. My early musical heroes were Dion, Paul Anka, Neil Sedaka, Little Eva, Ray Charles, Chubby Checker, Gene Pitney, Roy Orbison, The Four Tops and, Stevie Wonder…. My parents were also music fans. Here are few photos from back in their day…. Debbie Reynolds ? My mom My dad (dark suit) watching Eddie Fisher at Grossinger’s Resort in the Catskills circa 1958 After dinner with Harpo Marx and his wife at their Hollywood home, Harpo serenaded circa 1963 My first foray into the music world happened on my last day of 4th grade at Liberty School #64. Dr. Carlin, the music teacher, came into our classroom. He told us that next year, in 5th grade, we could be in the school orchestra. -
W"' Ounci^Bwvinter Peace Festival I
lbs Influence Drug Al:^se? pts Replace 'Group' As^^een ounci^BWVinter Peace Festival I ub Januar ist Rockf Top Year Rolf Harris iN BEGINS ON PAGE 57 H U »{. i-' W" ' V. < , - One day Father Flanagan, of Boys’ and soon enough it was a hit. Town, saw one of his little boys carrying a So far, the story has spread to the much bigger boy in his arms, a crippled following towns, and “He Ain’t Heavy, boy. Father Flanagan asked the little boy He’s My Brother” is a hit in all of them: if that wasn’t an awfully heavy load. Houston, Spartanburg, S.C., Columbus, “He ain’t heavy,” the little boy San Diego, Seattle, Denver, Washington, replied. “He’s my brother.” The Hollies’ Minneapolis, San Antonio, Raleigh, song is based on this story. Omaha, San Francisco, Portland, Fresno, Just recently a Jesuit priest, who knew Providence, Des Moines, Mobile, the Boys’ Town story, heard the song on Chicago, Los Angeles, Sacramento, I the radio. He called the D.J. and told him Spokane, New York, Detroit, Atlanta, about it. In turn, the D.J. began to tell the Louisville. story every time he played the record, On Epic Records HlIPIC Special thanks to three heavy brothers—Gary Schaffer, Gary Taylor, Dan Walker. ®''EPIC''. Marea Re|. T.M. PBINIEB IN U.SJ». THE INTERNATIONAL MUSIC-RECORD WEEKLY VOL. XXXI — Number 26/January 24, 1970 Publication Office / 1 780 Broadway, New York, New York 10019 / Telephone: JUdson 6-2640 / Cable Address: Cash Box, N Y GEORGE ALBERT President and Publisher MARTY OSTROW Vice Presiden t IRV LICHTMAN Editor in Chief EDITORIAL MARV GOODMAN Assoc. -
Camp Winnarainbow Provides a Here's Grace's Full Description: Counselor at the Camp
Teaching, Entertaining, Educating and Empowering Children through the Arts Camp nurtures and develops a com- munity that reflects the world in which children will grow up. While campers benefit from a wide variety of fun and stimulating activities – trapeze, drama, nature hikes, hip-hop dance, and po- etry just to name a few -- they also gain an appreciation for differences as they live among children who come from all kinds of backgrounds. It is the Camp’s conviction that they can then become the catalysts for social change and have a positive effect on the future. “This place brings out your talent, it makes better people," says one young camp counselor. "It's neat seeing kids taking home these talents and skills. If you can stand up in front of 100 peo- ple and perform, you can do a whole . Continued from page One “In that next month, I stopped expecting the lot better dealing one on one." The Grace and Joy Scholarship Program worst and instead, for the first time in my life, The "Life Show" I felt free to be a child. Besides learning to Twenty-five percent of the camp’s five ses- ÌWe work to create a living envi- sions with 700 children, ages 7-14 years old, swim, stilt walk and juggle, I also picked up ronment of love, safety and har- come through this scholarship program. They life skills without even realizing it . how to mony. are economically disadvantaged children - channel my feelings of frustration and anger Ì kids from homeless shelters, foster care and into more positive avenues . -
For Immediate Release
FOR IMMEDIATE RELEASE presents A TESTAMENT TO THE SHEER JOY OF LIVING A LIFE OF SERVICE TO HUMANKIND AND OUR PLANET THE WAVY GRAVY MOVIE: SAINT MISBEHAVIN' RELEASES NOVEMBER 15 ON DIGITAL AND DVD An unforgettable trip through the extraordinary life of a poet, clown, activist and FUNdraiser “’Saint Misbehavin’’ is an unabashed love letter to the world that defies the cynicism of our age.” – The New York Times September 19, 2011 – “Some people tell me I’m a saint, I tell them I’m Saint Misbehavin’.” Poet, activist, entertainer, clown. These are a few ways to describe Wavy Gravy, an activist and prominent figure during the Woodstock era who continues to spread a message that we can make a difference in the world and have fun doing it! THE WAVY GRAVY MOVIE paints a moving and surprising portrait of his lifelong passion for peace, justice and understanding. The film features extensive verité footage and interviews with Wavy telling his own stories: from communal life with The Hog Farm, to his circus and performing arts camp, Camp Winnarainbow, to the epic cross-continent bus trip through Europe and South Asia that led to the founding of the Seva Foundation. Award-winning director Michelle Esrick weaves together this compelling film with rare footage from key events: Greenwich Village beat poets and folk music, Woodstock, non- violent protests, and many seminal moments of the ‘60s and ‘70s, and Wavy’s present day life. The Gaslight Café The year was 1958. The Vietnam War had just begun. Born as Hugh Romney, Wavy commanded the stage as a poet, comedian “tongue dancer,” and MC at The Gaslight Café in New York City’s Greenwich Village. -
Psychedelia, the Summer of Love, & Monterey-The Rock Culture of 1967
Trinity College Trinity College Digital Repository Senior Theses and Projects Student Scholarship Spring 2012 Psychedelia, the Summer of Love, & Monterey-The Rock Culture of 1967 James M. Maynard Trinity College, [email protected] Follow this and additional works at: https://digitalrepository.trincoll.edu/theses Part of the American Film Studies Commons, American Literature Commons, and the American Popular Culture Commons Recommended Citation Maynard, James M., "Psychedelia, the Summer of Love, & Monterey-The Rock Culture of 1967". Senior Theses, Trinity College, Hartford, CT 2012. Trinity College Digital Repository, https://digitalrepository.trincoll.edu/theses/170 Psychedelia, the Summer of Love, & Monterey-The Rock Culture of 1967 Jamie Maynard American Studies Program Senior Thesis Advisor: Louis P. Masur Spring 2012 1 Table of Contents Introduction..…………………………………………………………………………………4 Chapter One: Developing the niche for rock culture & Monterey as a “savior” of Avant- Garde ideals…………………………………………………………………………………...7 Chapter Two: Building the rock “umbrella” & the “Hippie Aesthetic”……………………24 Chapter Three: The Yin & Yang of early hippie rock & culture—developing the San Francisco rock scene…………………………………………………………………………53 Chapter Four: The British sound, acid rock “unpacked” & the countercultural Mecca of Haight-Ashbury………………………………………………………………………………71 Chapter Five: From whisperings of a revolution to a revolution of 100,000 strong— Monterey Pop………………………………………………………………………………...97 Conclusion: The legacy of rock-culture in 1967 and onward……………………………...123 Bibliography……………………………………………………………………………….128 Acknowledgements………………………………………………………………………..131 2 For Louis P. Masur and Scott Gac- The best music is essentially there to provide you something to face the world with -The Boss 3 Introduction: “Music is prophetic. It has always been in its essence a herald of times to come. Music is more than an object of study: it is a way of perceiving the world. -
2000 Vw Beetle Radio Code the Name Eos Was Derived from Eos , the Greek Goddess of the Dawn
2000 vw beetle radio code The name Eos was derived from Eos , the Greek goddess of the dawn. However, a limited number of base trim models were sold as models of in the United States. Unlike the Cabrio, which was a convertible version of the Golf hatchback, the Eos was a standalone model with all new body panels, although it shared the platform and components from the Volkswagen Golf Mk5. The wheelbase matches the Golf Mk5 and Jetta. The Eos incorporates into its five piece folding roof an integrated and independently sliding glass sunroof — making the Eos the only retractable hardtop of this kind. The roof folds automatically into the trunk in twenty five seconds, thereby reducing trunk space from The design of the roof system is complex with its own hydraulic control system and numerous rubber seals. Periodic maintenance must be done to keep the seals conditioned so that they function properly. Proper body alignment is critical for proper top function. A facelifted Volkswagen Eos appeared in October , and went on sale as a model of outside Europe. This facelift includes a revised front and rear fascias, headlights and tail lights, side mirrors, as well as new wheel designs. The White Night edition was a special edition with custom wheels, custom black interior and a black and white colour scheme package. Other features include black mirror covers, radiator grille and trim strips, black Nappa leather seats, door and side trim and black steering wheel with light coloured seams, trim strips and radio trim in candy white, sill panel strips with white night letters. -
Vanguard Label Discography Was Compiled Using Our Record Collections, Schwann Catalogs from 1953 to 1982, a Phono-Log from 1963, and Various Other Sources
Discography Of The Vanguard Label Vanguard Records was established in New York City in 1947. It was owned by Maynard and Seymour Solomon. The label released classical, folk, international, jazz, pop, spoken word, rhythm and blues and blues. Vanguard had a subsidiary called Bach Guild that released classical music. The Solomon brothers started the company with a loan of $10,000 from their family and rented a small office on 80 East 11th Street. The label was started just as the 33 1/3 RPM LP was just gaining popularity and Vanguard concentrated on LP’s. Vanguard commissioned recordings of five Bach Cantatas and those were the first releases on the label. As the long play market expanded Vanguard moved into other fields of music besides classical. The famed producer John Hammond (Discoverer of Robert Johnson, Bruce Springsteen Billie Holiday, Bob Dylan and Aretha Franklin) came in to supervise a jazz series called Jazz Showcase. The Solomon brothers’ politics was left leaning and many of the artists on Vanguard were black-listed by the House Un-American Activities Committive. Vanguard ignored the black-list of performers and had success with Cisco Houston, Paul Robeson and the Weavers. The Weavers were so successful that Vanguard moved more and more into the popular field. Folk music became the main focus of the label and the home of Joan Baez, Ian and Sylvia, Rooftop Singers, Ramblin’ Jack Elliott, Doc Watson, Country Joe and the Fish and many others. During the 1950’s and early 1960’s, a folk festival was held each year in Newport Rhode Island and Vanguard recorded and issued albums from the those events.