LSUG Sept. 16Th 2012

Total Page:16

File Type:pdf, Size:1020Kb

LSUG Sept. 16Th 2012 PLAYLIST SEPT. 16TH 2012 HR.1 HR 1 The Beatles - Wait - Rubber Soul (Lennon-McCartney) Lead vocals: John and Paul Recorded June 17, 1965 during the “Help!” sessions, the song was left unfinished when The Beatles had hit the deadline to submit the album. Five months later, as the deadline to submit “Rubber Soul” was upon them, they grabbed the unfinished song, threw on some overdubs and decreed it finished. Specifically, they added a tone pedal guitar, tambourine, maracas, and more vocals on November 11, 1965, the final day of recording for “Rubber Soul.” On U.S. album: Rubber Soul - Capitol LP The Beatles - For No One - Revolver (Lennon-McCartney) Lead vocal: Paul Written entirely by Paul in March 1966 while on vacation with then-girlfriend Jane Asher at the Swiss ski resort of Klosters. The backing track was recorded in 10 takes on May 9, 1966 with only Paul (piano) and Ringo (drums) present. John and George do not perform on this song. Overdubs included Paul on clavichord, and Ringo on cymbals and maracas. Paul’s lead vocal was recorded on May 16. The baroque-style French horn solo was credited to Alan Civil and recorded on May 19. Ringo’s original drum part was removed from the track in the reduction mixdown. The song was originally called “Why Did It Die?” Paul: “I was in Switzerland on my first skiing holiday. I'd done a bit of skiing in ‘Help!’ and quite liked it, so I went back and ended up in a little bathroom in a Swiss chalet writing ‘For No One.’ I remember the descending bass line trick that it's based on, and I remember the character in the song - the girl putting on her make-up.” On U.S. album: Revolver - Capitol LP George Harrison – Run Of The Mill - All Things Must Pass ‘70 A lovely acoustic-driven song – George was to later use the horn line on the song for another tune nine years later on his George Harrison album. Ringo – It Don’t Come Easy – Single 71 BREAK The Beatles - The Inner Light - Non-LP Track (Harrison) Lead vocal: George The Beatles’ seventeenth single release for EMI’s Parlophone label. George’s “The Inner Light” was selected as the B-side for the “Lady Madonna” single and represented his first lead vocal on a British single. George was in India to quickly record music for the soundtrack to the movie “Wonderwall” and the backing track for “The Inner Light” was recorded at EMI’s recording studio in Bombay using local musicians on January 12, 1968. The backing track was finished in five takes. Harrison would add vocals and other embellishments at Abbey Road on February 6 and 8. It was the third song in consideration for the Spring 1968 Beatles single. “The Inner Light” was the last of the three Indian-flavored songs composed by George and the lyrics were taken directly from the poem of the same title from the “Tao Te Ching.” On U.S. album: Rarities - Capitol LP (1980) The Beatles - Lady Madonna - Non-LP Track (Lennon-McCartney) Lead vocal: Paul The Beatles’ seventeenth single release for EMI’s Parlophone label. The last original issue Beatles 45 to appear on the Capitol swirl label in the U.S. or on the Parlophone label in the UK. Starting in the summer of 1968, Beatles recordings would be issued on their own record label, Apple Records. The Beatles did not leave EMI or Capitol, they simply had their own custom label, to which they could sign artists. The manufacturing and distribution would remain the same as before. In fact, in America, their releases continued to use Capitol album and single catalog numbering. The Beatles’ oft-postponed visit to India to study Transcendental Meditation under Maharishi Mahesh Yogi was fast approaching. They were scheduled to be in India from mid-February until late April. Written entirely by Paul, “Lady Madonna” was the first song to be recorded in the week-long rush to get a single finished before they left for India. It was completed in two straight-forward sessions on February 3, 1968 with some overdubs on February 6. The basic rhythm track consisted of only Paul on piano, and Ringo on drums (using brushes instead of sticks), recorded in three takes on the afternoon of February 3. John and George overdubbed fuzzed guitars played through the same amplifier during that evening’s session. The song was completed on February 6 with the addition of a second McCartney lead vocal, a second piano piece, “See how they run” backing vocals from Paul, John and George, and in the middle eight, the three Beatles cupping their hands around their mouths to imitate the sound of brass instruments. But Paul decided the song needed real brass instruments, so four saxophone players were brought in that evening to play on the song. LAST CAPITIOL/PARLOPHONE SINGLE The Beatles - It’s Only Love- Help! (Lennon-McCartney) Lead vocal: John Recorded in six takes on June 15, 1965. The first Beatles song to include a reference to getting “high” (“I get high when I see you go by”). The working title prior to lyrics being written was “That’s a Nice Hat.” George Martin and his Orchestra recorded the instrumental version of “It’s Only Love” using the original title. In 1972 Lennon called “It’s Only Love” “the one song I really hate of mine.” On U.S. album: Rubber Soul - Capitol LP Peter Sellers – Can’t Buy Me Love `64/ Paul – Can’t Buy Me Love – Live 93` Soundcheck The Beatles - She Loves You - A Collection Of Oldies `66 (Lennon-McCartney) Lead vocal: John and Paul The Beatles’ fourth single release for EMI’s Parlophone label. With a July 1, 1963 recording date looming The Beatles knew their latest composition would be their next a-side: a song then entitled “Get You In the End,” shortened to “I’ll Get You” by the time it was released. But things changed on June 26, 1963. In a hotel room a few hours prior to a show in Newcastle-upon-Tyne, John and Paul sat facing each other on twin beds and proceeded to write from Paul’s suggestion. The song they created was “She Loves You.” The next day, with The Beatles having a rare day off from touring, John met up with Paul in the dining room of the McCartney’s Forthlin Road home to finish up the song. U.S. Non-album single (Swan) On U.S. album: The Beatles’ Second Album - Capitol LP UK: Non-album single (a-side) The Beatles – Boys – Please Please Me (Dixon-Farrell) Lead vocal: Ringo Recorded in just one take on February 11, 1963. “Boys” was drummer Ringo Starr’s first recorded lead vocal. Luther Dixon and Wes Farrell’s song was originally recorded by The Shirelles and was the b-side to their smash hit “Will You Love Me Tomorrow?” This song was usually Ringo’s contribution at The Beatles’ live performances during their North American Tour in the summer of 1964. On U.S. albums: Introducing… The Beatles - Vee-Jay LP The Early Beatles - Capitol LP The Beatles - Rock and Roll Music - Beatles For Sale (Berry) Lead vocal: John Incredibly, this stunning cover version of Chuck Berry’s classic hit from 1957 featuring John Lennon on lead vocal was captured in just one take on October 18, 1964. Like “Twist and Shout” and “Money (That’s What I Want)” before it, “Rock and Roll Music” is a prime example of Lennon making a previously known hit his own. The overdubbed piano part features John, Paul and George Martin pounding the SAME piano! The song was featured on the Beatles 1965 European Tour and was the opening song during their 1966 concert tours. On U.S. album: Beatles ‘65 - Capitol LP The Beatles - Ob-La-Di, Ob-La-Da - The Beatles (Lennon-McCartney) Lead vocal: Paul Written by Paul while in Rishikesh, India. In Barry Miles’ “Many Years From Now” Paul recalls walking through the Indian jungle near the Maharishi’s compound with his guitar singing “Ob-La,Di, Ob-La, Da, life goes on, bra,” taking the phrase from Jimmy Scott, a Nigerian conga player who had been a part of the London music scene since the 50s. In Scott’s native language, “Ob la di ob la da” is an expression meaning “life goes on.” Paul created characters for his story - Desmond and Molly and their barrow in a Caribbean marketplace. A barrow is a cart or small vehicle used to carry a load and pulled or pushed by hand. The Beatles - Wild Honey Pie - The Beatles (Lennon-McCartney) Lead vocal: Paul The second of two Paul McCartney solo performances recorded on August 20, 1968, for the “White Album,” the first being “Mother Nature’s Son.” George Harrison had taken a week-long trip to Greece and on this particular day John and Ringo were in Abbey Road’s Studio Three recording a very short edit piece for “Yer Blues” (specifically, a “two, three…” count-in shouted by Ringo) and supervising the mono mix of “Revolution 9.” This left Paul alone in Studio Two to record and, in the case of “Wild Honey Pie,” experiment a little. Paul plays bass, electric and acoustic guitars, harpsichord, and drums. He also provides three vocal tracks. Running just 52 seconds, it is the shortest track on “The Beatles.” The Beatles – I Me Mine - Let It Be Recorded Jan. 3rd 1970 LAST Beatle recording session w/out John Lennon "There is nothing that isn't part of the complete whole." - George Harrison on the Eastern religion belief system "I Me Mine" is based from A somewhat odd collection of Beatles songs…yet still refreshingly entertaining wasn’t? BREAK The Beatles - I’m Happy Just To Dance With You - A Hard Day’s Night (Lennon-McCartney) Lead vocal: George Written by John and Paul specifically to give George a song in the movie “A Hard Day’s Night.” Completed in four takes on March 1, 1964, with filming slated to begin the next day.
Recommended publications
  • James Paul Mccartney V Sony ATV Music Publishing
    Case 1:17-cv-00363 Document 1 Filed 01/18/17 Page 1 of 16 MORRISON & FOERSTER LLP EASTMAN & EASTMAN Michael A. Jacobs (pro hac vice motion forthcoming) John L. Eastman (pro hac vice motion Roman Swoopes (pro hac vice motion forthcoming) forthcoming) 425 Market Street Lee V. Eastman (pro hac vice motion San Francisco, California 94105-2482 forthcoming) 415.268.7000 39 West 54th St New York, New York 10019 MORRISON & FOERSTER LLP 212.246.5757 J. Alexander Lawrence 250 West 55th Street New York, New York 10019-9601 212.468.8000 Paul Goldstein (pro hac vice motion forthcoming) 559 Nathan Abbott Way Stanford, California 94305-8610 650.723.0313 Attorneys for Plaintiff James Paul McCartney UNITED STATES DISTRICT COURT SOUTHERN DISTRICT OF NEW YORK ------------------------------------------------------------------ x : Case No. 17cv363 JAMES PAUL MCCARTNEY, an individual, : : Plaintiff, : : Complaint for Declaratory -v.- : Judgment : SONY/ATV MUSIC PUBLISHING LLC, a : Demand for Jury Trial Delaware Limited Liability Company, and : SONY/ATV TUNES LLC, a Delaware Limited : Liability Company, : Defendants. ------------------------------------------------------------------ x COMPLAINT FOR DECLARATORY JUDGMENT Plaintiff James Paul McCartney, for his complaint against Sony/ATV Music Publishing LLC and Sony/ATV Tunes LLC, alleges as follows: Case 1:17-cv-00363 Document 1 Filed 01/18/17 Page 2 of 16 NATURE OF THIS ACTION 1. This action involves ownership interests in the copyrights for certain musical works that Plaintiff Sir James Paul McCartney (known professionally as Paul McCartney) authored or co-authored with other former members of the world-famous musical group The Beatles. Defendants in this action are music publishing companies that claim to be the successors to publishers that acquired copyright interests in many of Paul McCartney’s compositions in the 1960s and early 1970s.
    [Show full text]
  • (ABH) and Gesellschaft Für Unternehmensgeschichte (GUG), 27-28 May 2016, Humboldt University Berlin, Germany
    Joint Conference Association of Business Historians (ABH) and Gesellschaft für Unternehmensgeschichte (GUG), 27-28 May 2016, Humboldt University Berlin, Germany Disruptive Innovation in the Creative Industries: The adoption of the German horn in Britain 1935-75 David Smith* and Richard Blundel** *Nottingham Trent University, UK and **The Open University, UK Abstract This paper examines the interplay between innovation and entrepreneurial processes amongst competing firms in the creative industries. It does so through a case study of the introduction and diffusion into Britain of a brass musical instrument, the wide bore German horn, over a period of some 40 years in the middle of the twentieth century. The narrative contrasts the strategies followed by two brass instrument manufacturers, one a new entrant the other an incumbent. It shows how the new entrant despite a slow start, small scale and a commitment to traditional artisanal skills, was able to develop the technology of the German horn and establish itself as one of the world’s leading brands of horn, while the incumbent firm despite being the first to innovate steadily lost ground until like many of the other leading horn makers of the 1930s, it eventually exited the industry. Keywords: Disruptive innovation, Creative Industries, Musical Instruments Introduction For much of the 19th and a substantial part of the 20th century, British orchestras had a distinctive sound. This differentiated them from their counterparts in many parts of Europe and the United States. This sound was the product of the instruments they played, most notably in the horn section of the orchestra. In Britain horn players typically utilized instruments modelled on the Raoux horn from France.
    [Show full text]
  • The Sunrise Jones // Song List
    THE SUNRISE JONES // SONG LIST c/o Cleveland Music Group - Take on Me - A-ha - Dancing Queen - ABBA - It's A Long Way To The Top - AC/DC - Shook Me All Night Long - AC/DC - Sweet Emotion - Aerosmith - Melissa - Allman Brothers, The - Love Shack - B-52's, The - (You Gotta) Fight For Your Right (To Party) - Beastie Boys, The - A Day in the Life - Beatles, The - Abbey Road Medley - Beatles, The - Across The Universe - Beatles, The - Baby You're A Rich Man - Beatles, The - Back in the U.S.S.R. – Beatles, The - Ballad of John and Yoko - Beatles, The - Blackbird - Beatles, The - Birthday - Beatles, The - Can't Buy Me Love - Beatles, The - Come Together - Beatles, The - Day Tripper - Beatles, The - Don't Let Me Down - Beatles, The - Drive My Car - Beatles, The - Eight Days a Week - Beatles, The - Get Back - Beatles, The - Got To Get You Into My Life - Beatles, The - Happiness is a Warm Gun - Beatles, The - Hard Days Night - Beatles, The - Help - Beatles, The - Here Comes The Sun - Beatles, The - Hey Bulldog - Beatles, The - Hey Jude - Beatles, The - I Am The Walrus - Beatles, The - I Feel Fine - Beatles, The - I Saw Her Standing There - Beatles, The - I Want To Hold Your Hand - Beatles, The - I Will - Beatles, The - I’ll Follow The Sun - Beatles, The - I’m Looking Through You - Beatles, - I'm So Tired - Beatles, The - In My Life - Beatles, The - I’ve Got a Feeling - Beatles, The - I’ve Just Seen a Face - Beatles, The - Let It Be - Beatles, The - Love Me Do - Beatles, The - Lucy In The Sky with Diamonds - Beatles, The - Norwegian Wood - Beatles, The - Nowhere Man - Beatles, The - Penny Lane - Beatles, The - Ob-La-Di, Ob-La-Da - Beatles, The - Oh! Darling - Beatles, The - Revolution - Beatles, The - Rocky Raccoon - Beatles, The - Sgt.
    [Show full text]
  • Open Research Online Oro.Open.Ac.Uk
    Open Research Online The Open University’s repository of research publications and other research outputs Disruptive Innovation in the Creative Industries: The adoption of the German horn in Britain 1935-75 Conference or Workshop Item How to cite: Smith, David and Blundel, Richard (2016). Disruptive Innovation in the Creative Industries: The adoption of the German horn in Britain 1935-75. In: Association of Business Historians (ABH) and Gesellschaft für Unternehmensgeschichte (GUG) Joint Conference, 27-29 May 2016, Humbolt University, Berlin. For guidance on citations see FAQs. c 2016 The Authors https://creativecommons.org/licenses/by-nc-nd/4.0/ Version: Version of Record Link(s) to article on publisher’s website: http://ebha.org/public/C6:pdf Copyright and Moral Rights for the articles on this site are retained by the individual authors and/or other copyright owners. For more information on Open Research Online’s data policy on reuse of materials please consult the policies page. oro.open.ac.uk Joint Conference Association of Business Historians (ABH) and Gesellschaft für Unternehmensgeschichte (GUG), 27-28 May 2016, Humboldt University Berlin, Germany Disruptive Innovation in the Creative Industries: The adoption of the German horn in Britain 1935-75 David Smith* and Richard Blundel** *Nottingham Trent University, UK and **The Open University, UK Abstract This paper examines the interplay between innovation and entrepreneurial processes amongst competing firms in the creative industries. It does so through a case study of the introduction and diffusion into Britain of a brass musical instrument, the wide bore German horn, over a period of some 40 years in the middle of the twentieth century.
    [Show full text]
  • Carnegie Hall Concert with Buck Owens and His Buckaroos”—Buck Owens and His Buckaroos (1966) Added to the National Registry: 2013 Essay by Scott B
    “Carnegie Hall Concert with Buck Owens and His Buckaroos”—Buck Owens and His Buckaroos (1966) Added to the National Registry: 2013 Essay by Scott B. Bomar (guest post) * Original album Original label Buck Owens and His Buckaroos In the fall of 1965, Buck Owens was the biggest country star in the world. He was halfway through a string of sixteen consecutive #1 singles on the country chart in the industry-leading “Billboard” magazine, and had just been invited to appear at New York City’s prestigious Carnegie Hall. Already designated a National Historic Landmark, the esteemed venue had hosted Tchaikovsky, Rachmaninoff, Stravinsky, Gershwin, Bernstein, and Ellington. Owens recognized the honor of being asked, but instructed his manager, Jack McFadden, to decline the offer. “When they first started talking about it, it scared me to death,” he admitted in a 1967 radio interview with Bill Thompson. Buck was worried the Manhattan audience wouldn’t be interested in his music, and he wanted to avoid the embarrassment of unsold tickets. McFadden pushed him to reconsider. When Ken Nelson, Owens’ producer at Capitol Records, suggested they record the performance and release it as his first live album, Buck finally conceded. Buck Owens’ journey to the top of the charts and the top of the bill at the most revered concert hall in the United States began in Sherman, Texas, where he was born Alvis Edgar Owens, Junior in 1929. By 1937, the Owens family was headed for a new life in California, but they wound up settling in Mesa, Arizona, when a broken trailer hitch derailed their plan.
    [Show full text]
  • George Harrison
    COPYRIGHT 4th Estate An imprint of HarperCollinsPublishers 1 London Bridge Street London SE1 9GF www.4thEstate.co.uk This eBook first published in Great Britain by 4th Estate in 2020 Copyright © Craig Brown 2020 Cover design by Jack Smyth Cover image © Michael Ochs Archives/Handout/Getty Images Craig Brown asserts the moral right to be identified as the author of this work A catalogue record for this book is available from the British Library All rights reserved under International and Pan-American Copyright Conventions. By payment of the required fees, you have been granted the non-exclusive, non-transferable right to access and read the text of this e-book on-screen. No part of this text may be reproduced, transmitted, down-loaded, decompiled, reverse engineered, or stored in or introduced into any information storage and retrieval system, in any form or by any means, whether electronic or mechanical, now known or hereinafter invented, without the express written permission of HarperCollins. Source ISBN: 9780008340001 Ebook Edition © April 2020 ISBN: 9780008340025 Version: 2020-03-11 DEDICATION For Frances, Silas, Tallulah and Tom EPIGRAPHS In five-score summers! All new eyes, New minds, new modes, new fools, new wise; New woes to weep, new joys to prize; With nothing left of me and you In that live century’s vivid view Beyond a pinch of dust or two; A century which, if not sublime, Will show, I doubt not, at its prime, A scope above this blinkered time. From ‘1967’, by Thomas Hardy (written in 1867) ‘What a remarkable fifty years they
    [Show full text]
  • KLOS March 30Th 2014 Denny Laine
    1 1 2 2 3 9AM I’m sad to say that I’m dedicating this first couple of songs here to our dear friend Stan …you know him as Stan the Hot Sauce Man….whose Mom Marion passed away yesterday…Now we got to know Marion here on BWTB quite well…as she came hung out with us more than a few times She also made me that British Flag quilt blanket And BWTB pillow…that we often talked about…she came down to all the events at Capitol Records…Just Imagine shows…everyone loved her…and she will certainly be missed…and here is Marion’s favorite Beatles song. 3 4 The Beatles - If I Fell - A Hard Day’s Night (Lennon-McCartney) Lead vocal: John and Paul John Lennon’s stunning ballad “If I Fell” was by far the most complex song he had written to date. It could be considered a progression from “This Boy” with its similar chord structure and intricate harmonies by John and Paul, recorded – at their request – together on one microphone. Performed live on their world tour throughout the summer of 1964. Completed in 15 takes on February 27, 1964. Flip side of “And I Love Her” in the U.S. On U.S. album: A Hard Day’s Night - United Artists LP Something New - Capitol LP The Beatles - In My Life - Rubber Soul (Lennon-McCartney) Lead vocals: John with Paul Recorded October 18, 1965 and written primarily by John, who called it his “first real major piece of work.” Of all the Lennon-McCartney collaborations only two songs have really been disputed by John and Paul themselves -- “Eleanor Rigby” and “In My Life.” Both agree that the lyrics are 100% Lennon, but John says Paul helped on the musical bridge, while Paul recalls writing the entire melody on John’s Mellotron.
    [Show full text]
  • Super Bowl Singles Sunday 2017
    1 TH PLAYLIST FEB. 5 2017 SUPER SINGLES SUNDAY As we feature the Beatles 1 PLUS LP 2 9AM The entire NEW Beatles 1 PLUS (including bonus highlights) The Beatles - Love Me Do – Please Please Me (McCartney-Lennon) Lead vocal: John and Paul The Beatles’ first single release for EMI’s Parlophone label. Released October 5, 1962, it reached #17 on the British charts. Principally written by Paul McCartney in 1958 and 1959. Recorded with three different drummers: Pete Best (June 6, 1962, EMI), Ringo Starr (September 4, 1962), and Andy White (September 11, 3 1962 with Ringo playing tambourine). The 45 rpm single lists the songwriters as Lennon-McCartney. One of several Beatles songs Paul McCartney owns with Yoko Ono. Starting with the songs recorded for their debut album on February 11, 1963, Lennon and McCartney’s output was attached to their Northern Songs publishing company. Because their first single was released before John and Paul had contracted with a music publisher, EMI assigned it to their own, a company called Ardmore and Beechwood, which took the two songs “Love Me Do” and “P.S. I Love You.” Decades later McCartney and Ono were able to purchase the songs for their respective companies, MPL Communications and Lenono Music. Fun fact: John Lennon shoplifted the harmonica he played on the song from a shop in Holland. On U.S. albums: Introducing… The Beatles (Version 1) - Vee-Jay LP The Early Beatles - Capitol LP The Beatles - From Me To You - A Collection of Beatles Oldies `66 (McCartney-Lennon) Lead vocal: John and Paul The Beatles’ third single release for EMI’s Parlophone label.
    [Show full text]
  • The Year in the Year In
    TAXING HER PATIENCE: the year in Senior Bella Cude brandishes a sign that criticizes President Trump’s refusal to release his tax returns while expressing another ELECTION DAY protest message in the words 53 written on her stomach. As many Fall Mac students express views on Election of 2016 as 200 McCallum students walked Fall out of school on Inauguration Day REVIEW before, after Trump’s surprising electoral win at the start of fourth period to Orlando Shooting join the thousands of protestors “When“When itit camecame toto thethe OrlandoOrlando shooting, I | who assembled at Auditorium feelfeel likelike itit waswas aa hugehuge blow to the LGBT | Before The Election: Before The Election: Shores. “It was really liberating American community. Now everyone has “My preferred candidate is Gary Johnson. “This year’s election is a lot more of a and empowering to see everyone reasonreason toto feelfeel less safe in their own home Page by G. Brady, K. Blount, M. Ruiz, A. Raper Page Page by G. Brady, K. Blount, M. Ruiz, A. Raper Page CURRENT EVENTS Before The Election: I don’t think either the Democratic or mess then last election because we knew rally over one cause,” Cude said. andand that sucks because there are very CURRENT EVENTS “My favored candidate is Donald Trump. Republican candidates are trustworthy. I Obama was going to do a good job, and Photo by Grace Brady. fewfew safesafe placesplaces forfor minoritiesminorities in America. I really think that this country needs a think they both lie a lot.” this election we are trying to find a ItIt destroyeddestroyed thethe assuranceassurance of getting change, and I think that he thinks that person to do the same good that he did.” protection in their homes.” he can make a difference.
    [Show full text]
  • Being Mother, Academic, & Wife: an Interpretive Inquiry
    University of Alberta Being Mother, Academic, & Wife: An Interpretive Inquiry by Danielle Leigh Fullerton A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Counselling Psychology Department of Educational Psychology Edmonton, Alberta Spring 2009 Library and Archives Bibliotheque et 1*1 Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A 0N4 Ottawa ON K1A 0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-55349-7 Our file Notre reference ISBN: 978-0-494-55349-7 NOTICE: AVIS: The author has granted a non­ L'auteur a accorde une licence non exclusive exclusive license allowing Library and permettant a la Bibliotheque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par Nnternet, preter, telecommunication or on the Internet, distribuer et vendre des theses partout dans le loan, distribute and sell theses monde, a des fins commerciales ou autres, sur worldwide, for commercial or non­ support microforme, papier, electronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in this et des droits moraux qui protege cette these. Ni thesis. Neither the thesis nor la these ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent etre imprimes ou autrement printed or otherwise reproduced reproduits sans son autorisation.
    [Show full text]
  • Vocals Syllabus
    VOCALS SYLLABUS BEYONCÉ Qualification specifications for graded exams from 2018 AEROSMITH BLONDIE THE ROLLING STONES TAYLOR SWIFT RED HOT CHILI PEPPERS DUSTY SPRINGFIELD AMY WINEHOUSE QUEEN DAVID BOWIE THE XX OASIS SIA U2 WHAT’S CHANGED? This syllabus features the following changes from the 2015–2017 syllabus: New selection of songs at all levels, expertly arranged for the grade and in a wide range of styles Revised marking criteria, providing examiners, teachers and candidates with increased detail on how exams are marked (see pages 36–39) Revised parameters for own-choice songs (see pages 22–27) Revised requirements for using a microphone when performing songs Technical focus songs now feature two technical elements Band exams are no longer offered KEEP UP TO DATE WITH OUR SYLLABUSES Please check trinityrock.com to make sure you are using the current version of the syllabus and for the latest information about our Rock & Pop exams. You can also check out our syllabuses and graded songbooks for: Bass Drums Guitar Keyboards OVERLAP ARRANGEMENTS This syllabus is valid from 1 January 2018. The 2015–2017 syllabus will remain valid until 31 December 2018, giving a one year overlap. During this time, candidates may present songs from the 2015–2017 syllabus or the syllabus from 2018, but not both. Candidates should indicate which syllabus they are presenting on the appointment form handed to the examiner at the start of the exam. VOCALS SYLLABUS Qualification specifications for graded exams from 2018 Trinity College London trinitycollege.com
    [Show full text]
  • SOCIAL CLASS in AMERICA TRANSCRIPT – FULL Version
    PEOPLE LIKE US: SOCIAL CLASS IN AMERICA TRANSCRIPT – FULL Version Photo of man on porch dressed in white tank top and plaid shorts MAN: He looks lower class, definitely. And if he’s not, then he’s certainly trying to look lower class. WOMAN: Um, blue collar, yeah, plaid shorts. MAN: Lower middle class, something about the screen door behind him. WOMAN ON RIGHT, BROWN HAIR: Pitiful! WOMAN ON LEFT, BLOND HAIR, SUNGLASSES: Lower class. BLACK WOMAN, STANDING WITH WHITE MAN IN MALL: I mean, look how high his pants are up–my god! Wait a minute–I’m sorry, no offense. Something he would do. Photo of slightly older couple. Man is dressed in crisp white shirt, woman in sleeveless navy turtle neck with pearl necklace. WOMAN: Upper class. MAN: Yeah, definitely. WOMAN: Oh yeah. WOMAN: He look like he the CEO of some business. OLD WOMAN: The country club set- picture of smugness. GUY ON STREET: The stereotypical “my family was rich, I got the money after they died, now we’re happily ever after.” They don’t really look that happy though. Montage of images: the living situations of different social classes Song: “When you wish upon a star, makes no difference who you are. Anything your heart desires will come to you. If your heart is in your dream, no request is too extreme.” People Like Us – Transcript - page 2 R. COURI HAY, society columnist: It’s basically against the American principle to belong to a class. So, naturally Americans have a really hard time talking about the class system, because they really don’t want to admit that the class system exists.
    [Show full text]