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Adult Contemporary Radio at the End of the Twentieth Century
University of Kentucky UKnowledge Theses and Dissertations--Music Music 2019 Gender, Politics, Market Segmentation, and Taste: Adult Contemporary Radio at the End of the Twentieth Century Saesha Senger University of Kentucky, [email protected] Digital Object Identifier: https://doi.org/10.13023/etd.2020.011 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Senger, Saesha, "Gender, Politics, Market Segmentation, and Taste: Adult Contemporary Radio at the End of the Twentieth Century" (2019). Theses and Dissertations--Music. 150. https://uknowledge.uky.edu/music_etds/150 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known.
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Sh-Boom« Die Gesangsgruppen
15. »Sh-Boom« Die Gesangsgruppen Martin Pfleiderer In den USA gab es bereits im 19. Jahrhundert professionelle Gesangsgrup- pen. So reisten etwa im Rahmen von Minstrelsy und Vaudeville zahlreiche singende Familiengruppen, insbesondere von Immigranten aus Deutsch- land und Österreich, durchs Land (vgl. Friedman/Gribin 2013: 3–9). Im 20. Jahrhundert veränderten sich die Traditionen des Gruppengesangs aufgrund der fortschreitenden Professionalisierung und der neuen Me- dientechnologien, aber auch aufgrund gesamtkultureller Veränderungen. Im Folgenden sollen einige der stilistischen Entwicklungen des populären Gruppengesangs in den USA zwischen 1900 und 1960 dargestellt werden. Die zentrale Fragestellung richtet sich auf die Art und Weise, wie die ver- schiedenen Gesangsstimmen einer Vokalgruppe zusammenwirken. Diese Gestaltungsweisen, ihr Auftreten in verschiedenen Musikgenres und ihre historischen Veränderungen sollen exemplarisch anhand von einflussrei- chen Aufnahmen und Vokalgruppen dargestellt werden. Gegenstand sind Vokalgruppen mit einer Besetzung von drei bis sechs Sängerinnen oder Sängern mit oder ohne zusätzliche Instrumental begleitung, die unter ei- nem gemeinsamen Gruppennamen aufgetreten sind. Vokalensembles, die als Background-Bands für einen Gesangsstar fungieren, werden dagegen nur am Rande thematisiert, ebenso wie größere Vokalensembles und Chö- re. Historischer Ausgangspunkt sind Praktiken und Gestaltungsweisen des Gruppengesangs, wie sie in frühen Aufnahmen des Hillbilly bezie- hungsweise Folk und Country und der afroamerikanischen
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Review: Dion – Blues with Friends (2020) by Andy Thorley June 13, 2020
REVIEW: DION – BLUES WITH FRIENDS (2020) BY ANDY THORLEY JUNE 13, 2020 With no disrespect meant to Dion, it’s the “With Friends” bit of this that you almost have to start with. There’s no need to list all his mates, either. They are front and centre on the cover. Right there. And he’s got a Nobel Prize winner doing the sleeve notes too. Robert Zimmerman no less, says this about Dion: “Dion knows how to sing, and he knows just the right way to craft these songs, these blues songs…… in the end, it’s Dion by himself alone, and that masterful voice of his that will keep you returning to share these Blues songs with him.” As he so often does, there, Mr. Dylan has nailed it, because bluntly – and call me a philistine if you like – when I listen to a record, I don’t care who is playing what, I only care about the songs. On this collection those are, for the most part, top class. Dion DiMucci has had a career that many – even including some of the legends that are on this record – would be envious of. A quick scan of his discography reveals some of the all time great singles. The ones that the world and their dogs have heard of. These days Dion (like Cher) he goes by one name only, plays the blues. And this, as he explained, is his dream: “I wanted an album of songs that were strong and memorable and told stories that were worth telling.” The first one, has got Joe Bonamassa sprinkling his kind of gold dust on “Blues Coming On” and it’s a cracker.
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Thematic Lesson: Love Songs
THEMATIC LESSON: LOVE SONGS OVERVIEW ESSENTIAL QUESTION Why is the Pop song such a common medium for expressing feelings about love, and how do individual songs relate to their historical moments? OVERVIEW The love song has been around for thousands of years and existed in virtually every culture: fragments of love songs and lyric poetry etched on papyrus and carved in stone survive from ancient Greece and Egypt. Medieval troubadours perfected the art of writing and singing about idealized love. Opera composers dramatized romance in music. Amorous parlor songs played a role in courtships. And of course, love songs are a fixture in contemporary musical culture. By most estimates, they have made up the majority of songs on the popularity charts throughout the 20th century and into the 21st. Musicians working in every major genre of American popular music—including Folk, Jazz, Pop, Country, Rhythm and Blues, and Rock and Roll — have produced songs about love. The variety of themes is similarly broad, encompassing many different aspects of and perspectives on relationships, from loss and longing to hope and dreaming. Rock and Roll love songs inherit much from their historical predecessors, but they also demonstrate how cultural ideas about love, sex, and relationships change over time. New musical styles present opportunities to approach an old subject in new ways, and the sometimes raucous sounds of Rock and Roll made entirely new types of songs about love possible. In this lesson, students will listen to examples of love songs from several musical styles and historical moments. The activities are designed to explore how music and lyrics work together to express different sentiments toward love and relationships.
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The Wanderer”
Dion – From “A Teenager in Love” to “The Wanderer” Dion (left) and the Belmonts Although he originally emerged as a swaggering, Doo Wop-singing teen idol in the late 1950s, streetwise New Yorker Dion DiMucci (better known simply as Dion) quickly showed himself to be a sublimely soulful vocalist as well as an artist of depth and versatility. His musical sensibility was shaped by the Blues, R&B and Country records he heard while growing up in the Bronx in the pre- Rock and Roll 1950s. After an unsuccessful 1957 solo single, he recruited harmonizing neighborhood pals Carlo Mastrangelo, Fred Milano, and Angelo D'Aleo to form the Belmonts. With Dion singing lead, the foursome scored a series of hits — "I Wonder Why," "No One Knows," "A Teenager in Love," "Where or When" — whose adolescent orientation couldn't disguise DiMucci's fluid, deeply expressive singing. Dion went solo in 1960, and scored even greater success with such smashes as "Runaround Sue," "Lovers Who Wander" and the anthemic "The Wanderer" – adopting a more macho persona as credible as the youthful longing expressed in “A Teenager in Love.” After signing with Columbia Records in 1962, he began to emerge as a distinctive songwriter, while experimenting with a grittier Blues-Folk-Rock style that showed him to be in tune with the changing musical times. Little of that material was released at the time, and that which was released didn't sell well. A 1966 reunion album with the Belmonts was better received, and in 1968 Dion experienced a life-changing religious conversion and conquered a longstanding heroin addiction.
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The Daily Egyptian, January 19, 1989
Southern Illinois University Carbondale OpenSIUC January 1989 Daily Egyptian 1989 1-19-1989 The aiD ly Egyptian, January 19, 1989 Daily Egyptian Staff Follow this and additional works at: http://opensiuc.lib.siu.edu/de_January1989 Volume 75, Issue 80 Recommended Citation , . "The aiD ly Egyptian, January 19, 1989." (Jan 1989). This Article is brought to you for free and open access by the Daily Egyptian 1989 at OpenSIUC. It has been accepted for inclusion in January 1989 by an authorized administrator of OpenSIUC. For more information, please contact [email protected]. Daily Egyptian ",,"tiH'rIl IIlllloj, l'lli\'(:r~it\ at Carhondale Thursday, January 19. !989, Vol. 75, No. 80, 28PaL'l" ISC: International Festival will occur By Fernando FeUu-Moggi allowing Teck Hong "Robin" members. offered economic support for member of the staff, all they Staff Writer Tan tv continue as one of the Firouzi said the letter didn't various activities. have to do is sign up, "he said. vice presider;ts of the represent the international Firouzi said he had begau "It is very hard to make all The resignation of several organizaLon. community because it was organizing the festival before the people work together, but if sta{f members of the In Tan's grade point average signed by only 26 people. Christmas break by maihng just because there's a ternational Student Council at had fallen below the required Those who had signed the brochures to the various In disagreemeni. people start thz er.d of the fall semester will 2.0 lieeded to serve in the letter stopped ~rticipating in ternational Student walking out on us instf'.aa of not affect the Internatianal eXECutive committee of I~C, ISC acti, ities.
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Tim Berthet – Aged Care Repertoire 2019 Popular A
TIM BERTHET – AGED CARE REPERTOIRE 2019 POPULAR A WHITE SPORTS COAT Marty Robbins ACHY BREAKY HEART Billy Ray Cyrus ALL I HAVE TO DO IS DREAM The Everly Brothers ALL SHOOK UP Elvis Presley ALWAYS ON MY MIND Elvis Presley AMORE Dean Martin ANNIVERSARY SONG Al Jolson APACHE – INSTRUMENTAL The Shadows AULD LANG SYNE Traditional BAD MOON RISING Creedence Clearwater Revival BLUE SPANISH EYES Engelbert Humperdinck BLUE SUEDE SHOES Carl Perkins BLUEBERRY HILL Fats Domino BRIGHT SIDE OF THE ROAD Van Morrison BROWN EYED GIRL Van Morrison BURNING LOVE Elvis Presley BYE BYE BABY Col Joye CHICKEN DANCE Werner Thomas CRACKLIN ROSIE Neil Diamond CROCODILE ROCK Elton John CRYSTAL CHANDELIERS Charlie Pride DANCING QUEEN Abba DANNY BOY Irish Traditional DAYDREAM BELIEVER The Monkeys DELILAH Tom Jones DEVIL IN DISGUISE Elvis Presley DIANA Paul Anka DON’T BE CRUEL Elvis Presley DREAM LOVER Bobby Darin EAGLE ROCK Daddy Cool EARTH ANGEL The Penguins GEORGY GIRL The Seekers GOODNIGHT IRENE Lead Belly GREASE MEGAMIX Movie Theme Music GREEN GREEN GRASS OF HOME Tom Jones HELLO DOLLY Louis Armstrong DOGGIE IN THE WINDOW Patti Page I CAN’T HELP FALLING IN LOVE Elvis Presley I REMEMBER YOU Frank Ifield I SAW HER STANDING THERE The Beatles I STILL CALL AUSTRALIA HOME Peter Allen I’M A BELIEVER The Monkeys IF I SAID YOU HAD A BEAUTIFUL BODY The Bellamy Brothers ISLE OF CAPRI Gracie Fields ITS A LONG WAY TO TIPPERARY Irish Traditional JAILHOUSE ROCK Elvis Presley JOHNNY B GOODE Chuck Berry KING OF THE ROAD Roger Miller L’IL SISTER Elvis Presley LOVE IS IN THE AIR John
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Views: a Sociological Critical
Joseph Ayers Cheryl Gistenson Joanna Singer Michael Balaban Sviatlana Hantsevich Megan Stemm-Wade Michael Bentley, Jr. Kristin Hicks Laura Tietz Theodore J. Birren Joel Jacobson lya Tolpekina Greg Bruchert Myles Kleeman Andrew Tomenbang Annmarie Carlson Svetlana Kushner Michael Webb Brian Clark Muxiang Liu Tim Whalen Alexander Cox Cindy Loacker Marguerita Whitby Daniel Cox Luz M. Lopez Pilar Wiener Jeffrey Robert Cygan Bob Mackey IV Jessica Wolfe Ashley Fill Hannah McHugh Joanna Yau Penney Gainer Virginia Nye Mary Yoakim Tyler Garms Peggy Rodriguez The Harper Anthology Volume XX Foreword Th e pictures on the.front cover of this Harper Anthology sp eak clearly about one of this publications purposes, that o.fserving as an instructional text in classes at Harper College, particularly those involving the teaching o.f'English composition. Here, in these pictures fr om an evening section o.fEnglish I 02, students from all over the world are reading, together, a research paper published in an earlier edition o.f the Anthology�·as a model.for writing research-based papers of their own. Th e analysis of a student-written text in this fo rmat is invaluable fo r providing direction and inspiring confidence. The Harper Anthology has served in this capacity for twenty years, now, with countless students in Harper classrooms having read the work of hundreds of other Harper students whose papers have graced these pages. Th is latest edition of the Anthology should serve well in continuing this tradition o.fguidance, as it fe atures numerous essays and papers fr om English composition courses, as well as a fe w fr om outside of the English discipline, and a number of papers from Harpers Learning Communities program.
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The Blues Foundation Announces the Nominees for 2021
In this Bluesletter: The Blues Foundation announces the nominees for 2021 Marty Gunther "Red Hot & Blues Reviews" from the President F E B R U A R Y 2 0 2 1 Musings Blues Music Award Nominees are here! If you've been reading the Red Hot & Blues Reviews this past year from our own Marty Gunther, you will have read reviews involving every one of the nominees in one way shape or form. If you are a member of The Blues Foundation, you are eligible to vote. If you are not a member, you can join the Blues Foundation now to help decide the winners. Nominees info begin on page 6. It's February and normally we would be in Memphis celebrating music from around the world at the International Blues Challenge. Much has changed since last years' event, with Covid 19 taking the stage-literally. Actually, taking stages- plural-since many stages around the world have shut their doors due to government mandates and public gatherings. Some iconic stages are now forever silent. But many continue to fight to survive. An NC Club is suing Governor Roy Cooper over his executive orders that they allege discriminate against private clubs. On Dec. 21, Pacific Legal Foundation filed a lawsuit against Cooper on behalf of Crystal and Kenneth Waldron and their business of 18 years, Club 519. The complaint seeks relief from Cooper’s “arbitrary treatment of bars as unconstitutional under the state and federal Constitutions.”The suit is seeking an injunction that would allow for private bars to open under the same rules and safety precautions as other bars across the state are currently operating under.
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Rock Album Discography Last Up-Date: September 27Th, 2021
Rock Album Discography Last up-date: September 27th, 2021 Rock Album Discography “Music was my first love, and it will be my last” was the first line of the virteous song “Music” on the album “Rebel”, which was produced by Alan Parson, sung by John Miles, and released I n 1976. From my point of view, there is no other citation, which more properly expresses the emotional impact of music to human beings. People come and go, but music remains forever, since acoustic waves are not bound to matter like monuments, paintings, or sculptures. In contrast, music as sound in general is transmitted by matter vibrations and can be reproduced independent of space and time. In this way, music is able to connect humans from the earliest high cultures to people of our present societies all over the world. Music is indeed a universal language and likely not restricted to our planetary society. The importance of music to the human society is also underlined by the Voyager mission: Both Voyager spacecrafts, which were launched at August 20th and September 05th, 1977, are bound for the stars, now, after their visits to the outer planets of our solar system (mission status: https://voyager.jpl.nasa.gov/mission/status/). They carry a gold- plated copper phonograph record, which comprises 90 minutes of music selected from all cultures next to sounds, spoken messages, and images from our planet Earth. There is rather little hope that any extraterrestrial form of life will ever come along the Voyager spacecrafts. But if this is yet going to happen they are likely able to understand the sound of music from these records at least.
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Italian Americans in Bronx Doo Wop-The Glory and the Paradox
Fordham University DigitalResearch@Fordham Occasional Essays Bronx African American History Project 1-29-2019 Italian Americans in Bronx Doo Wop-The Glory and the Paradox Mark Naison Fordham University, [email protected] Follow this and additional works at: https://fordham.bepress.com/baahp_essays Part of the African American Studies Commons, Ethnomusicology Commons, Italian Literature Commons, and the Music Performance Commons Recommended Citation Naison, Mark, "Italian Americans in Bronx Doo Wop-The Glory and the Paradox" (2019). Occasional Essays. 1. https://fordham.bepress.com/baahp_essays/1 This Editorial is brought to you for free and open access by the Bronx African American History Project at DigitalResearch@Fordham. It has been accepted for inclusion in Occasional Essays by an authorized administrator of DigitalResearch@Fordham. For more information, please contact [email protected], [email protected]. Italian Americans in Bronx Doo Wop-The Glory and the Paradox The appearance of the Green Book, a mass market movie where the Italian American main character doesn't want Black people fixing things in his house, but feels confident enough to school a Black classical musician on the music of "Little Richard" is a perfect opening for discussing the prominent- and ambivalent- role of Italian Americans in the growth of Urban Harmonic Music- sometimes known as "Doo Wop"- in the Bronx. A form of music that was first performed by black artists in the Morrisania section of the Bronx in the early 1950's, and popularized through hits like the Chords "Sh-Boom" and the Chantels "Maybe," it spread quickly into Bronx Italian American neighborhoods and led to scores of Italian Americans groups making records, and two Italian American singers, Dion DiMucci and Bobby Darin (Walden Robert Cossotto), becoming among the best known rock and roll stars of the later 50's.
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The Early Years: Bringing a Rock and Roll Attitude to Folk Overview
THE EARLY YEARS: BRINGING A ROCK AND ROLL ATTITUDE TO FOLK OVERVIEW ESSENTIAL QUESTION How did Bob Dylan’s early experiences with Folk and Rock and Roll music influence his songwriting? OVERVIEW Artists from the Beatles to Bruce Springsteen have cited Bob Dylan as one of the most important influences on their music making and songwriting, noting that Dylan helped them see the possibilities of a different kind of lyric writing that was more intimate, personal, and autobiographical than what they found in early Rock and Roll songs. Much of what Dylan was doing stemmed from his early experiences with the Folk music scene in New York City and as a self-styled disciple of the legendary Folk singer Woody Guthrie. But it is often forgotten that Dylan’s first forays into popular music came as a member of several Rock and Roll bands in high school in Minnesota, where his yearbook picture noted that his dream was “to join Little Richard.” If Dylan is known as an artist who injected lyrical complexity and seriousness of purpose into mainstream Rock and Roll, his early career also reflects the injection of a Rock and Roll sensibility into the Folk idiom. In this lesson, students explore how Dylan’s early musical experiences reflect an artist with an uncanny ability to create something new out of what had come before, and how he sowed the seeds of a Folk/Rock and Roll hybrid that would have enormous influence on American popular music. BOOK 3: TRANSFORMATION THE EARLY YEARS: BRINGING A ROCK AND ROLL ATTITUDE TO FOLK OBJECTIVES Upon completion of this lesson, students will: 2.
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