DOCSLIB.ORG

LAURA LEVINE Furniture | Kitchen | Bath | Closet | Lighting | Accessories | Art

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
LAURA LEVINE Furniture | Kitchen | Bath | Closet | Lighting | Accessories | Art LAURA LEVINE Furniture | Kitchen | Bath | Closet | Lighting | Accessories | Art ARTIST Laura Levine TITLE Tina Weymouth and Grandmaster Flash, NYC, 1981 MEDIUM Silver gelatin photographic print. Signed, titled, numbered in ink on the front and stamped on the back. Later printing from Laura Levine’s personal archive. DIMENSIONS 21” x 26” | Framed | Edition 7 of 50 16” x 20” | Unframed BIOGRAPHY Levine’s career as a music photographer enabled her to work with everyone from Björk to James Brown for magazines such as Rolling Stone and the New York Rocker (where she was Chief Photographer/Photo Editor). Levine’s intimate photographic portraits of artists from the punk, early hip-hop, New Wave, No Wave, and early downtown New York City music scene have been previously exhibited at New York’s Museum of Modern Art (MoMA), Steven Kasher Gallery, and are in the permanent collections of the Rock & Roll Hall of Fame and Museum, the Museum of Fine Arts (Houston), and the Smithsonian Institution’s National Portrait Gallery. PRICE $2,800 | Framed $2,500 | Unframed DZINE Gallery | 128 Utah Street, San Francisco, CA 94103 | www.dzineliving.com/gallery | 415.674.9430 Furniture | Kitchen | Bath | Closet | Lighting | Accessories | Art ARTIST Laura Levine TITLE Joey Ramone, NYC, 1982 MEDIUM Silver gelatin photographic print. Signed, titled, numbered in ink on the front and stamped on the back. Later printing from Laura Levine’s personal archive. DIMENSIONS 21” x 26” | Framed | Edition 4 of 50 16” x 20” | Unframed BIOGRAPHY Levine’s career as a music photographer enabled her to work with everyone from Björk to James Brown for magazines such as Rolling Stone and the New York Rocker (where she was Chief Photographer/Photo Editor). Levine’s intimate photographic portraits of artists from the punk, early hip-hop, New Wave, No Wave, and early downtown New York City music scene have been previously exhibited at New York’s Museum of Modern Art (MoMA), Steven Kasher Gallery, and are in the permanent collections of the Rock & Roll Hall of Fame and Museum, the Museum of Fine Arts (Houston), and the Smithsonian Institution’s National Portrait Gallery. PRICE $2,800 | Framed $2,500 | Unframed DZINE Gallery | 128 Utah Street, San Francisco, CA 94103 | www.dzineliving.com/gallery | 415.674.9430 Furniture | Kitchen | Bath | Closet | Lighting | Accessories | Art ARTIST Laura Levine TITLE Madonna, NYC, 1982 MEDIUM Archival pigment ink print. Signed, titled, numbered in ink on the front and stamped on the back. Later printing from Laura Levine’s personal archive. DIMENSIONS 64” x 64” | Framed | Edition 1 of 10 + 2 AP 60” x 60” | Unframed BIOGRAPHY Levine’s career as a music photographer enabled her to work with everyone from Björk to James Brown for magazines such as Rolling Stone and the New York Rocker (where she was Chief Photographer/Photo Editor). Levine’s intimate photographic portraits of artists from the punk, early hip-hop, New Wave, No Wave, and early downtown New York City music scene have been previously exhibited at New York’s Museum of Modern Art (MoMA), Steven Kasher Gallery, and are in the permanent collections of the Rock & Roll Hall of Fame and Museum, the Museum of Fine Arts (Houston), and the Smithsonian Institution’s National Portrait Gallery. PRICE $14,500 | Framed $10,200 | Unframed DZINE Gallery | 128 Utah Street, San Francisco, CA 94103 | www.dzineliving.com/gallery | 415.674.9430 Furniture | Kitchen | Bath | Closet | Lighting | Accessories | Art ARTIST Laura Levine TITLE Sinead O’Connor, NYC, 1988 MEDIUM Silver gelatin photographic print. Signed, titled, numbered in ink on the front and stamped on the back. Later printing from Laura Levine’s personal archive. DIMENSIONS 26” x 30” | Framed | Edition 4 of 35 20” x 24” | Unframed BIOGRAPHY Levine’s career as a music photographer enabled her to work with everyone from Björk to James Brown for magazines such as Rolling Stone and the New York Rocker (where she was Chief Photographer/Photo Editor). Levine’s intimate photographic portraits of artists from the punk, early hip-hop, New Wave, No Wave, and early downtown New York City music scene have been previously exhibited at New York’s Museum of Modern Art (MoMA), Steven Kasher Gallery, and are in the permanent collections of the Rock & Roll Hall of Fame and Museum, the Museum of Fine Arts (Houston), and the Smithsonian Institution’s National Portrait Gallery. PRICE $4,200 | Framed $3,800 | Unframed DZINE Gallery | 128 Utah Street, San Francisco, CA 94103 | www.dzineliving.com/gallery | 415.674.9430 Furniture | Kitchen | Bath | Closet | Lighting | Accessories | Art ARTIST Laura Levine TITLE Björk, Woodstock, NY, 1991 MEDIUM Silver gelatin photographic print. Signed, titled, numbered in ink on the front and stamped on the back. Later printing from Laura Levine’s personal archive. DIMENSIONS 26” x 30” | Framed | Edition 4 of 35 20” x 24” | Unframed BIOGRAPHY Levine’s career as a music photographer enabled her to work with everyone from Björk to James Brown for magazines such as Rolling Stone and the New York Rocker (where she was Chief Photographer/Photo Editor). Levine’s intimate photographic portraits of artists from the punk, early hip-hop, New Wave, No Wave, and early downtown New York City music scene have been previously exhibited at New York’s Museum of Modern Art (MoMA), Steven Kasher Gallery, and are in the permanent collections of the Rock & Roll Hall of Fame and Museum, the Museum of Fine Arts (Houston), and the Smithsonian Institution’s National Portrait Gallery. PRICE $4,200 | Framed $3,800 | Unframed DZINE Gallery | 128 Utah Street, San Francisco, CA 94103 | www.dzineliving.com/gallery | 415.674.9430 Furniture | Kitchen | Bath | Closet | Lighting | Accessories | Art ARTIST Laura Levine TITLE Michael Stipe, R.E.M., NYC, 1983 MEDIUM Silver gelatin photographic print. Signed, titled, numbered in ink on the front and stamped on the back. Later printing from Laura Levine’s personal archive. DIMENSIONS 26” x 30” | Framed | Edition 2 of 35 20” x 24” | Unframed BIOGRAPHY Levine’s career as a music photographer enabled her to work with everyone from Björk to James Brown for magazines such as Rolling Stone and the New York Rocker (where she was Chief Photographer/Photo Editor). Levine’s intimate photographic portraits of artists from the punk, early hip-hop, New Wave, No Wave, and early downtown New York City music scene have been previously exhibited at New York’s Museum of Modern Art (MoMA), Steven Kasher Gallery, and are in the permanent collections of the Rock & Roll Hall of Fame and Museum, the Museum of Fine Arts (Houston), and the Smithsonian Institution’s National Portrait Gallery. PRICE $4,200 | Framed $3,800 | Unframed DZINE Gallery | 128 Utah Street, San Francisco, CA 94103 | www.dzineliving.com/gallery | 415.674.9430 Furniture | Kitchen | Bath | Closet | Lighting | Accessories | Art ARTIST Laura Levine TITLE Beastie Boys, NYC, 1987 MEDIUM Silver gelatin photographic print. Signed, titled, numbered in ink on the front and stamped on the back. Later printing from Laura Levine’s personal archive. DIMENSIONS 26” x 21” | Framed | Edition 4 of 50 20” x 16” | Unframed BIOGRAPHY Levine’s career as a music photographer enabled her to work with everyone from Björk to James Brown for magazines such as Rolling Stone and the New York Rocker (where she was Chief Photographer/Photo Editor). Levine’s intimate photographic portraits of artists from the punk, early hip-hop, New Wave, No Wave, and early downtown New York City music scene have been previously exhibited at New York’s Museum of Modern Art (MoMA), Steven Kasher Gallery, and are in the permanent collections of the Rock & Roll Hall of Fame and Museum, the Museum of Fine Arts (Houston), and the Smithsonian Institution’s National Portrait Gallery. PRICE $2,800 | Framed $2,500 | Unframed DZINE Gallery | 128 Utah Street, San Francisco, CA 94103 | www.dzineliving.com/gallery | 415.674.9430 Furniture | Kitchen | Bath | Closet | Lighting | Accessories | Art ARTIST Laura Levine TITLE James Brown, NYC, 1984 MEDIUM Silver gelatin photographic print. Signed, titled, numbered in ink on the front and stamped on the back. Later printing from Laura Levine’s personal archive. DIMENSIONS 26” x 21” | Framed | Edition 10 of 50 20” x 16” | Unframed BIOGRAPHY Levine’s career as a music photographer enabled her to work with everyone from Björk to James Brown for magazines such as Rolling Stone and the New York Rocker (where she was Chief Photographer/Photo Editor). Levine’s intimate photographic portraits of artists from the punk, early hip-hop, New Wave, No Wave, and early downtown New York City music scene have been previously exhibited at New York’s Museum of Modern Art (MoMA), Steven Kasher Gallery, and are in the permanent collections of the Rock & Roll Hall of Fame and Museum, the Museum of Fine Arts (Houston), and the Smithsonian Institution’s National Portrait Gallery. PRICE $2,800 | Framed $2,500 | Unframed DZINE Gallery | 128 Utah Street, San Francisco, CA 94103 | www.dzineliving.com/gallery | 415.674.9430 Furniture | Kitchen | Bath | Closet | Lighting | Accessories | Art ARTIST Laura Levine TITLE Iggy Pop and Chrissie Hynde, NYC, 1987 MEDIUM Silver gelatin photographic print. Signed, titled, numbered in ink on the front and stamped on the back. Later printing from Laura Levine’s personal archive. DIMENSIONS 21” x 26” | Framed | Edition 3 of 50 16” x 20” | Unframed BIOGRAPHY Levine’s career as a music photographer enabled her to work with everyone from Björk to James Brown for magazines such as Rolling Stone and the New York Rocker (where she was Chief Photographer/Photo Editor). Levine’s intimate photographic portraits of artists from the punk, early hip-hop, New Wave, No Wave, and early downtown New York City music scene have been previously exhibited at New York’s Museum of Modern Art (MoMA), Steven Kasher Gallery, and are in the permanent collections of the Rock & Roll Hall of Fame and Museum, the Museum of Fine Arts (Houston), and the Smithsonian Institution’s National Portrait Gallery.
Load more

Recommended publications
  • Grandmaster Flash and the Furious Five
    Grandmaster Flash and the Furious Five To download an editable PowerPoint, visit edu.rockhall.com Grandmaster Flash and the Furious Five: Fast Facts • Formed in 1976 in the South Bronx, New York; broke up by 1986 • Members: DJ Grandmaster Flash and rappers Melle Mel, Kidd Creole, Mr. Ness/Scorpio, Cowboy, and Rahiem • Recorded at Sugar Hill Records, the first hip-hop record label • Grandmaster Flash revolutionized the use of turntables in hip-hop by developing techniques such as “scratching” and “punch phrasing.” • First hip-hop group to be inducted into the Rock & Roll Hall of Fame (2007) Grandmaster Flash and the Furious Five: Important Bronx Locations New Jersey ▪ South Bronx (Bronx), New York New York City Recognized birthplace of hip-hop music and culture; Grandmaster Flash and the Furious Five’s home neighborhood Queens ▪ Harlem (Manhattan), New York Recorded with Enjoy Records until 1980 ▪ Englewood, New Jersey Brooklyn Recorded with Sugar Hill Records (the first hip-hop record label) from 1980 to 1984 Staten Island Grandmaster Flash and the Furious Five: Two Essential Songs “Superappin’” “The Message” • Released in 1982 on Sugar Hill • Released in 1979 on Records Enjoy Records • Features Melle Mel and guest • One of the earliest rapper Duke Bootee rap records ever sold • Conveys the difficulties of life in the • Mimics the “hip-hop South Bronx, with lyrics about jam,” a live performance poverty, violence, and with audience interaction drug use • Hip-hop was originally heard • Early example of at lengthy dance parties, so a “conscious rap,” where 12-minute song seemed very lyrics convey a serious, short! often political message Grandmaster Flash’s Turntable Innovations • Grandmaster Flash developed turntable techniques and special effects that gave DJs more musical freedom.
    [Show full text]
  • Rolling Stone Magazine's Top 500 Songs
    Rolling Stone Magazine's Top 500 Songs No. Interpret Title Year of release 1. Bob Dylan Like a Rolling Stone 1961 2. The Rolling Stones Satisfaction 1965 3. John Lennon Imagine 1971 4. Marvin Gaye What’s Going on 1971 5. Aretha Franklin Respect 1967 6. The Beach Boys Good Vibrations 1966 7. Chuck Berry Johnny B. Goode 1958 8. The Beatles Hey Jude 1968 9. Nirvana Smells Like Teen Spirit 1991 10. Ray Charles What'd I Say (part 1&2) 1959 11. The Who My Generation 1965 12. Sam Cooke A Change is Gonna Come 1964 13. The Beatles Yesterday 1965 14. Bob Dylan Blowin' in the Wind 1963 15. The Clash London Calling 1980 16. The Beatles I Want zo Hold Your Hand 1963 17. Jimmy Hendrix Purple Haze 1967 18. Chuck Berry Maybellene 1955 19. Elvis Presley Hound Dog 1956 20. The Beatles Let It Be 1970 21. Bruce Springsteen Born to Run 1975 22. The Ronettes Be My Baby 1963 23. The Beatles In my Life 1965 24. The Impressions People Get Ready 1965 25. The Beach Boys God Only Knows 1966 26. The Beatles A day in a life 1967 27. Derek and the Dominos Layla 1970 28. Otis Redding Sitting on the Dock of the Bay 1968 29. The Beatles Help 1965 30. Johnny Cash I Walk the Line 1956 31. Led Zeppelin Stairway to Heaven 1971 32. The Rolling Stones Sympathy for the Devil 1968 33. Tina Turner River Deep - Mountain High 1966 34. The Righteous Brothers You've Lost that Lovin' Feelin' 1964 35.
    [Show full text]
  • BO DIDDLEY's UNCONVENTIONAL 1950'S SOUND and ITS
    BO DIDDLEY’S UNCONVENTIONAL 1950’s SOUND AND ITS ANTICIPATION OF HIP HOP OVERVIEW ESSENTIAL QUESTION How were Bo Diddley’s recordings an anomaly in relation to 1950s Pop music, and how is his rhythm-driven sound and self-presentation a precursor to Hip Hop style? OVERVIEW From his first appearance on the Billboard R&B chart in 1955 and continuing over his five- decade career, Bo Diddley has been celebrated for the rhythm-driven, percussive sound of his ensemble, at the center of which was Diddley’s guitar playing. If by the Rock era the guitar solo became a symbolic centerpiece in recordings and performances, Diddley’s emphasis was always on the rhythm guitar. His approach didn’t revolve around the single- and double-note leads that came to dominate the music. Instead, Bo Diddley pioneered a sound that involved every member of his combo playing with a percussive sensibility. Rhythm was emphasized over melody, with a vocal style that often approximated Rap set against that rhythmic backdrop. Earlier even than James Brown, Diddley inadvertently pointed to a Hip Hop future. His best-known rhythm guitar pattern (three strokes/rest/two strokes, or “shave and a haircut, two bits”) influenced many. The “Bo Diddley beat,” as it came to be known, appeared on records by Buddy Holly, the Rolling Stones, Bruce Springsteen, U2, rapper B.o.B., and many others. In Bo Diddley’s own songs, the “Bo Diddley beat” was often combined with remarkably simple chord changes, as can be heard on his self-titled debut single, “Bo Diddley.” Throughout that single-chord song, which went to No.
    [Show full text]
  • “Rapper's Delight”
    1 “Rapper’s Delight” From Genre-less to New Genre I was approached in ’77. A gentleman walked up to me and said, “We can put what you’re doing on a record.” I would have to admit that I was blind. I didn’t think that somebody else would want to hear a record re-recorded onto another record with talking on it. I didn’t think it would reach the masses like that. I didn’t see it. I knew of all the crews that had any sort of juice and power, or that was drawing crowds. So here it is two years later and I hear, “To the hip-hop, to the bang to the boogie,” and it’s not Bam, Herc, Breakout, AJ. Who is this?1 DJ Grandmaster Flash I did not think it was conceivable that there would be such thing as a hip-hop record. I could not see it. I’m like, record? Fuck, how you gon’ put hip-hop onto a record? ’Cause it was a whole gig, you know? How you gon’ put three hours on a record? Bam! They made “Rapper’s Delight.” And the ironic twist is not how long that record was, but how short it was. I’m thinking, “Man, they cut that shit down to fifteen minutes?” It was a miracle.2 MC Chuck D [“Rapper’s Delight”] is a disco record with rapping on it. So we could do that. We were trying to make a buck.3 Richard Taninbaum (percussion) As early as May of 1979, Billboard magazine noted the growing popularity of “rapping DJs” performing live for clubgoers at New York City’s black discos.4 But it was not until September of the same year that the trend gar- nered widespread attention, with the release of the Sugarhill Gang’s “Rapper’s Delight,” a fifteen-minute track powered by humorous party rhymes and a relentlessly funky bass line that took the country by storm and introduced a national audience to rap.
    [Show full text]
  • Why Hip Hop Began in the Bronx- Lecture for C-Span
    Fordham University DigitalResearch@Fordham Occasional Essays Bronx African American History Project 10-28-2019 Why Hip Hop Began in the Bronx- Lecture for C-Span Mark Naison Follow this and additional works at: https://fordham.bepress.com/baahp_essays Part of the African American Studies Commons, American Popular Culture Commons, Cultural History Commons, and the Ethnomusicology Commons Why Hip Hop Began in the Bronx- My Lecture for C-Span What I am about to describe to you is one of the most improbable and inspiring stories you will ever hear. It is about how young people in a section of New York widely regarded as a site of unspeakable violence and tragedy created an art form that would sweep the world. It is a story filled with ironies, unexplored connections and lessons for today. And I am proud to share it not only with my wonderful Rock and Roll to Hip Hop class but with C-Span’s global audience through its lectures in American history series. Before going into the substance of my lecture, which explores some features of Bronx history which many people might not be familiar with, I want to explain what definition of Hip Hop that I will be using in this talk. Some people think of Hip Hop exclusively as “rap music,” an art form taken to it’s highest form by people like Tupac Shakur, Missy Elliot, JZ, Nas, Kendrick Lamar, Wu Tang Clan and other masters of that verbal and musical art, but I am thinking of it as a multilayered arts movement of which rapping is only one component.
    [Show full text]
  • Outsiders' Music: Progressive Country, Reggae
    CHAPTER TWELVE: OUTSIDERS’ MUSIC: PROGRESSIVE COUNTRY, REGGAE, SALSA, PUNK, FUNK, AND RAP, 1970s Chapter Outline I. The Outlaws: Progressive Country Music A. During the late 1960s and early 1970s, mainstream country music was dominated by: 1. the slick Nashville sound, 2. hardcore country (Merle Haggard), and 3. blends of country and pop promoted on AM radio. B. A new generation of country artists was embracing music and attitudes that grew out of the 1960s counterculture; this movement was called progressive country. 1. Inspired by honky-tonk and rockabilly mix of Bakersfield country music, singer-songwriters (Bob Dylan), and country rock (Gram Parsons) 2. Progressive country performers wrote songs that were more intellectual and liberal in outlook than their contemporaries’ songs. 3. Artists were more concerned with testing the limits of the country music tradition than with scoring hits. 4. The movement’s key artists included CHAPTER TWELVE: OUTSIDERS’ MUSIC: PROGRESSIVE COUNTRY, REGGAE, SALSA, PUNK, FUNK, AND RAP, 1970s a) Willie Nelson, b) Kris Kristopherson, c) Tom T. Hall, and d) Townes Van Zandt. 5. These artists were not polished singers by conventional standards, but they wrote distinctive, individualist songs and had compelling voices. 6. They developed a cult following, and progressive country began to inch its way into the mainstream (usually in the form of cover versions). a) “Harper Valley PTA” (1) Original by Tom T. Hall (2) Cover version by Jeannie C. Riley; Number One pop and country (1968) b) “Help Me Make It through the Night” (1) Original by Kris Kristofferson (2) Cover version by Sammi Smith (1971) C.
    [Show full text]
  • OMOM=Üop=Jlqq^D^Ob=^S=Mli^O=Jrpf`=Mofwb=
    mobppobib^pb=NN=cb_or^of=OMOM OMOM=üop=jlqq^d^ob=^s=mli^o=jrpf`=mofwb= ^kk^=kbqob_hl= Polar Music Prize 2020 går till den ryska operasopranen Anna Netrebko. Uttrycket "star quality" har en djupare innebörd i operavärlden. Att vara en virtuos sångare är inte nog. Som konstform handlar opera också om att fånga publikens uppmärksamhet. Ingen under modern tid gör detta bättre än operadivan Anna Netrebko. Som en recensent uttryckte det så personifierar hon ordet ”extra”. Med sin fantastiska röst och självlysande karisma är hon en större-än-livet-sångare som håller klassikerna vid liv, säljer slut varje föreställning och fångar uppmärksamheten även hos en publik som är ovan vid opera. Anna Netrebko öppnar dörrar. Hon var den första klassiska musikern som togs upp i Time Magazines lista över ”Top 100 Most Influential People”. När Anna Netrebko uppträder är det omöjligt att vända bort blicken. af^kb=t^oobk= Polar Music Prize 2020 tilldelas den amerikanska låtskrivaren Diane Warren, en mästare på att skriva för den mänskliga rösten. Hennes poplåtar förkroppsligar den ovanliga kombinationen att vara lättlyssnade och samtidigt tillräckligt komplexa för att höras hundratals gånger och fortfarande säga något till lyssnaren. Diane Warren är den regerande drottningen över amerikansk populärmu- sik. Genom att skriva för artister som Céline Dion, Cher, Aerosmith, Whitney Houston, Beyoncé och Lady Gaga samt få elva Oscarsnomineringar för sina låtar till Hollywood-filmer, har hon full- bordat konsten att göra powerballader. Diane Warren äger själv alla sina låtar och driver sitt eget musikförlag, Realsongs, som blivit ett av de mest framgångsrika i världen. Att som sångare få en Diane Warren-sång är en gåva.
    [Show full text]
  • Williams, Justin A. (2010) Musical Borrowing in Hip-Hop Music: Theoretical Frameworks and Case Studies
    Williams, Justin A. (2010) Musical borrowing in hip-hop music: theoretical frameworks and case studies. PhD thesis, University of Nottingham. Access from the University of Nottingham repository: http://eprints.nottingham.ac.uk/11081/1/JustinWilliams_PhDfinal.pdf Copyright and reuse: The Nottingham ePrints service makes this work by researchers of the University of Nottingham available open access under the following conditions. · Copyright and all moral rights to the version of the paper presented here belong to the individual author(s) and/or other copyright owners. · To the extent reasonable and practicable the material made available in Nottingham ePrints has been checked for eligibility before being made available. · Copies of full items can be used for personal research or study, educational, or not- for-profit purposes without prior permission or charge provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. · Quotations or similar reproductions must be sufficiently acknowledged. Please see our full end user licence at: http://eprints.nottingham.ac.uk/end_user_agreement.pdf A note on versions: The version presented here may differ from the published version or from the version of record. If you wish to cite this item you are advised to consult the publisher’s version. Please see the repository url above for details on accessing the published version and note that access may require a subscription. For more information, please contact [email protected] MUSICAL BORROWING IN HIP-HOP MUSIC: THEORETICAL FRAMEWORKS AND CASE STUDIES Justin A.
    [Show full text]
  • A Facilitator's Guide to Using the PBS Program
    A Facilitator’s Guide to Using the PBS Program ©2009 WNED/Buffalo•Toronto Credits and Acknowledgements Television Program Credits Facilitator Guide Credits Host DONALD FAISON Executive Project Director PAMELA JOHNSON , Ph.D. Producer/Director TOM SIMON Managing Editor ALAN NOWICKI Lead Writer - Coordinator ANN K. LUPO Writers JAMIE BERNANKE TOM SIMON Contributing Writers MARIA MOZZETTIXSTOCK MARCIANNE SPIESS KUKODA Editor DAVEVELAZQUEZ ROBERT SPINO Content Contributors JAN SUDA Segment Producers DAWNV. BROWN BETSY HALVORSEN DAVID PONTILLO BETH CRITOPH KATE BECK Executive Producer JOHN GRANT Graphic Design CAROL HAMMER Education & Outreach JOHN CRAIG , Ph.D. NAN SCHWEIGER For WNED WNED Communications DARWIN MCPHERSON SUZANNE KASHUBA Production Executive DAVID ROTTERMAN Reviewers KATE BECK , Consumer Credit Counseling of Buffalo Production Coordinator KEVIN RUSH DIANE BESSEL , UnitedWay of Buffalo & Erie County JENNY BRADBURY , PBSTeachers Production Manager PHILTEIBEL LAURA LEVINE ,The Jump$tart Coalition for Personal Financial Literacy Post Production CHRISTOPHERTHOMAS MARTHA NUCHERENO , Cheektowaga High School Promotion GWEN MYSIAK Special Thanks ERIE COMMUNITY COLLEGE Outreach & Web PAMELA JOHNSON , Ph.D. KALEIDA HEALTH NANCY HAMMOND Television Program Financial Experts National Advisory Board PETER BIELAGUS, Financial Advisor LORETTA ABRAMS, HSBC North America BETH KOBLINER, Financial Expert and Author BETH KOBLINER, Financial Expert and Author LAURA LEVINE ,The Jump$tart Coalition RON LIEBER, The New York Times BEN LEVY, Young Money
    [Show full text]
  • "Authenticity" in Rap Music by Consumers."
    University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Doctoral Dissertations Graduate School 5-2010 "Rapping About Authenticity": Exploring the Differences in Perceptions of "Authenticity" in Rap Music by Consumers." James L. Wright UTK, [email protected] Follow this and additional works at: https://trace.tennessee.edu/utk_graddiss Part of the Critical and Cultural Studies Commons, Ethnomusicology Commons, Social Psychology and Interaction Commons, and the Sociology of Culture Commons Recommended Citation Wright, James L., ""Rapping About Authenticity": Exploring the Differences in Perceptions of "Authenticity" in Rap Music by Consumers.". " PhD diss., University of Tennessee, 2010. https://trace.tennessee.edu/utk_graddiss/760 This Dissertation is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a dissertation written by James L. Wright entitled ""Rapping About Authenticity": Exploring the Differences in Perceptions of "Authenticity" in Rap Music by Consumers."." I have examined the final electronic copy of this dissertation for form and content and recommend that it be accepted in partial fulfillment of the equirr ements for the degree of Doctor of Philosophy, with a major in Sociology. Suzaanne B. Kurth, Major Professor We have read this dissertation and recommend its acceptance: Robert Emmet Jones; Hoan Bui; Debora Baldwin Accepted for the Council: Carolyn R. Hodges Vice Provost and Dean of the Graduate School (Original signatures are on file with official studentecor r ds.) To the Graduate Council: I am submitting herewith a dissertation written by James L.
    [Show full text]
  • Music History Lecture Notes Modern Rock 1960 - Today
    Music History Lecture Notes Modern Rock 1960 - Today This presentation is intended for the use of current students in Mr. Duckworth’s Music History course as a study aid. Any other use is strictly forbidden. Copyright, Ryan Duckworth 2010 Images used for educational purposes under the TEACH Act (Technology, Education and Copyright Harmonization Act of 2002). All copyrights belong to their respective copyright holders, • Rock’s classic act The Beatles • 1957 John Lennon meets Paul McCartney, asks Paul to join his band - The Quarry Men • George Harrison joins at end of year - Johnny and the Moondogs The Beatles • New drummer Pete Best - The Silver Beetles • Ringo Star joins - The Beatles • June 6, 1962 - audition for producer George Martin • April 10, 1970 - McCartney announces the group has disbanded Beatles, Popularity and Drugs • Crowds would drown of the band at concerts • Dylan turned the Beatles on to marijuana • Lennon “discovers” acid when a friend spikes his drink • Drugs actively shaped their music – alcohol & speed - 1964 – marijuana - 1966 – acid - Sgt. Pepper and Magical Mystery tour – heroin in last years Beatles and the Recording Process • First studio band – used cutting-edge technology – recordings difficult or impossible to reproduce live • Use of over-dubbing • Gave credibility to rock albums (v. singles) • Incredible musical evolution – “no group changed so much in so short a time” - Campbell Four Phases of the Beatles • Beatlemania - 1962-1964 • Dylan inspired seriousness - 1965-1966 • Psychedelia - 1966-1967 • Return to roots - 1968-1970 Beatlemania • September 1962 – “Love me Do” • 1964 - “Ticket to Ride” • October 1963 – I Want To Hold your Hand • Best example • “Yesterday” written Jan.
    [Show full text]
  • The Observer This Weekend
    26 | NEWS | WORLD * * * * 17.07.11 Laura Levine’s images of Madonna, in 1982; Chrissie Hynde and Iggy Pop, in 1987; and Michael Hutchence, in 1986. ‘I wanted to get away from all the artifice,’ she says. Courtesy of Steven Kasher Gallery, New York Unseen archive of the biggest 80s stars downtown galleries after working as tures from that shoot are well known, but New York gallery shows rare vintage prints of chief photographer and photo editor not the one in show. She was a pleasure of underground newspaper New York to work with and had a real sense of self Chrissie Hynde, Michael Stipe and Madonna Rocker . She also published in the Village even then. I set that picture up by asking Voice , Sounds and Rolling Stone . her to scream.” “My photo sessions would be very The show also includes an evocative The photographic show, titled Musi- relaxed,” said Levine. “Most of the sub- picture of Tina Weymouth of Talking by Vanessa (orpe cians , is being mounted by the Steven jectsJects I didn’t know beforehand, although Heads and hip-hop artist and DJ Grand- Arts and Media Correspondent Kasher Gallery and came about almost some became friends. The REM photo I master Flash. Marking the birth of hip- by accident after Kasher worked with took in Athens, Georgia, at a point where hop as a popular genre, it was taken in A revealing archive of unseen photo- Levine on another show chronicling the they were very good friends. It was one New York in 1981 in front of a wall of graphs of music stars taken more than same era.
    [Show full text]