DOCSLIB.ORG

KLOS March10th 2013

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
KLOS March10th 2013 PLAYLIST MARCH 10, 2013 8AM? NO It’s 9AM! The Beatles - I’m So Tired - The Beatles (Lennon-McCartney) Lead vocal: John John Lennon’s “I’m So Tired” was started and finished in 14 takes on October 8, 1968. No overdubs were added. The session was a marathon 16-hour session which started at 4 p.m. on the 8th and finished at 8 a.m. on October 9 (John’s 28th birthday), and saw the completion of two Lennon compositions (“I’m So Tired” and “The Continuing Story Of Bungalow Bill”) and work on George Harrison’s “Long Long Long.” Written in India while the Beatles were studying Transcendental Meditation under Maharishi Mahesh Yogi, the all-day regime in Rishikesh, India, prevented John from sleeping at night, so he decided to write A song about it. The Beatles - I’m Only Sleeping - Revolver (Lennon-McCartney) Lead vocal: John Written by John and Paul at Kenwood, John’s estate in Weybridge, in one writing session. Recording of the backing rhythm track began at 11:30 p.m. on April 27, 1966. John recorded his lead vocal on April 29. Both the vocal and backing track were recorded at variable speed. It was during the recording of “I’m Only Sleeping” that The Beatles discovered the “backwards guitar.” On May 5, 1966, as the band continued working on the song, George painstakingly transcribed the notes in his guitar solo and flourishes and then wrote them out backwards. He then played them in that reverse order. The tapes were then superimposed BACKWARDS in the mix, playing the solo notes and embellishments in the correct order, but maintaining the eerie backwards sound. “I’m Only Sleeping” was one of three songs issued in America six weeks prior to their official release in the UK. American and Canadian Beatles fans heard “I’m Only Sleeping,” “And Your Bird Can Sing,” and “Doctor Robert” first on Capitol Records’ “Yesterday And Today” album, issued June 20, 1966. The rest of the world had to wait until the first week of August for them to appear on the “Revolver” LP. On U.S. album: Yesterday And Today - Capitol LP The Beatles - I’ll Follow The Sun - Beatles For Sale (Lennon-McCartney) Lead vocal: Paul One of the earliest Beatle originals, “I’ll Follow The Sun” was composed entirely in 1959 by Paul McCartney in the front room of his family home on Forthlin Road in Liverpool. Recorded in eight takes on October 18, 1964. On U.S. album: Beatles ‘65 - Capitol LP 9.10 BREAK So a little heads up… If & when you hear Pattie Boyd remind you to turn yer clocks ahead an hour…be the 9th caller @ 800.955.KLOS and get yerself a pair of tix to see American English: The Complete Beatles Tribute at the Cerritos Center for the Performing Arts on 3/16 and a copy of the Beatles LOVE SDTK CD The Beatles - I’ll Be Back - A Hard Day’s Night (Lennon-McCartney) Lead vocal: John Recorded in 16 takes on June 1, 1964. “I'll Be Back” was written mostly by John Lennon, and was a reworking of the chords to Del Shannon's 1961 hit “Runaway.” Beatles fans in America would have to wait five months to hear this exquisite Beatles song, one of Lennon finest compositions, because Capitol Records held it off their “Something New” album and released it on “Beatles ‘65” in December 1964. On U.S. album: Beatles ‘65 - Capitol LP The Beatles - You’ve Got To Hide Your Love Away - Help! (Lennon-McCartney) Lead vocal: John Recorded in less than two hours on February 18, 1965. Written entirely by John Lennon, who freely admitted the obvious Bob Dylan influence. Lennon wrote this at Kenwood, his home on the St. George’s Hill estate in Weybridge, Surrey (where the Beatles would be photographed for the cover of their “Rubber Soul” album). John’s original lyric was “I can’t go on feeling two foot tall,” but when singing it for Paul the first time he accidentally said, two foot “small.” Lennon then laughed and said, “Let’s leave it … all those pseudes will really love it.” The first of their songs since “Love Me Do” in 1962 to feature an outside musician. Johnnie Scott provides the flute solo at the end of the song, though he is not credited on the album jacket. On U.S. album: Help! - Capitol LP Paul & Linda McCartney - Another Day Also written around the “Let it Be” sessions, this was a similar narrative to Eleanor Rigby, again dealing with a lonely woman. This was specifically referenced in John’s “How Do You Sleep” in the Imagine album. 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 The Beatles - If I Needed Someone - Rubber Soul (Harrison) Lead vocal: George The fourth original composition by George Harrison to be recorded by The Beatles was heavily inspired by the 12-string guitar sound of The Byrds. The introduction of George Harrison’s “If I Needed Someone” is strikingly similar to the introduction of The Byrds’ “The Bells Of Rhymney.” Harrison commented that the song was “like a million other songs written around the D chord.” The backing track was recorded in one take on October 16, 1965. George’s double-tracked lead vocal and John and Paul’s backing vocals were added two days later. The song was performed live by The Beatles in late 1965 and was a staple of their 1966 world tour. On U.S. album: Yesterday and Today - Capitol LP The Beatles - No Reply - Beatles For Sale (Lennon-McCartney) Lead vocal: John Recorded in eight takes on September 30, 1964. Written entirely by John Lennon. John and Paul had been giving away a treasure trove of original compositions to other artists to record and release because they felt the songs were too pop for Beatles records. John had planned to give “No Reply” to another Brian Epstein managed artist, Tommy Quickly, to record, but those plans were cancelled in early August 1964 when it was determined the group was going to be short of new material for their upcoming album. The song’s storyline was based somewhat on “Silhouettes,” a number three hit in the U.S. for the R&B group the Rays, which was later covered with great success by Herman’s Hermits. Lennon: “I had that image of walking down the street and seeing her silhouetted in the window and not answering the phone.” Includes some nice piano work from producer George Martin. On U.S. album: Beatles ‘65 - Capitol LP The Beatles - All I’ve Got to Do – With The Beatles (Lennon-McCartney) Lead vocal: John Written entirely by John Lennon and introduced to the other Beatles at the session at which it was recorded, The Beatles never played the song again. Lennon has said this soulful ballad was his attempt at making a Smokey Robinson song. Recorded on September 11, 1963 in 14 takes with an overdub (presumably George’s introductory guitar chord) becoming “take 15” and the finished version. “All I’ve Got to Do” marked a rare instance in which John’s lead vocal was not double-tracked. On U.S. album: Meet The Beatles! - Capitol LP The Beatles - A Taste of Honey – Please Please Me (Scott-Marlow) Lead vocal: Paul The Beatles knew that adding a variety of music styles to their stage act would garner them more bookings. They loved ballads and were always on the hunt for songs that would add a touch of ‘sophistication’ to their live show. Among the songs they found to fit this need was the ballad “A Taste Of Honey.” A popular instrumental of the day, the band came across a version with lyrics and added it to their repertoire in 1962. Bobby Scott’s original version won the Grammy Award for Best Instrumental Theme of 1962. The title was sometimes sung as “A waste of money” by Beatle John at 1962 and 1963 shows. Paul’s vocal was double-tracked here, the only time this was done on the debut LP. On U.S. albums: Introducing… The Beatles - Vee-Jay LP The Early Beatles - Capitol LP The Beatles - I Call Your Name - Long Tall Sally EP (Lennon-McCartney) Lead vocal: John Composed by John Lennon and originally given to Billy J. Kramer with the Dakotas to use as the b-side of another Lennon song (credited to Lennon- McCartney), “Bad to Me.” Both songs had been recorded at Abbey Road by Kramer and band on June 27, 1963, with Paul McCartney in attendance. The Beatles’ version was recorded in seven takes on March 1, 1964. On U.S. album: The Beatles’ Second Album - Capitol LP U.K.: Non-album track (EP song) 9.42 BREAK So a little heads up… If when you hear Pattie Boyd remind you to turn yer clocks ahead an hour…be the 9th caller @ 800.955.KLOS and get yerself a pair of tix to see American English: The Complete Beatles Tribute at the Cerritos Center for the Performing Arts on 3/16 and a copy of the Beatles LOVE SDTK CD…Good morning! The Beatles – Good Morning Good Morning - Sgt.
Load more

Recommended publications
  • A Queer Aes- Thetic Is Suggested in the Nostalgia of Orton’S List of 1930S Singers, Many of Whom Were Sex- Ual Nonconformists
    Orton in Deckchair in Tangier. Courtesy: Orton Collection at the University of Leicester, MS237/5/44 © Orton Estate Rebel playwright Joe Orton was part of a ‘cool customer’, Orton shopped for the landscape of the Swinging Sixties. clothes on Carnaby Street, wore ‘hipster Irreverent black comedies that satirised pants’ and looked – in his own words the Establishment, such as Entertaining – ‘way out’. Although he cast himself Mr Sloane (1964), Loot (1965) and as an iconoclast, Emma Parker suggests What the Butler Saw (first performed that Orton’s record collection reveals a in 1969), contributed to a new different side to the ruffian playwright counterculture. Orton’s representation who furiously pitched himself against of same-sex desire on stage, and polite society. The music that Orton candid account of queer life before listened to in private suggests the same decriminalisation in his posthumously queer ear, or homosexual sensibility, that published diaries, also made him a shaped his plays. Yet, stylistically, this gay icon. Part of the zeitgeist, he was music contradicts his cool public persona photographed with Twiggy, smoked and reputation for riotous dissent. marijuana with Paul McCartney and wrote a screenplay for The Beatles. Described by biographer John Lahr as A Q U E E R EAR Joe Orton and Music 44 Music was important to Joe Orton from an early age. His unpublished teenage diary, kept Issue 37 — Spring 2017 sporadically between 1949 and 1951, shows that he saved desperately for records in the face of poverty. He also lovingly designed and constructed a record cabinet out of wood from his gran’s old dresser.
    [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]
  • John Lennon from ‘Imagine’ to Martyrdom Paul Mccartney Wings – Band on the Run George Harrison All Things Must Pass Ringo Starr the Boogaloo Beatle
    THE YEARS 1970 -19 8 0 John Lennon From ‘Imagine’ to martyrdom Paul McCartney Wings – band on the run George Harrison All things must pass Ringo Starr The boogaloo Beatle The genuine article VOLUME 2 ISSUE 3 UK £5.99 Packed with classic interviews, reviews and photos from the archives of NME and Melody Maker www.jackdaniels.com ©2005 Jack Daniel’s. All Rights Reserved. JACK DANIEL’S and OLD NO. 7 are registered trademarks. A fine sippin’ whiskey is best enjoyed responsibly. by Billy Preston t’s hard to believe it’s been over sent word for me to come by, we got to – all I remember was we had a groove going and 40 years since I fi rst met The jamming and one thing led to another and someone said “take a solo”, then when the album Beatles in Hamburg in 1962. I ended up recording in the studio with came out my name was there on the song. Plenty I arrived to do a two-week them. The press called me the Fifth Beatle of other musicians worked with them at that time, residency at the Star Club with but I was just really happy to be there. people like Eric Clapton, but they chose to give me Little Richard. He was a hero of theirs Things were hard for them then, Brian a credit for which I’m very grateful. so they were in awe and I think they had died and there was a lot of politics I ended up signing to Apple and making were impressed with me too because and money hassles with Apple, but we a couple of albums with them and in turn had I was only 16 and holding down a job got on personality-wise and they grew to the opportunity to work on their solo albums.
    [Show full text]
  • The Rock Bottom Party Band Sample List of Songs Songs Are in No
    The Rock Bottom Party Band Sample List of Songs Song Original Artist Song Original artist Peaceful Easy Feeling Eagles Jumping Jack Flash Stones If I Needed Someone Beatles End Of The Line Wilburys Daydream Believer Monkeys I Can’t Help Myself ------- Road to Hell Chris Rea Happy Together Turtles Hotel California Eagles Day Tripper Beatles Love Potion Number 9 Searchers Summer of 69 Brian Adams Please Mr Postman Beatles I’m a Believer Monkies When Im Ded & Gone McGuinness Flint Brown Sugar Stones Tainted Love Soft Cell Sorrow Merseys Keep on Running Spencer Davis Gotta Get Out of This Place Animals Brown Eyed Girl Van Morrison Save the Last Dance for Me Various Take It To The Limit Eagles Stand By Me Various Country Roads John Denver Sunny Afternoon Kinks Money For Nothing Dire Straits Tequila Sunrise Eagles Dont Look Bck In Angr Oasis Please don’t tease Cliff/shadows Juliet Four Pennies I can’t let go Hollies Apache Shadows Honky Tonk Woman Stones Yellow Coldplay Poison Ivy Searchers Move It Cliff/Shadows I Love to Boogie Bolan Jail House Rock Elvis When You Walk in the Room Searchers You Really Got Me Kinks Pretty Woman Orbison Eight Days A Week Beatles When You Say Nthing At All Boyzone Just One Look Hollies Theme For Young Lovers Shadows Do You Wanna Dance Cliff/Shadows Glad All Over Dave Clark Coz I Luv You Slade Twist and Shout Beatles The Locomotion Little Eva/ Kylie I Saw Her Standing There Beatles Sleepwalk Shadows Mustang Sally Commitments I Can’t Let Go Hollies Hi Ho Silver Lining Beck Songs are in no particular order or grouping .
    [Show full text]
  • BEACH BOYS Vs BEATLEMANIA: Rediscovering Sixties Music
    The final word on the Beach Boys versus Beatles debate, neglect of American acts under the British Invasion, and more controversial critique on your favorite Sixties acts, with a Foreword by Fred Vail, legendary Beach Boys advance man and co-manager. BEACH BOYS vs BEATLEMANIA: Rediscovering Sixties Music Buy The Complete Version of This Book at Booklocker.com: http://www.booklocker.com/p/books/3210.html?s=pdf BEACH BOYS vs Beatlemania: Rediscovering Sixties Music by G A De Forest Copyright © 2007 G A De Forest ISBN-13 978-1-60145-317-4 ISBN-10 1-60145-317-5 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, recording or otherwise, without the prior written permission of the author. Printed in the United States of America. Booklocker.com, Inc. 2007 CONTENTS FOREWORD BY FRED VAIL ............................................... XI PREFACE..............................................................................XVII AUTHOR'S NOTE ................................................................ XIX 1. THIS WHOLE WORLD 1 2. CATCHING A WAVE 14 3. TWIST’N’SURF! FOLK’N’SOUL! 98 4: “WE LOVE YOU BEATLES, OH YES WE DO!” 134 5. ENGLAND SWINGS 215 6. SURFIN' US/K 260 7: PET SOUNDS rebounds from RUBBER SOUL — gunned down by REVOLVER 313 8: SGT PEPPERS & THE LOST SMILE 338 9: OLD SURFERS NEVER DIE, THEY JUST FADE AWAY 360 10: IF WE SING IN A VACUUM CAN YOU HEAR US? 378 AFTERWORD .........................................................................405 APPENDIX: BEACH BOYS HIT ALBUMS (1962-1970) ...411 BIBLIOGRAPHY....................................................................419 ix 1. THIS WHOLE WORLD Rock is a fickle mistress.
    [Show full text]
  • BIRTH PARENT NEWSLETTER What Is Your Story?
    BIRTH PARENT NEWSLETTER Spring 2018 What is your story? PAGE 5 INSIDE FEATURE STORY PLUS 18th Annual Birth Meet Brittany: The latest updates, Mother Dinner Details An Adoptee Story encouragement, events, PAGE 3 and more! CHANGING HEARTS. SAVING LIVES. BUILDING FAMILIES. RESTORING HOPE. POST ADOPTION SERVICES Dear Birth Parents, At New Life Family Services, we realize that adoption is a lifelong I placed my daughter for adoption almost 9 years ago. When I found out I was journey and different adoption pregnant I was 22 years old and a sophomore in college. I never thought that this related needs can arise through- would happen to me, and I was terrified about what the next year of my life would out the years. New Life Family bring. After I gave birth to my daughter, Services is committed to offering watching another couple walk out of the you as much support as possible hospital room with my baby was one of to assist you in seeking answers to the hardest things I have ever had to do. your questions, searching for your Despite the immense grief I was feeling child’s birth family, reconnecting I knew I would eventually find healing. after you have lost contact, or ex- ploring opportunities for new levels Over the years I have learned that we are of openness. Here are some of the not meant to carry our burdens alone. many services we can offer: We are created to be in community with each other. Kelsey gave birth to her daughter, Ava, in July 2009. • Passing correspondence between One way that I have found this community adoptive family and birth family is by sharing my story of adoption.
    [Show full text]
  • A Day in the Life of Your Data
    A Day in the Life of Your Data A Father-Daughter Day at the Playground April, 2021 “I believe people are smart and some people want to share more data than other people do. Ask them. Ask them every time. Make them tell you to stop asking them if they get tired of your asking them. Let them know precisely what you’re going to do with their data.” Steve Jobs All Things Digital Conference, 2010 Over the past decade, a large and opaque industry has been amassing increasing amounts of personal data.1,2 A complex ecosystem of websites, apps, social media companies, data brokers, and ad tech firms track users online and offline, harvesting their personal data. This data is pieced together, shared, aggregated, and used in real-time auctions, fueling a $227 billion-a-year industry.1 This occurs every day, as people go about their daily lives, often without their knowledge or permission.3,4 Let’s take a look at what this industry is able to learn about a father and daughter during an otherwise pleasant day at the park. Did you know? Trackers are embedded in Trackers are often embedded Data brokers collect and sell, apps you use every day: the in third-party code that helps license, or otherwise disclose average app has 6 trackers.3 developers build their apps. to third parties the personal The majority of popular Android By including trackers, developers information of particular individ- and iOS apps have embedded also allow third parties to collect uals with whom they do not have trackers.5,6,7 and link data you have shared a direct relationship.3 with them across different apps and with other data that has been collected about you.
    [Show full text]
  • “The Beatles Raise the Bar-Yet Again”By Christopher Parker
    “The Beatles Raise the Bar-Yet Again” by Christopher Parker I know what you’re thinking. You’re thinking, Parker, everyone knows that 1967’s Sgt. Pepper‘s Lonely Hearts Club Band is the Beatles’ greatest album and in fact the greatest album of all time. Nope. No way. I beg to differ. In my humble opinion, 1966’s Revolver, the Beatles album released the year before Sgt. Pepper, is the greatest. Why, you ask? In many ways, Revolver was the beginning of a new era, not only in the career of the Beatles, but in the ever-changing world of rock & roll. The world’s greatest rock band was beginning to tire of the endless touring amidst the chaos of Beatlemania. The constant battling against hordes of screaming fans, and a life lived being jostled and shoved from one hotel room to another were becoming more than tiresome. In addition, during a concert, the volume of screams often exceeded 120 decibels-approximately the same noise level as one would be exposed to if he were standing beside a Boeing 747 during takeoff. No one was listening to their music, and consequently, they were beginning to feel like, as John Lennon would later say, ‘waxworks’ or ‘performing fleas.’ Revolver signals a change from the ‘She Loves You’ era-relatively simple songs of love and relationships- to a new era of songs designed to be listened to. These were songs that could never be played at a live concert. They were creations-works of art-songs that were created to be appreciated and discussed-not to elicit screams from teenage girls.
    [Show full text]
  • A DAY in the LIFE of a SUPERHERO… (Or of a Children’S Ministry Staff Person)
    SKIT - Sunday School Teacher Appreciation Day Sunday School Center www.SundaySchoolCenter.com A DAY IN THE LIFE OF A SUPERHERO… (Or of a Children’s Ministry Staff Person) TYPE: SKIT to recognize Children’s (or Youth) Ministry Staff Person LENGTH: 6-8 minutes SYNOPSIS: Lisa is your typical Children’s Ministry staff person. She is having a typical day, except that things aren’t going well. One disappointing thing after another happens. Finally, when alone, she prays and asks God to help encourage her… just a little… to help her get through the day. Suddenly everything turns around. People start volunteering to help, parents call to encourage, and she finds out that a letter she was handed at the beginning of the skit holds a note from a child who has just accepted Christ as her Savior. The Pastor enters to sum up the spiritual realities, and everyone goes out for coffee. Just your typical day in the life of a superhero… or in this case, of a Children’s Ministry staff person. CHARACTERS: LISA - A typical Children’s Ministry Staff member PASTOR - The Pastor at the church BEN & JERRY - Youth Workers who go everywhere together (they dress very casually and talk like “Surfer Dudes”) HELPER - A church member who helps out during the week in the office 1st Female Voice - A frustrating “parent-type” who is only heard over the sound system 2nd Female Voice - A helpful “parent-type” who is only heard over the sound system Child’s Voice - A young child who reads a letter she has written to LISA SETTING: A typical church office.
    [Show full text]
  • KLOS Harrisongs B'day 2015
    1 Three hours of GEORGE HARRISONGS – With and without the Beatles to celebrate his birth which took place this week 72 years ago. PLAYLIST Feb.22nd 2015 2 OPEN/9am George Harrison – Apple Scruffs - All Things Must Pass ‘70 This was a salute to the girls (and sometimes boys) who stood vigil at Apple, Abbey Road and anyplace a Fab was to likely to be. Upon recording the tune, George invited the “Apple Scruffs,” into the studio to have a listen. The Beatles - I Want To Tell You - Revolver (Harrison) Lead vocal: George The backing track was recorded in five takes on June 2, 1966. George Harrison's third song on “Revolver,” was, he later said, "about the avalanche of thoughts that are so hard to write down or say or transmit." Once again Harrison had no idea what to call his composition. The band briefly kicked around random ideas, and the song was recorded under the working title “Laxton's Superb,” a type of apple. It later became known as “I Don't Know,” which was George’s answer when producer George Martin asked whether Harrison had come up with a title. By the day of the final mix (June 6, 1966), Harrison had settled on the title “I Want To Tell You.” Contains the first bass overdub on a Beatles record. Paul had his bass recorded on a different track really allowed for more options when it came time to mix the song. On U.S. album: Revolver - Capitol LP 3 The Beatles - Blue Jay Way - Magical Mystery Tour (EP) (Harrison) Lead vocal: George Written by George Harrison on August 1, 1967 while vacationing in a rented house in the Hollywood Hills above Los Angeles.
    [Show full text]
  • Lost-And-Found Photos: Practices and Perceptions
    University of Massachusetts Amherst ScholarWorks@UMass Amherst Doctoral Dissertations Dissertations and Theses March 2016 Lost-and-found Photos: Practices and Perceptions Todd J. Wemmer University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/dissertations_2 Part of the Digital Humanities Commons, and the Photography Commons Recommended Citation Wemmer, Todd J., "Lost-and-found Photos: Practices and Perceptions" (2016). Doctoral Dissertations. 605. https://doi.org/10.7275/7941035.0 https://scholarworks.umass.edu/dissertations_2/605 This Open Access Dissertation is brought to you for free and open access by the Dissertations and Theses at ScholarWorks@UMass Amherst. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. Lost-and-found Photos: Practices and Perceptions A Dissertation Presented by TODD J WEMMER Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY February 2016 Department of Communication © Copyright by Todd J Wemmer 2016 All Rights Reserved Lost-and-Found Photos: Practices and Perceptions A Dissertation Presented By TODD J WEMMER Approved as to style and content by: _________________________________________________ Carolyn Anderson, Chair _________________________________________________ Emily West, Member _________________________________________________ Jackie Urla, Member __________________________________________ Erica Scharrer, Department Head Department of Communication DEDICATION For my father, Jerry J Wemmer, who taught me how to use a camera and to be a collector. ACKNOWLEDGMENTS First, I would like to thank my advisor, Carolyn Anderson, for endless support throughout the process of creating this dissertation.
    [Show full text]
  • Für Sonntag, 21
    InfoMail 08.07.16: Musikgeschicht, auch die der BEATLES in Buchform: KRAMER, STORM, KLEIN /// MANY YEARS AGO Weitere Info und/oder bestellen: Einfach Abbildung anklicken InfoMails abbestellen oder umsteigen (täglich, wöchentlich oder monatlich): Nur kurze Email schicken an [email protected] WhatsApp für MegaKurzInfo: Bitte eine WhatsApp senden: 01578-0866047 (Nummer speziell für WhatsApp geschaltet.) Hallo M.B.M.! Hallo BEATLES-Fan! Im Beatles Museum erhältlich: Musikgeschicht auch die der BEATLES in Buchform Dienstag, 3. Mai 2016: BILLY J. KRAMER: Buch DO YOU WANT TO KNOW A SECRET? - THE AUTOBIOGRAPHY OF BILLY J. KRAMER. 27,90 € Autoren: BILLY J. KRAMER mit Alyn Shipton. Verlag: Equinox Publishing, Großbritannien. Gebundenes Buch; Format: 23,4 cm x 15,6 cm; 200 Seiten; 30 Schwatzweiß-Fotos; englischsprachig. Inhalt: Acknowledgement; Forword; Chapter 1 - Little Children - 1943-1958; Chapter 2 - I'll Be On My Way - 1958-1962; Chapter 3 - Silver Dream - 1963-1964; Chapter 4 - It's Gotta Last Forever - 1964-1967; Chapter 5 - Twilight Time - 1967-1970: Chapter 6 - Gone Away - 1970-1971; Chapter 7 - You Can't Live On Memories - 1972-983; Chapter 8 - I Won The Fight - 1984-2006. Chapter 9 - To Liverpool With Love - from 2006; Notes; Recordings List; Index. Pressetext: RINGO STARR: "He was the most handsome man on stage, and well-dressed too." PETER FRAMPTON: "BILLY J. KRAMER and his band THE DAKOTAS have always been an inspiration to me." When BILLY J. KRAMER's Do You Want To Know A Secret? by LENNON and McCARTNEY topped the charts in 1963, he was the first singer in the world to have a number one hit with a BEATLES song, apart from the FAB FOUR themselves.
    [Show full text]