DOCSLIB.ORG

Wavelength (April 1986)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

University of New Orleans ScholarWorks@UNO Wavelength Midlo Center for New Orleans Studies 4-1986 Wavelength (April 1986) Connie Atkinson University of New Orleans Follow this and additional works at: https://scholarworks.uno.edu/wavelength Recommended Citation Wavelength (April 1986) 66 https://scholarworks.uno.edu/wavelength/58 This Book is brought to you for free and open access by the Midlo Center for New Orleans Studies at ScholarWorks@UNO. It has been accepted for inclusion in Wavelength by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. C0550 ARL K. LONG LIBRARY CQUISITIONS DEPARTMENT UNIVERSITY OF NEW ORLEANS NEW ORLEANS LA 70148 (4\l t. ~ .. ~ PROUD SPONSOR 1986 JAZZ FESTIVAL. ISSUE NO. 66 • APRIL 1986 u/'m not sure. but l'rn almost positive. that all music came from New Orleans ... Ernie K-Doe, 1979 Features Aaron Neville .. ............ ...... 23 MADE THE Charles Connor .... ............... 25 Philip Glass ...... ............. ... 28 AMERICAN WAY Departments April News .. ............. ......... 4 Jazz Fest Update .... .............. 7 Boogie Beat Jive .................. 10 Cabaret . ........ ."12 Film...... ................ 14 Caribbean ................ ...... 16 Rock.. .......... ......... 18 U.S. Indies. : . ........ 20 April Listings . ............ 30 Classifieds ....................... 37 Last Page . ....................... 38 COVER OF AARON NEVILLE BY RICO A1tzmberof NetWCSfk Publisher. Nauman S. Sc::on . Editor, Connie Zcanah Atkinson. Associate Editor. Gene Scar.tmuuo. Of'tk« Manager. Diana Rrnoenberg. Art Director. Eric Gemhau\Cr. Typography. Devlin/Wen(!.cr As:-ociates. Advertising. Eli­ zabeth Fontame. Eileen Sc:mcntelh. Kate Riedl. Contributors. Ivan Bodley. St. Get'fg_t: Bryotn. Bob Catali()l!l, Rick Coleman. Caml Gniady. Gina Gucctone. Ntck Munncllo. Melody Minco. Rick Olivier. Diana Ro:.enberg. Gene Scar­ amuZL.o. Hammond Scon. Dorre Street. Dewey Webb. Wu•·•l•·t~~lh" publhhed monthly in New Orlean>. Telephone: (504) 89~-2342 .. Matl 'ub,cnptt<m,, addre)\!'> chan1e~ tn Wm·l'lrtJKih. P.O. Bo;\ 15667. New Orlean>. LA 70175. Sut..cnpuon rate $12 per year. Foreign S20 per year (Mirface). FiN cia" 'ub\cnption> S28 per year (domestic and Canada) AO a•rm:ul rare a1 S40 per year .(oven..ea~) . The enrire conlents of Wu\'f'lt-nxth are copyn~hted C l986 Wu,·rltnJ:th. Back t~ues are available by wriling to Back '"'ue'· P 0 . Box IS667. New Orlean,. LA 70175. Be<:ause of a hmued supply. back ''-'ues are available for S4 each. Plea~ allow a few weeks forproces~ing and dc:hvery or ordel" New Subscriber": Please allow up IO six wecb for reccipc of fi"l '"'ue due lo our !<.mall. non..computeriz.ed subscripdon depanmenc. For-eign cu>tomer.. may pay by I.M.O or cheek drawn on a U.S. bank. Be<:ausc + of exorbuanl bank proce~sing charges. we cannoc accep1 che<:'b in Canadtan doll:m or other foreign currency. or check.~ drawn on a foreign bank. Subscnbe~ muslllO(ify us tmmediately of any change of address. If noc:ification is no1 rcce1ved. magazines sent lo mcorrecl old add.res.~' will l'tOI be replaced. U.S. cu~tomen mu.<iil include zip code. A RecOrd Ron Oldie Goldie APRIL 1986WAVELENGTH 3 april (!) a: w U) zw U.K. Pianist Plays (J) ~ .. ~ TBA N.D. 5 Fri. 5 New Orleans is a popular destina­ Sat. 6 Luther Kent (midnight) tion for transient piano players. Fri. 11 Luther Kent (10:00 pm) Some great ones, like Professor Sat. 12 Jerry Jeff Walker Bigstuff, stay only a few months or (10:00 pm) weeks; others buy houses and end Fri. 18 Exuma (11:00 pm) their transiency altogether. The latest addition to these ranks (midnight) Sat. 19 Luther Kent is a 23-year-old Englishman Jon Fri. 25 * Original Cast of Cleary. lnspi"'d by an uncle who "One Mo' Time" sent him letters in the early Sevent­ * New Orleans Blue ies about "this weird pianist, Pro­ Serenaders fessor Longhair.·' Cleary started * Sippie Wallace w/ listening to and playing New James Dapagni Orleans music in his mid-teens. He * Chicago Jazz Band first came to town in 1980, plann­ * The Old Time Jazz Band of Helsinki. ing to stay for two weeks but last­ Finland ing two years. This initial sojourn yielded only occasional work - Sat. 26 Zachary Richard subbing, for instance, for James (10:00 pm) Booker when he didn't show at the Sun. 27 Big Twist & The Maple Leaf - but he crammed in Mellow Fellows some valuable listening. (9:00pm) Returning to England, Cleary 28. 29, Musicians Jam toured the English pub circuit with 30 (midnight) his own ensemble, King Kleary and the Savage Mooses. He also backed Dr. John on guitar (he's played the instrument professionally since age 15) whenever Mac made it to Brit­ 1104 DECATUR STREET ain, and eventually yearned .tore­ 525·8199 turn to New Orleans. "If you're playing American music you have to come over reg­ Queen" into "Big Chief'? Cleary intimation of his old-world roots. ularly to get a shot in the arm of guffawed at the thought of that. When he can find a portable key­ it,'' explains Cleary. ''There are As of mid-March, Cle~ry could board he also performs with blues­ some great musicians in England, be heard Tuesdays at the Maple man Mighty Sam McClain. He had but much of the music is imitative, Leaf, playing a mixture of Dr. initially planned to stay just through self conscious English people trying John, Professor Longhair, R&B Jazz Fest but ... you've heard this to play like Americans.'' Like standards and some originals while story before. sneaking a lick from ''God Save the singing in a heartfelt style with little - Tom McDermott NO-TV Is Good TV Tired of watching Phil Collins' bald head? Sick of cutesy-cute Martha Quinn? Weary of stagnant conversa­ tion and sterile plastic videos? Then move your television dial over to Cox Cable Channel 6 on Thursday nights at 6:30 and Saturday nights at 6:30 for a half hour of NO-TV The show features alternative videos and interviews with stars who 'IIIIORY & actually have something to say, as well as the best of the local bands. COMPOIniON Hosted by Ivan Bodley, NO-TV is guaranteed to shake you out of the PIUVA'II LESSONS video doldrums. I spoke with Ivan about NO-TV and he revealed the inner workings 12 years experience and the important concepts behind Bachelor of Music Degree the new TV show. NO-TV's inception began when in Classical Guitar Wavelength discovered the public access channels available on cable. Bunny Matthews, a contributor to Wavelength, had hosted a music in­ dustry talk show on cable and thus JOHN BARR the inspiration for filming an 866-5592 alternative music program struck. Wavelength editor Connie Atkinson DIANA ROSENBERG 4 WAVELENGTWAPRIL 1986 ...._.. -.................n_. ..... ~ called on Bodley because "she by Gumby, Pokey (his rubber shark knew of my work with WTUL and from this past Mardi Gras), a horse­ she thought I'd be a good host due head given to him by (who else?) to my interview and broadcast expe­ Tex and the Horseheads (her name rience." is Sugar, by the way), and always Bodley has been the music direct­ his b~ss guitar (his favorite toy). or of WTUL, Tulane University's Why this environment? alternative radio station. for three "That's the way I want to do it. years and has been nominated for We're not consciously offbeat. It's P.~~~~~ · alternative music director of 1986 fun and spontane;ous. IJ!on't mind by the Gavin Report, a radio trade doing quirky and offbeat things." sheet. He has also been a disc jock­ Certainly a far cry from the pre­ ~ $~ ey for four years on WTUL and dictable video shows on today. does a weekly radio show featuring Why should the video-watching au­ new music. He is a bass player of dience tune into NO-TV instead of RESTLESS VARI~TION local renown, currently involved MTV? A12 song sampler of America's freshest Rock 'n with the Rafael Cruz Quintet and im­ "NO-TV is better and more Roll, from Philadelphia to Boston, Cbicago to los King Nino and the Slave Girls, as aginative. We expose artists who well as playing with many other Angeles. Includes tracks from THE DEAD MILK­ are much more worthy of attention. and 9 others. notables like Bo Diddley: His only Bruce Springsteen doesn't need MEN, MOJO NIXON, FEAR, ALBUM 72101-1 CASSETTE 72101--4 other television experience has been your money. There are fresh new on Bob Brandy's show when he ideas that are coming out as well as was a mere boy in a Cub Scout uni­ the exposure of New Orleans artists form, back in Tennessee. who are deservir.g of publicity.'' So Bodley is J}erhaps the natural The exposure of New Orleans choice to speak to such luminaries artists is very important to NO-TV. as the Circle Jerks and Fishbone. They have interviewed such per­ THE NEIGHBORHOODS When asked what the criteria of formers as Mason Ruffner and The High Hard One ... selection was for interviews and Johnny Jay and the Hitmen. Bood­ One of Boston's most heralded bands, THE NEIGH­ videos, he responded, "All around ley spoke about the unfortunate BORHOODS, burn with an Americanized brand of good taste. Something that's good fallacy of New Orleans artists hav­ Mod/Punk Rock 'n Roll. From the impassioned and alternative.'' ing to•leave New Orleans to achieve lead vocals to the emblazoned guitars, The High The setting of NO-TV is certainly fame. Not true, he says. NO-TV Hard One is an impressive Restless Records debut.
Recommended publications
  • PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 and 1991 Bradley C. Klypchak a Dissertation Submitted to the Graduate

    PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 and 1991 Bradley C. Klypchak a Dissertation Submitted to the Graduate

    PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 AND 1991 Bradley C. Klypchak A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2007 Committee: Dr. Jeffrey A. Brown, Advisor Dr. John Makay Graduate Faculty Representative Dr. Ron E. Shields Dr. Don McQuarie © 2007 Bradley C. Klypchak All Rights Reserved iii ABSTRACT Dr. Jeffrey A. Brown, Advisor Between 1984 and 1991, heavy metal became one of the most publicly popular and commercially successful rock music subgenres. The focus of this dissertation is to explore the following research questions: How did the subculture of heavy metal music between 1984 and 1991 evolve and what meanings can be derived from this ongoing process? How did the contextual circumstances surrounding heavy metal music during this period impact the performative choices exhibited by artists, and from a position of retrospection, what lasting significance does this particular era of heavy metal merit today? A textual analysis of metal- related materials fostered the development of themes relating to the selective choices made and performances enacted by metal artists. These themes were then considered in terms of gender, sexuality, race, and age constructions as well as the ongoing negotiations of the metal artist within multiple performative realms. Occurring at the juncture of art and commerce, heavy metal music is a purposeful construction. Metal musicians made performative choices for serving particular aims, be it fame, wealth, or art. These same individuals worked within a greater system of influence. Metal bands were the contracted employees of record labels whose own corporate aims needed to be recognized.
  • Feminism, Postfeminism, Liz Lemonism: Comedy and Gender Politics on 30 Rock

    Feminism, Postfeminism, Liz Lemonism: Comedy and Gender Politics on 30 Rock

    Genders 1998-2013 Genders 1998-2013 Genders 1998-2013 Home (/gendersarchive1998-2013/) Feminism, Postfeminism, Liz Lemonism: Comedy and Gender Politics on 30 Rock Feminism, Postfeminism, Liz Lemonism: Comedy and Gender Politics on 30 Rock May 1, 2012 • By Linda Mizejewski (/gendersarchive1998-2013/linda-mizejewski) [1] The title of Tina Fey's humorous 2011 memoir, Bossypants, suggests how closely Fey is identified with her Emmy-award winning NBC sitcom 30 Rock (2006-), where she is the "boss"—the show's creator, star, head writer, and executive producer. Fey's reputation as a feminist—indeed, as Hollywood's Token Feminist, as some journalists have wryly pointed out—heavily inflects the character she plays, the "bossy" Liz Lemon, whose idealistic feminism is a mainstay of her characterization and of the show's comedy. Fey's comedy has always focused on gender, beginning with her work on Saturday Night Live (SNL) where she became that show's first female head writer in 1999. A year later she moved from behind the scenes to appear in the "Weekend Update" sketches, attracting national attention as a gifted comic with a penchant for zeroing in on women's issues. Fey's connection to feminist politics escalated when she returned to SNL for guest appearances during the presidential campaign of 2008, first in a sketch protesting the sexist media treatment of Hillary Clinton, and more forcefully, in her stunning imitations of vice-presidential candidate Sarah Palin, which launched Fey into national politics and prominence. [2] On 30 Rock, Liz Lemon is the head writer of an NBC comedy much likeSNL, and she is identified as a "third wave feminist" on the pilot episode.
  • A Comparison of the Piano and Guitar Versions of Isaac Albéniz's Spanish Suite Op

    A Comparison of the Piano and Guitar Versions of Isaac Albéniz's Spanish Suite Op

    A COMPARISON OF THE PIANO AND GUITAR VERSIONS OF ISAAC ALBÉNIZ'S SPANISH SUITE OP. 47 by YI-YIN CHIEN A LECTURE-DOCUMENT Presented to the School of Music and Dance of the University of Oregon in partial fulfillment of the requirements for the degree of Doctor of Musical Arts November 2016 2 “A Comparison of the Piano and Guitar Versions of Isaac Albéniz’s Spanish Suite, Op. 47’’ a document prepared by Yi-Yin Chien in partial fulfillment of the requirements for the Doctor of Musical Arts degree in the School of Music and Dance. This document has been approved and accepted by: Jack Boss, Chair of the Examining Committee Date: November 20th, 2016 Committee in Charge: Dr. Jack Boss, Chair Dr. Juan Eduardo Wolf Dr. Dean Kramer Accepted by: Director of Graduate Studies, School of Music and Dance © 2016 Yi-Yin Chien 3 CURRICULUM VITAE NAME OF AUTHOR: Yi-Yin Chien PLACE OF BIRTH: Taiwan DATE OF BIRTH: November 02, 1986 GRADUATE AND UNDERGRADUATE SCHOOLS ATTENDED: University of Oregon, School of Music and Dance Peabody Institute of the Johns Hopkins University Tainan National University of Arts DEGREES AWARDED: Doctor of Musical Arts, 2016, University of Oregon Master of Music, 2011, Peabody Institute of the Johns Hopkins University Bachelor of Music, 2009, Tainan National University of Arts AREAS OF SPECIAL INTEREST: Piano Pedagogy Music Theory PROFESSIONAL EXPERIENCE: College Piano Teaching, University of Oregon, School of Music and Dance, 09/2014 - 06/2015 Taught piano lessons for music major and non-major college students Graduate Teaching
  • January 2020

    January 2020

    Abington Senior High School, Abington, PA, 19001 January 2020 Decade in Review! With the decade coming to a close a few weeks ago, the editorial staff decided that we should fl ashback to the ideas and moments that shaped the decade. As we adjust to life in the new “roaring twenties,” here is a breakdown of the most prominent events of each year from the past decade. 2010: On January 12, an earthquake registering a magnitude 7.0 on the Richter scale struck Haiti, causing about 250,000 deaths and 300,000 injuries. On March 23, the Aff ordable Care Act is signed into law by Barack Obama. Commonly referred to as “Obamacare,” it was considered one of the most extensive health care reform acts since Medicare, which was passed in 1965. On April 20, a Deepwater Horizon drilling rig exploded over the Gulf of Mexico. Killing eleven people, it is considered one of the worst oil spills in history and the largest in US waters. On July 25, Wikileaks, an organization that allows people to anonymously leak classifi ed information, released more than 90,000 documents related to the Afghanistan War. It is oft en referred to as the largest leak of classifi ed information since the Pentagon Papers during the Vietnam War. Th e New Orleans Saints won their fi rst Super Bowl since Hurricane Katrina, LeBron James made his way to Miami, Kobe Bryant won his fi nal title, and Butler went on a Cinderella run to the NCAA Championship. Th e year fi ttingly set the tone for a decade of player empowerment and underdog victories.
  • The Aftermath of the Porn Rock Wars

    The Aftermath of the Porn Rock Wars

    Loyola of Los Angeles Entertainment Law Review Volume 7 Number 2 Article 1 3-1-1987 Radio-Active Fallout and an Uneasy Truce - The Aftermath of the Porn Rock Wars Jonathan Michael Roldan Follow this and additional works at: https://digitalcommons.lmu.edu/elr Part of the Law Commons Recommended Citation Jonathan Michael Roldan, Radio-Active Fallout and an Uneasy Truce - The Aftermath of the Porn Rock Wars, 7 Loy. L.A. Ent. L. Rev. 217 (1987). Available at: https://digitalcommons.lmu.edu/elr/vol7/iss2/1 This Article is brought to you for free and open access by the Law Reviews at Digital Commons @ Loyola Marymount University and Loyola Law School. It has been accepted for inclusion in Loyola of Los Angeles Entertainment Law Review by an authorized administrator of Digital Commons@Loyola Marymount University and Loyola Law School. For more information, please contact [email protected]. RADIO-ACTIVE FALLOUT AND AN UNEASY TRUCE-THE AFTERMATH OF THE PORN ROCK WARS Jonathan Michael Roldan * "Temperatures rise inside my sugar walls." - Sheena Easton from the song "Sugar Walls."' "Tight action, rear traction so hot you blow me away... I want a piece of your action." - M6tley Criie from the album Shout at the Devil.2 "I'm a fairly with-it person, but this stuff is curling my hair." - Tipper Gore, parent.3 "Fundamentalist frogwash." - Frank Zappa, musician.4 I. OVERTURE TO CONFLICT It began as an innocent listening of Prince's award-winning album, "Purple Rain,"5 and climaxed with heated testimony before the Senate Committee on Commerce in September 1985.6 In the interim the phrase "cleaning up the air" took on new dimensions as one group of parents * B.A., Journalism/Political Science, Cal.
  • Love Songs Press Release

    Love Songs Press Release

    1 THE MOST ROMANTIC SONGS RECORDED BY THE ACCLAIMED AARON NEVILLE, INCLUDING TRACKS WITH LINDA RONSTADT AND THE NEVILLE BROTHERS, COLLECTED ON NEW COMPILATION AARON NEVILLE: LOVE SONGS “With an angelic voice capable of reconciling spiritual opposites-–wisdom and innocence, masculinity and femininity, the sacred and the profane--(Aaron) Neville can pretty much find the soul of any song...(using) that famous catch in his throat to convey the exuberance of unbridled passion.” --Rolling Stone (1995) The sweet soulful voice of Aaron Neville--the most familiar figure of New Orleans’ first family of music--has been brought to bear on love songs since the late ‘60s. Now 14 of those love songs from his most successful period, the ‘80s and ‘90s, have been collected on Aaron Neville: Love Songs (A&M/UME), released January 14, 2003. With the album co-compiled by Neville himself, each digitally remastered track was selected for its power of romance rather than its chart position. As a result, Aaron Neville: Love Songs brings most of these songs, spanning the years 1981 to 1997, together for the first time on any compilation. The album is the latest in the artist-driven, genre-crossing yet thematic Love Songs series which has previously included collections from Etta James, Elton John, and Stephanie Mills and is scheduled to release albums from Diana Ross, Marvin Gaye, the Moody Blues, Peggy Lee and more. Two recordings heard on Aaron Neville: Love Songs are actually from The Neville Brothers (Aaron, Art, Charles and Cyril): their Nawlins renditions of the doo-wop classic “The Ten Commandments Of Love” and ballad standard “Mona Lisa,” both from the siblings’ 1981 Joel Dorn-produced album Fiyo On The Bayou.
  • Here It Might, As Long As It’S Somewhere Worth Traveling

    Here It Might, As Long As It’S Somewhere Worth Traveling

    BRUCE ROBISON Bruce Robison has been making music professionally for decades. He still discusses his craft with so much enthusiasm he sounds almost like a kid raving about superheroes. That infectious energy is evident in every note of his new album, Bruce Robison & the Back Porch Band, as well as his new project, The Next Waltz, a blossoming community of artists, fans and friends gathering both virtually and at his recording studio in Lockhart, just outside of Austin. In both cases, the point is to celebrate country music’s rich traditions while giving creativity free rein to go where it might, as long as it’s somewhere worth traveling. It’s also about celebrating Robison’s “love of the craft of song.” “Writing is where it all starts for me,” he explains. “Whether it’s my writing, or songs I want to do with somebody else. I love the mechanics of it; how simple it can be.” Keeping it simple — and organic — was the guiding principle behind the latest album, a collection of Robison originals, co-writes and covers that capture country’s most beloved stylistic elements: good-time, lighthearted romps (“Rock and Roll Honky Tonk Ramblin’ Man”; “Paid My Dues”) and wistful, sometimes bittersweet ballads (“Long Time Coming”; “Still Doin’ Time”). But even the Who’s “Squeezebox” — which Robison calls “a great country song by some English dudes” — shows up, in a lively version dressed with cajun fiddle by Warren Hood and acoustic guitar and harmonies by Robison’s wife, Kelly Willis. Hood is one of a hand-picked crew of regulars tapped for Next Waltz recording sessions with Jerry Jeff Walker, Randy Rogers, Jack Ingram, Rodney Crowell, Willis, Hayes Carll, Turnpike Troubadours, Sunny Sweeney, Reckless Kelly and others.
  • Aes 143Rd Convention Program October 18–21, 2017

    Aes 143Rd Convention Program October 18–21, 2017

    AES 143RD CONVENTION PROGRAM OCTOBER 18–21, 2017 JAVITS CONVENTION CENTER, NY, USA The Winner of the 143rd AES Convention To be presented on Friday, Oct. 20, Best Peer-Reviewed Paper Award is: in Session 15—Posters: Applications in Audio A Statistical Model that Predicts Listeners’ * * * * * Preference Ratings of In-Ear Headphones: Session P1 Wednesday, Oct. 18 Part 1—Listening Test Results and Acoustic 9:00 am – 11:00 am Room 1E11 Measurements—Sean Olive, Todd Welti, Omid Khonsaripour, Harman International, Northridge, SIGNAL PROCESSING CA, USA Convention Paper 9840 Chair: Bozena Kostek, Gdansk University of Technology, Gdansk, Poland To be presented on Thursday, Oct. 18, in Session 7—Perception—Part 2 9:00 am P1-1 Generation and Evaluation of Isolated Audio Coding * * * * * Artifacts—Sascha Dick, Nadja Schinkel-Bielefeld, The AES has launched an opportunity to recognize student Sascha Disch, Fraunhofer Institute for Integrated members who author technical papers. The Student Paper Award Circuits IIS, Erlangen, Germany Competition is based on the preprint manuscripts accepted for the Many existing perceptual audio codec standards AES convention. define only the bit stream syntax and associated decod- A number of student-authored papers were nominated. The er algorithms, but leave many degrees of freedom to the excellent quality of the submissions has made the selection process encoder design. For a systematic optimization of encod- both challenging and exhilarating. er parameters as well as for education and training of The award-winning student paper will be honored during the experienced test listeners, it is instrumental to provoke Convention, and the student-authored manuscript will be consid- and subsequently assess individual coding artifact types ered for publication in a timely manner for the Journal of the Audio in an isolated fashion with controllable strength.
  • Boston Symphony Orchestra Concert Programs, Season 110, 1990-1991, Subscription

    Boston Symphony Orchestra Concert Programs, Season 110, 1990-1991, Subscription

    &Bmm HHH 110th Season 19 9 0-91 Boston Symphony Orchestra Seiji Ozawa, Music Director 90th Anniversary of Symphony Hall m<K Only The few will own an aldemars. Only the few will seek the exclusivity that comes with owning an Audemars Piguet. Only the few will recognize wn more than a century of technical in- f\Y novation; today, that innovation is reflected in our ultra-thin mech- Memars Piguet anical movements, the sophistica- tion of our perpetual calendars, and more recently, our dramatic new watch with dual time zones. Only the few will appreciate The CEO Collection which includes a unique selection of the finest Swiss watches man can create. Audemars Piguet makes only a limited number of watches each year. But then, that's something only the few will understand. SHREVECRUMP &LOW JEWELERS SINCE 1800 330BOYLSTON ST., BOSTON, MASS. 02116 (617) 267-9100 • 1-800-225-7088 THE MALL AT CHESTNUT HILL • SOUTH SHORE PLAZA Seiji Ozawa, Music Director Grant Llewellyn and Robert Spano, Assistant Conductors One Hundred and Tenth Season, 1990-91 Trustees of the Boston Symphony Orchestra, Inc. Nelson J. Darling, Jr., Chairman Emeritus J. P. Barger, Chairman George H. Kidder, President Mrs. Lewis S. Dabney, Vice-Chairman Archie C. Epps, Vice-Chairman Mrs. John H. Fitzpatrick, Vice-Chairman William J. Poorvu, Vice-Chairman and Treasurer David B. Arnold, Jr. Avram J. Goldberg Mrs. August R. Meyer Peter A. Brooke Mrs. R. Douglas Hall III Mrs. Robert B. Newman James F. Cleary Francis W. Hatch Peter C. Read John F. Cogan, Jr. Julian T. Houston Richard A.
  • Rhythm, Dance, and Resistance in the New Orleans Second Line

    Rhythm, Dance, and Resistance in the New Orleans Second Line

    UNIVERSITY OF CALIFORNIA Los Angeles “We Made It Through That Water”: Rhythm, Dance, and Resistance in the New Orleans Second Line A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Ethnomusicology by Benjamin Grant Doleac 2018 © Copyright by Benjamin Grant Doleac 2018 ABSTRACT OF THE DISSERTATION “We Made It Through That Water”: Rhythm, Dance, and Resistance in the New Orleans Second Line by Benjamin Grant Doleac Doctor of Philosophy in Ethnomusicology University of California, Los Angeles, 2018 Professor Cheryl L. Keyes, Chair The black brass band parade known as the second line has been a staple of New Orleans culture for nearly 150 years. Through more than a century of social, political and demographic upheaval, the second line has persisted as an institution in the city’s black community, with its swinging march beats and emphasis on collective improvisation eventually giving rise to jazz, funk, and a multitude of other popular genres both locally and around the world. More than any other local custom, the second line served as a crucible in which the participatory, syncretic character of black music in New Orleans took shape. While the beat of the second line reverberates far beyond the city limits today, the neighborhoods that provide the parade’s sustenance face grave challenges to their existence. Ten years after Hurricane Katrina tore up the economic and cultural fabric of New Orleans, these largely poor communities are plagued on one side by underfunded schools and internecine violence, and on the other by the rising tide of post-disaster gentrification and the redlining-in- disguise of neoliberal urban policy.
  • Rhythm & Blues Rhythm & Blues S E U L B & M H T Y

    Rhythm & Blues Rhythm & Blues S E U L B & M H T Y

    64 RHYTHM & BLUES RHYTHM & BLUES ARTHUR ALEXANDER JESSE BELVIN THE MONU MENT YEARS CD CHD 805 € 17.75 GUESS WHO? THE RCA VICTOR (Baby) For You- The Other Woman (In My Life)- Stay By Me- Me And RECORD INGS (2-CD) CD CH2 1020 € 23.25 Mine- Show Me The Road- Turn Around (And Try Me)- Baby This CD-1:- Secret Love- Love Is Here To Stay- Ol’Man River- Now You Baby That- Baby I Love You- In My Sorrow- I Want To Marry You- In Know- Zing! Went The My Baby’s Eyes- Love’s Where Life Begins- Miles And Miles From Strings Of My Heart- Home- You Don’t Love Me (You Don’t Care)- I Need You Baby- Guess Who- Witch craft- We’re Gonna Hate Ourselves In The Morn ing- Spanish Harlem- My Funny Valen tine- Concerte Jungle- Talk ing Care Of A Woman- Set Me Free- Bye Bye Funny- Take Me Back To Love- Another Time, Another Place- Cry Like A Baby- Glory Road- The Island- (I’m Afraid) The Call Me Honey- The Migrant- Lover Please- In The Middle Of It All Masquer ade Is Over- · (1965-72 ‘Monument’) (77:39/28) In den Jahren 1965-72 Alright, Okay, You Win- entstandene Aufnahmen in seinem eigenwilligen Stil, einer Ever Since We Met- Pledg- Mischung aus Soul und Country Music / his songs were covered ing My Love- My Girl Is Just by the Stones and Beatles. Unique country-soul music. Enough Woman For Me- SIL AUSTIN Volare (Nel Blu Dipinto Di SWINGSATION CD 547 876 € 16.75 Blu)- Old MacDonald (The Dogwood Junc tion- Wildwood- Slow Walk- Pink Shade Of Blue- Charg ers)- Dandilyon Walkin’ And Talkin’- Fine (The Charg ers)- CD-2:- Brown Frame- Train Whis- Give Me Love- I’ll Never
  • LIT2013000004 - Andy Gibb.Pdf

    LIT2013000004 - Andy Gibb.Pdf

    •, \.. .. ,-,, i ~ .«t ~' ,,; ~-· ·I NOT\CE OF ENTR'Y.OF APPEARANCE AS AllORNE'< OR REPRESEN1' Al\VE DATE In re: Andrew Roy Gibb October 27, 1978 application for status as permanent resident FILE No. Al I (b)(6) I hereby enter my appearanc:e as attorney for (or representative of), and at the reQUest of, the fol'lowing" named person(s): - NAME \ 0 Petitioner Applicant Andrew Roy Gibb 0 Beneficiary D "ADDRESS (Apt. No,) (Number & Street) (City) (State) (ZIP Code) Mi NAME O Applicant (b)(6) D ADDRESS (Apt, No,) (Number & Street) (City} (ZIP Code) Check Applicable ltem(a) below: lXJ I I am an attorney and a member in good standing of the bar of the Supreme Court of the United States or of the highest court of the following State, territory; insular possession, or District of Columbia A;r;:ka.nsa§ Simt:eme Coy;ct and am not under -a (NBme of Court) court or administrative agency order ·suspending, enjoining, restraining, disbarring, or otherwise restricting me in practicing law. [] 2. I am an accredited representative of the following named religious, charitable, ,social service, or similar organization established in the United States and which is so recognized by the Board: [] i I am associated with ) the. attomey of record who previously fited a notice of appearance in this case and my appearance is at his request. (If '!J<?V. check this item, also check item 1 or 2 whichever is a1wropriate .) [] 4. Others (Explain fully.) '• SIGNATURE COMPLETE ADDRESS Willi~P .A. 2311 Biscayne, Suite 320 ' By: V ? Litle Rock, Arkansas 72207 /I ' f.