DOCSLIB.ORG

Recording of the Military Group Space-A As a Means of Public Reconciliation, Culture Identification, and Group Awareness

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Recording of the Military Group Space-A As a Means of Public Reconciliation, Culture Identification, and Group Awareness Recording of the Military Group Space-A as a Means of Public Reconciliation, Culture Identification, and Group Awareness Recording Project Summary and Literature Review By Brent C. Whitaker 6 November, 2006 Submitted in partial fulfillment of the requirements for the degree of Master of Music in Music Technology in the College of Graduate Studies at Georgia Southern University, 2006 2 ABSTRACT This project focuses on the use of recording technologies applied to a popular Air Force rock band to get recordings out to a very large area of operations. The area of operations was so large as to make it impossible to be covered with the live performing group being National Guard and not active duty. Recording techniques are covered within the project, as well as equipment used within production. Forms and processes are also covered to include all the royalty procedures followed, the copyrights for original songs, the approval by the Air National Guard of Georgia, and the human dealings of getting a group together for multiple days to record. The project originated from the need to use a recording to identify the Guard rock groups with the recruitment-age public. The final phase of this project was to create a CD that would be free of charge to the public and that would showcase the talents and flexibility of the Georgia Air National Guard band program. 3 Table of Contents Introduction………………………….……………………………………..……..............4 Literature Review…………………………………………………………………………5 Methodology……………………………………………………………...…………...…12 Conclusion/Planned Operation Continuum……………………………………………...20 Works Cited………………………………………………………..………………...…..22 Appendix……………………………………………………………………......………..25 4 INTRODUCTION This project began with a need for Air Force groups to create various group Compact Disks (CDs). These would be released to the public and to the various wings within the area of operations for the 530th Air Force Band, which includes Georgia, Alabama, Florida, and the Carolinas. In the past, numerous concerts have been performed by the Band of the South, which is the overall unit that houses the group Space-A within their area of operation, but advertising happened only by word of mouth and the reputation of the groups themselves. Up until the Spring of 2006, the band had no official recording of any of the groups. This wound up being quite a problem for them when their publicists tried to get them into venues such as Disney World® in Orlando, Florida. Disney® requires any group that is seeking to play there to submit a CD recording. At the time of the tour set up, Space-A only had a video recording. Although this recording was made with a professional camera, the sound was captured only by the camera's microphone; thus the recording quality was anything but professional. This was a significant limitation, directly related to the stage and the times scheduled at which they were to perform. Due to this less than ideal situation, thought was given to producing some professional recordings. This was not a problem as far as money was concerned within the Band of the South. There was, however, a problem due to the fact that all the musicians involved are guardsmen, and therefore the band did not have unlimited ability to gather the various groups at a particular time to reserve a studio. This limitation was one of the main reasons the military bands have in-house publicists, arrangers, and technical staff. Looking at these different posts within the unit, consideration was given 5 to in-housing recording gear and sound technicians. At this point, I was halfway through my Master of Music degree in music technology at Georgia Southern University (GSU), and I felt obliged to offer my services. Experience in digital music seems to be a career need for the National Guard bands. (Cohen, 98). The commander, Captain Alan B. McConnell, gave the approval to authorize recording days for the smallest group, Space- A. This involved official orders being processed and the assignment of active duty days for the project, so pressure was on to create an ideal recording that could be used by the Air National Guard in troup moral support, publicity, and public relations. LITERATURE REVIEW The art of recording can add much to any composition. “The tape part provides a musical canvas upon which all sonic elements of the work are arranged.” (Stegal, 2). Digital recording provides the artist a chance to take the elemental values of the musical track and arrange them in time to provide the best acoustical experience possible by the listener. Effects that can be provided by digital means add a dimension to the audio file and can provide a sound of reverberation, tuning, and many others. With the music business a viable option for employment by many musically minded students, digital audio recording has been integrated into various parts of undergraduate as well as graduate music curriculum across the country. One of these programs is the University of Miami’s MI program, but not all programs are in big name schools. There is no need for this to remain a large university distinction, as the lowered costs of setting up a digital studio are now bringing this technology within the reach of even the smallest music departments (Terrell, 7). Georgia Southern University houses a 6 medium-size Music Department, which established several years ago a Music Technology area within the Master of Music degree. The advantage to doing a digital recording over playing to the public in concert is the ability to adjust pitch, equalization (EQ), and even time, to a degree. Such tweaks are now standard operating procedures in recording, as seen in Krishtal’s 2005 study, where instrumental parts were composed, recorded, processed and mixed in a single compositional process. Computer software was used for fine adjustment of pitch and rhythm. The goal of this project was to present this research in a way to show the “human” side of the military through the use of military guard bands, and ultimately distribute the recording throughout the area of operation. When observing the view of the modern military, assumptions made by the baby-boomer generation (as opposed to the current population of 18-25 years olds) is quite different. Many think only of the war in Iraq or other conflicts around the world, and see only soldiers in the heat of battle. For many young men and women in the new “comfort” generation, such a situation is not even close to a draw for them, and makes it even harder to relate to such an organization. Enter the military bands. The military has had bands since the meager beginnings of the Drum and Bugle Corps. Today, one even sees educational groups, such as the National Association for Music Education (MENC), working hand in hand developing educational tools to reach youth and adults with one of the premier military Bands, “The Presidents Own” Marine band (The Presidents Own, 22). The reach of these bands even extends to other countries besides our own, and has attracted the collaboration of several big-name performers (Knopper, 18). 7 The history of military bands is a proud and prestigious point across every branch of the military. Bands have grown from a very humble beginning to worldwide status. The 14 members of the first known "Air Force" band set foot on French soil in September 1917, carrying instruments purchased from their lieutenant's personal funds. The commander of the 36th Aeronautics Squadron, to which they were assigned, was so impressed with his musicians that he petitioned the American Red Cross in Paris to help find more instruments to increase the band’s size. Bands have come a long way since then. Throughout World War II, the bands of the Army Air Corps contributed significantly to supporting the morale of our troops. When the Air Force became a separate service in 1947, Air Corps bands also transferred to the young Air Force. Since then, bands have continued to inspire esprit de corps in U.S. airmen, patriotism in U.S. citizenry, and admiration and respect from people of all nations (Powers, 1). To date, it would seem that the major marketing tool of the Georgia National Guard world has been to push the issue of earning money for college through its educational programs. While such a concept has proven somewhat successful, I believe it has a significant flaw. By selling such a “money only” philosophy, one caters to the group of college or high-school students that has enough drive to go to college, but maybe not enough drive to achieve high academic or performance scholarships in their field. What does this standpoint do for the Air National Guard? While I am certainly not suggesting those with limited funds in college are lesser quality airmen or airwomen, the guard must recognize the fact that this ideology of selling the military experience based on monetary value alone is attracting a limited variety of personnel. The 4.0 high-school graduate who has a full scholarship and is still driving Mom’s and Dad’s (or their own) 8 sport utility vehicle to school while living in a half-million dollar frat house will probably not be attracted to the military for these financial reasons. This may be a huge loss to the military unit that has need of greater diversity. They may have a special social skill to fit the mold of a personnel officer, or moral officer, that their less social peers may not possess. This is one example of loss that may occur, but the list is endless, and covers many areas in which people would not consider such a radical change of lifestyle for any amount of money, but might be enticed for a specific moral, reason, or a particular type of experience.
Load more

Recommended publications
  • Stream Weavers: the Musicians' Dilemma in Spotify's Pay-To- Play Plan
    Close Academic rigour, journalistic flair Shutterstock Stream weavers: the musicians’ dilemma in Spotify’s pay-to- play plan January 5, 2021 6.11am AEDT Spotify offered the promise that, in the age of digital downloads, all artists would get Authors paid for their music, and some would get paid a lot. Lorde and Billie Eilish showed what was possible. Lorde was just 16 when, in 2012, she uploaded her debut EP to SoundCloud. A few John Hawkins John Hawkins is a Friend of months later, Sean Parker (of Napster and Facebook fame) put her first single — The Conversation. “Royals” — on his popular Spotify Hipster International playlist. The song has sold Senior Lecturer, Canberra School of more than 10 million copies. Politics, Economics and Society, University of Canberra Eilish’s rags-to-riches story is a little murkier. But the approved narrative begins in 2015, when the 13-year-old uploaded “Ocean Eyes” (a song written by her older brother) to SoundCloud. She was “discovered”. Spotify enthusiastically promoted “Ocean Eyes” on its Today’s Top Hits playlist. She is now the youngest artist with a Ben Freyens Associate Professor, University of billion streams to her name, and Spotify’s most-streamed female artist for the past Canberra two years Michael James Walsh Associate Professor, University of Canberra Billie Eilish attends the Academy Awards ceremony at the Dolby Theatre in Los Angeles, February 9 2020. Jordan Strauss/Invision/AP The new hit squad Streaming now accounts for more than half of recorded music revenue. Spotify has about a third of the subscribers paying for music streaming.
    [Show full text]
  • Recording Contract Royalty Rates
    Recording Contract Royalty Rates French grazes infinitesimally. Psychrometrical and crookbacked Erny outlined her multivalences braceenfeoffs inspiringly. or exclude reticently. Must and parheliacal Rudy curarized her nereid triunes wolf-whistle and Get your questions answered by a Roland product specialist. LA for about week of meetings with clear record labels. It is no royalties if they? Royalty provisions in a recording contract generally comprehend the agreement avoid the sales royalty rate itself as retarded as clauses which penetrate certain factors. To collect public performance royalties, you must first register with a Performance Rights Organization. Orchestral is a good example of a hybrid style. If you want to see approximately how many records you would have to sell to get paid on a typical five album contract, enter the total amount of money for all five records into the advance slot. We have been paid royalties before they relate in royalty rate that? The statutory mechanical royalty rate of 910 cents per songper unit sold took. Mechanical royalties are yield to songwriters or publishers. Then subsequently pay royalties whenever songs and royalty rates. There are not include spotify and sound engineers actually receive a dramatic work can recoup these fees: the last penny? Contact us if claim experience and difficulty logging in. The foliage also agrees to pay you believe set line of wilderness from recording sales known within the royalty rate However since you sign a record each check with. Their royalties when they could well, recorded during a rate. Physical and digital royalties. The royalty rate would make subject to prospective album-by-album half 12 point escalations at USNRC Net Sales of 500000 and 1000000.
    [Show full text]
  • Media Release Form
    Media Release Form Subject Details Name: Address: Home No.: Mobile No.: Email: Is the subject under 18 years Yes No of age? If yes, name of parents / guardians: Media Consent I understanding that by signing this consent form I have: Given permission for the subject’s image, video or name to be used only in the promotion of Qld Oztag and/or its individual venues including (but not limited to): o Websites o Posters o Flyers o Banners o Cinema Advertising o You Tube Footage Read and understood the Terms and Conditions contained on the back of this form. Signature: (parent if subject is under 18) Date: Terms and Conditions 1. Agreements and Acknowledgements The subject (or subject’s parent/guardian) agrees and acknowledges that: Qld Oztag may record the subjects image and voice, or photograph the subject for use in promotional material Qld Oztag may incorporate any recorded image or sound, or photograph made by Qld Oztag of the subject Qld Oztag may use the subjects name or any other personal reference in the promotional material. Qld Oztag may alter, adapt, utilise and exploit the recorded images and voice, or photographs in any way it sees fit. The subject (or subject’s parent/guardian) will not have any interest in the promotional material, in the copyright or any other right in the promotional material and, to the extent permissible by law, the subject (or subject’s parents) waives and/or assigns to Qld Oztag all such rights. 2. Release The subject (or subject’s parent/guardian) agrees and acknowledges that the subject participates
    [Show full text]
  • Self Assessment
    How do you know what they know? How do you show what they know? Frederick Burrack How to cite this presentation If you make reference to this version, use the following information: Burrack, F. (2006, June). How do you know what they know? How do you show what they know? Retrieved from http://krex.ksu.edu Citation of Unpublished Symposium Citation: Burrack, F. (2006, June). How do you know what they know? How do you show what they know? Paper presented at the 18th Kansas State University Music Symposium, Manhattan, KS. This item was retrieved from the K-State Research Exchange (K-REx), the institutional repository of Kansas State University. K-REx is available at http://krex.ksu.edu How do you know what they know? How do you show what they know? Dr. Frederick Burrack It is my pleasure to share some music making with you. To tie into the topic of this session, consider that the performance you just heard was one of your high school students. Does this performance demonstrate musical knowledge, understanding, and aesthetic sensitivity? In my 25 years of music teaching, it has been my observation that America’s music programs have demonstrate outstanding student development of performance skills through presenting a variety of performance experiences. This statement may or may not accurately reflect the general music component of a school music program, but if it sufficiently prepares students for continuing in music beyond the general classes, it certainly is a part of it. Instruction in a typical music class often focuses the learning objectives on performance skill development and subjectively assessed by the instructor.
    [Show full text]
  • Bbc/Equity Television Agreement 2015
    BBC/EQUITY TELEVISION AGREEMENT 2015 Revised: 8th October 2015 1 CONTENTS PAGE CONTENTS PAGES 2 - 7 RECITALS 8 GENERAL TERMS 1. Scope, Enforceability and Application of Agreement 8 2. Definitions 8 3. Commencement, Duration and Termination 9 4. Equal Opportunities 9 5. Anti-Bullying and Harassment 9 6. BBC Child Protection Policy and Code of Conduct 10 7. Settlement of Disputes 10 8. Payment and VAT 10 9. Assignment 11 10. Alternative Arrangements or Amendments to this Agreement 11 11. Information for Equity’s Purposes 11 12. Casting Agreement 11 DEFINITIONS 12-18 PART ONE A. TERMS THAT APPLY TO SPECIFIC CATEGORIES OF ARTISTS Section 1 – Actors exercising dramatic skills, puppeteers, dancers and skaters (solo or group) and solo singers appearing in at least one act of an opera or musical 1.1 Weekly Engagement 1.1.1 Minimum Engagement Fee 19 1.1.2 Work Entitlement 19 1.1.2.1 Work Days 1.1.2.2 Hours of Work on Work Days 1.1.3 Additional Fees 20 1.1.3.1 Overtime 1.1.3.2 Supplementary Attendances 1.2 One Day Engagement 1.2.1 Minimum Engagement Fee, Work Entitlement and Overtime 22 1.2.2 Supplementary Attendances 23 1.2.3 Miscellaneous 23 1.3 Voice Only Performances 1.3.1 Minimum Engagement Fee, Work Entitlement and Overtime 24 1.3.2 Supplementary Attendances 24 1.3.3 Miscellaneous 24 Section 2 – Variety Acts 2.1 Minimum Engagement Fees 25 2 2.2 Work Entitlement 2.2.1 Work Days 26 2.2.2 Hours of work 26 On Location In the Studio 2.3 Additional Fees 2.3.1 Overtime 26 2.3.2 Supplementary Attendances 27 Section 3 – Stunt Co-ordinators and Performers 3.1 Minimum Engagement Fees 28 3.2 Work Entitlement 3.2.1 Work Days 28 3.2.2 Hours of Work 28 On Location In the Studio 3.3 Additional Fees 3.3.1 Overtime 29 3.3.2 Supplementary Attendances 29 3.4 Miscellaneous 30 Section 4 – Choreographers and Dancers required to assist choreographers 4.1 Minimum Engagement Fees and Work Entitlement (Work Days) 31 4.2 Work Entitlement (Hours of Work) 31 On Location In the Studio 4.3 Overtime 32 4.4 Miscellaneous 32 B.
    [Show full text]
  • 2021-2024 Independent Theatre Agreement (ITA)
    Independent Theatre Agreement 2021-2024 Material Terms Minimum fees for 2021 shall apply from May 31, 2021 to June 27, 2021 Minimum fees for 2021-2022 shall apply from June 28, 2021 to June 26, 2022 Minimum fees for 2022-2023 shall apply from June 27, 2022 to June 25, 2023 Minimum fees for 2023-2024 shall apply from June 26, 2023 to June 23, 2024 All minimum fees and other monetary amounts 2021 - 2024 are as specified in the 2021-2024 Independent Theatre Agreement Fee Booklet Independent Theatre Agreement Material Terms Table of Contents PREAMBLE 1 (A) Agreement ------------------------------------------------------------------------------------- 1 (B) Purpose ---------------------------------------------------------------------------------------- 1 (C) Equity ------------------------------------------------------------------------------------------- 1 1:00 RECOGNITION OF EQUITY AND THE APPLICATION OF THE AGREEMENT 1 2:00 COMMUNITY ENGAGED ACTIVITY 1 3:00 EQUITY MEMBERSHIP AND AUTHORIZATION 2 3:01 Equity Members in Good Standing ----------------------------------------------------- 2 3:02 Authorization ---------------------------------------------------------------------------------- 2 (A) Equity Member --------------------------------------------------------------------- 2 (B) Non-Member ------------------------------------------------------------------------ 2 3:03 Deductions ------------------------------------------------------------------------------------ 3 (A) Payment of Equity Dues ---------------------------------------------------------
    [Show full text]
  • Djing for Dummies.Pdf
    www.sharexxx.net - free books & magazines TEAM LinG 01_032758 ffirs.qxp 11/9/06 1:51 PM Page i DJing FOR DUMmIES‰ TEAM LinG 01_032758 ffirs.qxp 11/9/06 1:51 PM Page ii TEAM LinG 01_032758 ffirs.qxp 11/9/06 1:51 PM Page iii DJing FOR DUMmIES‰ by John Steventon TEAM LinG 01_032758 ffirs.qxp 11/9/06 1:51 PM Page iv DJing For Dummies® Published by John Wiley & Sons, Ltd The Atrium Southern Gate Chichester West Sussex PO19 8SQ England E-mail (for orders and customer service enquires): [email protected] Visit our Home Page on www.wileyeurope.com Copyright © 2006 by John Wiley & Sons, Ltd, Chichester, West Sussex, England. Published by John Wiley & Sons, Ltd, Chichester, West Sussex. All Rights Reserved. No part of this publication may be reproduced, stored in a retrieval system or trans- mitted in any form or by any means, electronic, mechanical, photocopying, recording, scanning or other- wise, except under the terms of the Copyright, Designs and Patents Act 1988 or under the terms of a licence issued by the Copyright Licensing Agency Ltd, 90 Tottenham Court Road, London, W1T 4LP, UK, without the permission in writing of the Publisher. Requests to the Publisher for permission should be addressed to the Permissions Department, John Wiley & Sons, Ltd, The Atrium, Southern Gate, Chichester, West Sussex, PO19 8SQ, England, or emailed to [email protected], or faxed to (44) 1243 770620. Trademarks: Wiley, the Wiley Publishing logo, For Dummies, the Dummies Man logo, A Reference for the Rest of Us!, The Dummies Way, Dummies Daily, The Fun and Easy Way, Dummies.com and related trade dress are trademarks or registered trademarks of John Wiley & Sons, Inc and/or its affiliates, in the United States and other countries, and may not be used without written permission.
    [Show full text]
  • Written Evidence Submitted by Christian Castle
    Written evidence submitted by Christian Castle November 16, 2020 Digital, Culture, Media and Sport Committee UK Parliament Inquiry on the Economics of Music Streaming Thank you for the opportunity to comment on the economics of music streaming. This comment addresses a number of questions raised by the Committee including a discussion of dominant business models, the impact of algorithms, long term effects of the dominant business models, alternate approaches and specific recommendations for the role I respectfully suggest that government could play in approaching the problem. I am a music lawyer in Austin, Texas and have been actively involved in the traditional music business as a musician and lawyer for many years at companies like A&M Records in Hollywood, Sony Music in New York, and in private practice. I have worked on these policy issues for the digital music business since its inception, which drew me to Silicon Valley in 1998 when I worked with clients such as the original Napster.1 My biography is available on our firm website.2 While I do not address the Committee’s question on piracy directly, I would respectfully say that the solid work of the European Parliament on the Directive on Copyright In the Digital Single Market should be supported in spirit and that the UK has the opportunity to lead the way in building upon that work to protect creators of all categories. For too long the various safe harbors available online have degenerated from well-meaning efforts at encouraging development of the Internet into mere alibis for what would otherwise be massive crimes.
    [Show full text]
  • COVID-19 Side Letter to the 2019-2022 Integrated Media Agreement for the 2020-2021 Season This Agreement Is Entered Into on a No
    DocuSign Envelope ID: AF773762-13A1-4538-9377-9185BFECB55D COVID-19 Side Letter to the 2019-2022 Integrated Media Agreement for the 2020-2021 Season This agreement is entered into on a non-precedent setting basis between the American Federation of Musicians of the United States and Canada, AFL-CIO, CLC (“AFM”) and the Electronic Media Association (“EMA”) on behalf of each of its member Symphony, Opera or Ballet Orchestra Institutions (each of which is referred to herein as the “Employer”) this ___ day of August, 2020, and is intended to enhance flexibility for streaming of content when live performance has been adversely affected by the COVID-19 (Coronavirus) Pandemic. 1. Conditions Due to COVID-19. Government action has made it impossible for the Employer to hold regularly scheduled live performances with a full-capacity audience physically present. In this context the Employer plans to stream certain media content in order to maintain connection with patrons, donors and the community. 2. Compensation Tiers. Rights accorded to the Employer pursuant to this agreement are contingent on and will be determined by the Employer’s commitment to maintain compensation and benefits to musicians for the 2020-2021 season expressed as a percentage of compensation paid to musicians prior to the COVID-19 Pandemic, as set forth in the Media Tier Chart below. Percentage of pre-COVID wages will in each case be determined by reference to the following: a. Where some or all of the orchestra’s rostered musicians were guaranteed compensation on a season basis (whether paid on a salary or per service basis) pursuant to the Collective Bargaining Agreement in effect on March 1, 2020, compensation paid to every such musician for the 2020-2021 season must be equal to or greater than the applicable percentage of base scale wages (salary or per service) that would have been paid in the 2019-2020 season to that musician, but for any modification or interruption in compensation due to the COVID-19 pandemic.
    [Show full text]
  • African American Radio, WVON, and the Struggle for Civil Rights in Chicago
    Loyola University Chicago Loyola eCommons Dissertations Theses and Dissertations 2012 The Voice of the Negro: African American Radio, WVON, and the Struggle for Civil Rights in Chicago Jennifer Searcy Loyola University Chicago Follow this and additional works at: https://ecommons.luc.edu/luc_diss Part of the African American Studies Commons Recommended Citation Searcy, Jennifer, "The Voice of the Negro: African American Radio, WVON, and the Struggle for Civil Rights in Chicago" (2012). Dissertations. 688. https://ecommons.luc.edu/luc_diss/688 This Dissertation is brought to you for free and open access by the Theses and Dissertations at Loyola eCommons. It has been accepted for inclusion in Dissertations by an authorized administrator of Loyola eCommons. For more information, please contact [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License. Copyright © 2013 Jennifer Searcy LOYOLA UNIVERSITY CHICAGO THE VOICE OF THE NEGRO: AFRICAN AMERICAN RADIO, WVON, AND THE STRUGGLE FOR CIVIL RIGHTS IN CHICAGO A DISSERTATION SUBMITTED TO THE FACULTY OF THE GRADUATE SCHOOL IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY PROGRAM IN AMERICAN HISTORY/PUBLIC HISTORY BY JENNIFER SEARCY CHICAGO, ILLINOIS AUGUST 2013 Copyright by Jennifer Searcy, 2013 All rights reserved. ACKNOWLEDGEMENTS First and foremost, I would like to thank my dissertation committee for their feedback throughout the research and writing of this dissertation. As the chair, Dr. Christopher Manning provided critical insights and commentary which I hope has not only made me a better historian, but a better writer as well. As readers, Dr. Lewis Erenberg and Dr.
    [Show full text]
  • Hibbing Public Library Bob Dylan Collection
    Bob Dylan Collection at the Hibbing Public Library 12'' LPs • 4 Songs From "Renaldo And Clara" A Film By Bob Dylan. Columbia, 1978. (Demonstration--not for sale.) • Best of Bob's Bootlegs. Also includes 4 interviews with Dylan. Double Cross, 197?. • Biograph. Five record deluxe edition. Columbia, 1985. • Bob Dylan: Historical Archives, volume 1. Made in Italy by Go International, 1961, 1962. • Bob Dylan London Interview, July 1981. Columbia, 1981. (Demonstration --not for sale.) • Bob Dylan: the Little White Wonder, volume 3. Buhay Records, 1973. • Down in the Groove. Columbia, 1988. • Dylan & the Dead. Columbia, 1989. (Recorded live, July 1987.) • Empire Burlesque. Columbia, 1985. • Folk Jamboree. Columbia Limited Edition, 196?. • Good As I Been To You. England, Columbia, 1992. (Rare import.) • Got My Mind Made Up; Brownsville Girl. Columbia, 1986. (Demonstration--not for sale.) • Great White Wonder. A Different Kind of Music and Media Festival. Future Tense Productions, 1984. (unmarked recordings parts 1 and 2) • Great White Wonder II. 1969? (All disc labels blank.) • Hearts Of Fire. Original motion picture soundtrack. Columbia, 1987. • Historical Archives, Vol. 1. Italy, Go International, 199?. (Tracks 1-6 recorded at the Gaslight Club, NY, Sept. 6, 1961. Tracks 7-8 recorded at the Finjan Club, Montreal, July 2, 1962.) • Infidels. Columbia, 1983. • Knocked Out Loaded. Columbia, 1986. • Life Sentence. Germany, Ruthless Rhymes, Ltd., 1978? (Recorded June 2, 1978 at the Universal Amphitheater in Los Angeles.) • Little White Wonder, Volume 3. Milan, Italy, Buhay, 1973. (Songs performed by the composer and recorded in Italy.) • London Interview - July 1981. Columbia, 1981. (For promotion only. Recorded at the White House Hotel, London, England, July 2, 1981.
    [Show full text]
  • GRANDTHEATRE 6I~~I~
    GRANDTHEATRE 6i~~i~ COLLECTIVE AGREEMENT 2018- 2023 This Agreement made By and Between: Grand Theatre, of the city of London, County of Middlesex, party of the First Part, hereinafter referred to as the "Theatre", an The International Alliance of Theatrical Stage Employees and Moving Picture Technicians, Artists and Allied Crafts of the United States, its Territories, and Canada, London, St. Thomas, and Samia, Local #105, Party of the Second Part, hereinafter referred to as the "Union". Witnesseth: GRAND THEATRE I 11.A.T.S.E. LOCAL 1,05- 201 1 8-2023 COLLECTIVE AGREEMENT Table of Contents ARTICLE ONE EXTRINSIC COMMITMENTS ..... .. .............. ....... ......... .... ...... ............. 4 ARTICLE TWO OBLIGATIONS ............................ ... .......... ............. ................. ............ 4 ARTICLE THREE JURISDICTION .... ............. ...... ......... ....... ................. ....... ...... ... .... ... 4 3.1 Departments .. ... ....... ~ .. .. ............. ......................................... ............................................ 4 3.2 Equipment ......................................................................................................................... 5 3.3 I.A.T.S.E. Local 105 Emblem .. ........................................................... ........................... ....... 6 3.4 Transfer Productions ------·-- ---•--- -, ·-· ·· ··--· .. ··-·· .. -- -··-- · ... -............ ................ .. ......................... 6 3.5 Touring Productions ........ ............ ...... .. ... ...........
    [Show full text]