“Ass, Grass Or Gas: Nobody Rides Free”
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• Issue 45.Indd
THE BOOGIE MAN Boogie pianist Ben Waters has a new record out, entitled ‘Boogie 4 Stu’, paying tribute to Ian Stewart, a founding member of The Rolling Stones, who went on to become their road manager. As a long term fan of Stewart and his playing, Ben talked to his friend Charlie Watts about paying tribute with an album. Watts immediately wanted to be a part of it, which led to fellow Stones Mick Jagger, Ronnie Wood and Keith Richards hurling themsleves into the fray. Ex-Stones man Bill Wyman threw his name into the hat, along with fellow gifted ivory tinkler Jools Holland. With a star studded guest list, a portrait of Ian Stewart being commissioned by Sir Peter Blake for the cover and proceeds from the album going toward raising funds for the British Heart Foundation, James Gaden thought it was time Ben got to tell people all about it. Ben, you’re an experienced pianist in your own right and have worked with a host of big names - for readers unfamiliar with your work, can you provide a brief overview of your work to date? I started playing piano when I was about 14ish. My first exposure to this kind of music was Ian Stewart playing at my aunt and uncle’s 25th wedding anniversary. Shortly after this, Fats Domino’s 60th Birthday was on TV with Ray Charles and Jerry ‘Boogie For Stu’, as I mentioned just then, this was because of his love for Lionel Lee Lewis. I really fell in love with the music and wanted to start playing. -
Art Nouveau Revival 1960S-1990S
Art Nouveau Revival 1960s-1990s Stanley Mouse & Alton Kelly Kathleen James | ADM-103 – The Essay | 13 January 2020 Introduction ................................................................................................................................. 1 Social Context .............................................................................................................................. 1 The Rise and Fall of Art Nouveau ............................................................................................... 2 Origins & Revival ...................................................................................................................... 2 Le style Mucha .......................................................................................................................... 2 ContemPorary Artists .................................................................................................................. 3 Kelley Mouse Studios & the Grateful dead ............................................................................. 3 Stephanie young and street art ............................................................................................... 5 Bibliography ................................................................................................................................. 7 Table of Figures ............................................................................................................................ 7 Introduction This essay investigates the relationshiP between the Art -
Chris Jagger クリス・ジャガー Mp3, Flac, Wma
Chris Jagger クリス・ジャガー mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock Album: クリス・ジャガー Country: Japan Released: 1973 Style: Rhythm & Blues, Classic Rock MP3 version RAR size: 1343 mb FLAC version RAR size: 1406 mb WMA version RAR size: 1474 mb Rating: 4.4 Votes: 522 Other Formats: MIDI AA AIFF MP4 MPC MMF APE Tracklist Hide Credits Handful Of Dust A1 Acoustic Guitar – David Pierce Backing Vocals [Helpout Vox] – M. Jagger*Bass, Lead Guitar 3:36 – John UribeDrums – Roger EarlSaxophone – Bobby KeysWritten-By – C. Jagger*, D. Pierce* My Friend John Arranged By – J. Uribe*Backing Vocals [Helpout Vox] – Chris Jagger, Oliver TobiasBass, A2 2:51 Acoustic Guitar, Percussion, Backing Vocals [Helpout Vox] – John UribeDrums – Roger EarlOrgan – Michael O'MardinPercussion – Don PoncherWritten-By – C. Jagger* Let Me Down Easy Arranged By – J. Uribe*Bass – Pat VegasDrums – Don PoncherPiano – Michael A3 5:01 O'MardinSlide Guitar, Rhythm Guitar – John UribeVoice [Voices] – Claudia Linnear*, Elaine , Pat Arnold*Written-By – C. Jagger* Going Nowhere A4 Bass, Percussion, Guitar – John UribeCello – Bob DentDrums – Roger EarlPercussion – 3:06 Diane Piano, Guitar – David Pierce Written-By – C. Jagger*, D. Pierce* Something New A5 Bass – Bob GriffithDrums – Roger EarlPiano – Chris Jagger, Ian StewartRhythm Guitar, 3:56 Lead Guitar – John UribeWritten-By – C. Jagger* Riddle Song Arranged By – D. Pierce*Bass, Effects [Electric Lead & Effects], Percussion – John B1 2:38 UribeDrums – Mike KelliePiano, Rhythm Guitar, Effects [Electric Lead & Effects] – David Pierce Written-By – C. Jagger* All Souls Acoustic Guitar, Electric Guitar – David Pierce Bass, Lead Guitar – John UribeDrums – B2 2:38 Roger EarlHorns – Elijah HornsPiano – Michael O'MardinWritten-By – C. -
The Truth About Elvis” Movie Website from Back in March 2007 – This Is Reproduced Here for Educational Purposes Only
THIS IS TEXT FROM THE RESEARCH SECTION OF “THE TRUTH ABOUT ELVIS” MOVIE WEBSITE FROM BACK IN MARCH 2007 – THIS IS REPRODUCED HERE FOR EDUCATIONAL PURPOSES ONLY. PLEASE CHECK OUT THE GROUP ON FACEBOOK FOR MORE INFORMATION OR TO HELP WITH THE SEARCH FOR THE TRUTH. https://www.facebook.com/groups/48484318100/ OR MICKEY'S WEBSITE AT http://elvisconspiracy.webs.com/ Cheers & TCB! I'm going to post sightings, leads and research here. I'll post this information as I go along, so you can see some of the information I'm using to move forward. FROM ME: WE REALLY APPRECIATE THE EMAILS WE RECEIVE FROM FANS. LET US KNOW IF YOU HAVE ANY INTERESTING NEWS. THANKS, ADAM 3/14/07 Hi Adam, I finally had the chance to read "Elvis & Me by Priscilla and thought I'd share a little info with you. As I read the book, I really find it hard to believe that Priscilla would put some of the information she has in the book if Elvis was alive. There is quite a bit of their intimacy moments in the book and knowing what I've read about the two of them, it's hard to believe Priscilla even sharing this information. All I know is that I have very mixed feelings about the whole Elvis thing. Is it a money gimmick and/or just to keep Elvis and themselves in the limelight light. I do know that people are out to make a buck off of him. Some of those addresses on People Search are phony and they shouldn't be allowed to rip people off by using his middle initial and date of birth. -
Elvis Quarterly 89 Ned
UEPS QUARTERLY 89 Driemaandelijks / Trimestriel januari-februari-maart 2009 / Afgiftekantoor Antwerpen X - erk. nr.: 708328 januari-februari-maart 2009 / Afgiftekantoor Antwerpen X - erk. nr.: Driemaandelijks / Trimestriel The United Elvis Presley Society is officieel erkend door Elvis en Elvis Presley Enterprises (EPE) sedert 1961 The United Elvis Presley Society Elvis Quarterly Franstalige afdeling: Driemaandelijks tijdschrift Jean-Claude Piret - Colette Deboodt januari-februari-maart 2009 Rue Lumsonry 2ème Avenue 218 Afgiftekantoor: Antwerpen X - 8/1143 5651 Tarcienne Verantwoordelijk uitgever: tel/fax 071 214983 Hubert Vindevogel e.mail: [email protected] Pijlstraat 15 2070 Zwijndrecht Rekeningnummers: tel/fax: 03 2529222 UEPS (lidgelden, concerten) e-mail: [email protected] 068-2040050-70 www.ueps.be TCB (boetiek): Voorzitter: 220-0981888-90 Hubert Vindevogel Secretariaat: Nederland: Martha Dubois Giro 2730496 (op naam van Hubert Vindevogel) IBAN: BE34 220098188890 – BIC GEBABEBB (boetiek) Medewerkers: IBAN: BE60 068204005070 – BIC GCCCBEBB (lidgelden – concerten) Tina Argyl Cecile Bauwens Showroom: Daniel Berthet American Dream Leo Bruynseels Dorp West 13 Colette Deboodt 2070 Zwijndrecht Pierre De Meuter tel: 03 2529089 (open op donderdag, vrijdag en zaterdag van 10 tot 18 uur Marc Duytschaever - Eerste zondag van elke maand van 13 tot 18 uur) Dominique Flandroit Marijke Lombaert Abonnementen België Tommy Peeters 1 jaar lidmaatschap: 18 € (vier maal Elvis Quarterly) Jean-Claude Piret 2 jaar: 32 € (acht maal Elvis Quarterly) Veerle -
Jerry Garcia Song Book – Ver
JERRY GARCIA SONG BOOK – VER. 9 1. After Midnight 46. Chimes of Freedom 92. Freight Train 137. It Must Have Been The 2. Aiko-Aiko 47. blank page 93. Friend of the Devil Roses 3. Alabama Getaway 48. China Cat Sunflower 94. Georgia on My Mind 138. It Takes a lot to Laugh, It 4. All Along the 49. I Know You Rider 95. Get Back Takes a Train to Cry Watchtower 50. China Doll 96. Get Out of My Life 139. It's a Long, Long Way to 5. Alligator 51. Cold Rain and Snow 97. Gimme Some Lovin' the Top of the World 6. Althea 52. Comes A Time 98. Gloria 140. It's All Over Now 7. Amazing Grace 53. Corina 99. Goin' Down the Road 141. It's All Over Now Baby 8. And It Stoned Me 54. Cosmic Charlie Feelin' Bad Blue 9. Arkansas Traveler 55. Crazy Fingers 100. Golden Road 142. It's No Use 10. Around and Around 56. Crazy Love 101. Gomorrah 143. It's Too Late 11. Attics of My Life 57. Cumberland Blues 102. Gone Home 144. I've Been All Around This 12. Baba O’Riley --> 58. Dancing in the Streets 103. Good Lovin' World Tomorrow Never Knows 59. Dark Hollow 104. Good Morning Little 145. Jack-A-Roe 13. Ballad of a Thin Man 60. Dark Star Schoolgirl 146. Jack Straw 14. Beat it on Down The Line 61. Dawg’s Waltz 105. Good Time Blues 147. Jenny Jenkins 15. Believe It Or Not 62. Day Job 106. -
Grateful Dead Records: Artwork MS.332.Ser
http://oac.cdlib.org/findaid/ark:/13030/c8ff3qrq Online items available Grateful Dead Records: Artwork MS.332.Ser. 9 Wyatt Young, Alix Norton University of California, Santa Cruz 2018 1156 High Street Santa Cruz 95064 [email protected] URL: http://guides.library.ucsc.edu/speccoll Grateful Dead Records: Artwork MS.332.Ser. 9 1 MS.332.Ser. 9 Contributing Institution: University of California, Santa Cruz Title: Grateful Dead Records: Artwork Creator: Grateful Dead Productions Identifier/Call Number: MS.332.Ser. 9 Physical Description: 178 Linear Feet42 boxes, 9 map-case drawers, and 103 oversized items Date (inclusive): 1972-2012 Date (bulk): 1980-2008 Language of Material: English . https://www.gdao.org/ Access Collection is open for research. Advance notice is required to access large and framed items so that they can be retrieved from storage. Please contact Special Collections and Archives in advance to request access. Accruals The first accrual was received in 2008. A second accrual was received in June 2012. Acquisition Information Gift of Grateful Dead Productions, 2008 and 2012. Arrangement This collection is arranged in three series: Series 1: Business Art Series 2: Fan Art Series 3: Band Art Materials within each series are arranged alphabetically by last name of artist, where identified. Biography The Grateful Dead were an American rock band that formed in 1965 in Northern California. They came to fame as part of author Ken Kesey's Acid Tests, a series of multimedia happenings centered around then-legal LSD. Famed for their concerts, the band performed more than 2,300 shows over thirty years, disbanding after the death of lead guitarist Jerry Garcia in August 1995. -
Introduction in Their Thirty Years Together, the Grateful Dead Forever
Introduction In their thirty years together, the Grateful Dead forever altered the way in which popular music is performed, recorded, heard, marketed, and shared. Founding members Jerry Garcia, Bill Kreutzmann, Phil Lesh, Ron “Pigpen” McKernan, and Bob Weir took the name Grateful Dead in 1965, after incarnations as Mother McCree’s Uptown Jug Champions and The Warlocks. Despite significant changes in the band’s lineup, including the addition of Mickey Hart and the death of Ron McKernan, the band played together until Jerry Garcia’s death in 1995. From the beginning, the Grateful Dead distinguished themselves by their preference for live performance, musical and business creativity, and an unprecedented dedication to their fans. Working musicians rather than rock stars, the Dead developed a distinctive sound while performing as latter-day American troubadours, bringing audio precision to their live performances and the spontaneity of live performances to their studio work. Side-stepping the established rules of the recording industry, the Dead took control of the production and distribution of their music. With a similar business savvy, they introduced strategic marketing innovations that strengthened the bond with their fans. This exhibition, the first extensive presentation of materials from the Grateful Dead Archive housed at the University of California, Santa Cruz, testifies to the enduring impact of the Grateful Dead and provides a glimpse into the social upheavals and awakenings of the late twentieth century—a transformative period that profoundly shaped our present cultural landscape. Amalie R. Rothschild, Fillmore East Marquee, December 1969. Courtesy Amalie R. Rothschild Beginnings The Grateful Dead began their musical journey in the San Francisco Bay Area at a pivotal time in American history, when the sensibilities of the Beat generation coincided with the spirit of the burgeoning hippie movement. -
The Psychedelic Poster Art and Artists of the Late 1960S
Focus on Topic The Psychedelic Poster Art and Artists of the late 1960s by Ted Bahr Bahr Gallery New York, USA 46 Focus on Topic The stylistic trademarks of the 1960s To advertise these concerts, both promoters turned to Wes Wilson at Contact Printing, who had been laying psychedelic poster were obscured and disguised out the primitive handbills used to advertise the Mime lettering, vivid color, vibrant energy, flowing Troupe Benefits and the Trips Festival. Wilson took organic patterns, and a mix of cultural images LSD at the Festival and was impacted by the music, from different places and periods -- anything to the scene, and the sensuous free-love sensibilities of confuse, enchant, thrill, and entertain the viewer. the hippie ethos. His posters quickly evolved to match the flowing, tripping, improvisational nature of the The style was also tribal in the sense that if you developing psychedelic music -- or “acid rock” -- and could decipher and appreciate these posters his lettering began to protrude, extend, and squeeze then you were truly a member of the hippie into every available space, mimicking and reflecting the subculture – you were hip, man. totality of the psychedelic experience. His early style culminated in the July 1966 poster for The Association which featured stylized flame lettering as the image The psychedelic poster movement coincided with the itself, a piece that Wilson considered to be the first rise of hippie culture, the use of mind-altering drugs like truly psychedelic poster. LSD, and the explosion of rock and roll. San Francisco was the center of this universe, and while prominent psychedelic poster movements also developed in London, Detroit, Los Angeles, and Austin, Bay Area artists both initiated and dominated the genre. -
Ginger Alden Revisited, Part III
Patrick Lacy, author, Elvis Decoded August 16, 1977: Ginger Alden Revisited, Part III As I have discussed in Ginger Alden Revisited Parts I and II, Ginger Alden’s actions at Graceland on August 16, 1977, have been questioned by some people who claim to have been close to the situation, namely Dick Grob, Dr. Nichopoulos, and Dean Nichopoulos. For whatever reason, a shadow of suspicion has been cast over what Ginger did or did not do that day, and yet, all of these allegations, doubts, and innuendo can easily be explained. Let’s walk through the timeline and see if a reasonable scenario is possible, and probable. Timeline Ginger Alden at Graceland, August 16, 1977: 2:10pm – 2:47pm 2:10pm: Ginger Alden calls her mother, and they speak for approximately 10 minutes. Ginger has been sleeping since around 9:00am and still has on her makeup from earlier, as she had been up all night with Elvis. Her sleep had been deep at times due to the medication she had taken to alleviate pain from menstrual cramps, medication that Elvis had ordered for her and asked her to take. 2:20pm: Ginger enters the bathroom in Elvis’s suite and sees his prostrate body on the left (west) side of the room in front of the toilet (which faces north). Not knowing what has happened, Ginger tries to awaken Elvis, but realizes the situation is dire. Ginger immediately calls downstairs for help. 2:21pm (+/-): Nancy Rooks answers the phone in the kitchen and is informed by Ginger that Elvis needs assistance immediately. -
Sherman Robertson Band Chris Jagger's Atacha!
OCTOBER 2009 NOVEMBER 2009 Fri 2 Sun 1 Sherman Robertson Band Afternoon Tea Party (1pm till 6pm) £10adv £12door £5 feat. Mortiarty, The Hi and Lo, Giles Likes Tea, Sherman Robertson is a master of hard-swinging Texas electric The Gadjos, Matthew & The Echos and Richard Walters. blues. “I use that driving, zydeco groove and put blues on top of Moriarty are not your average indie-rock band or streamlined it,” says Robertson. “When I first saw him he was on fire. He ruled electro-pop unit. With members of French, American, Swiss and the stage and reminded me of Albert Collins. He’s got that Texas Vietnamese parentage, they’re a ramshackle olde worlde acoustic energy, great guitar chops and is a wonderful, soulful singer.”- outfit with a theatrical bent and a tendency to dress like 1930s Bruce Iglauer, Alligator Records. www.movinmusic.co.uk Prohibition outlaws and a sound that takes in folk, country, blues, jazz and cabaret. www.myspace.com/moriartylands Thu 8 Wed 4 Chris Jagger’s Atacha! Johnny Dickinson & Paul Lamb £8adv £10door £8adv/ £10door plus Paul Cowley Founded in 1994, Chris Jagger’s Atcha! are now hotter than ever Johnny Dickinson has been called the most potent slide player in and are one of very few UK bands that can handle cajun, R&B, the UK. Johnny was a founder member of Paul Lamb’s acclaimed zydeco, blues and country in an authentic and original fashion. band The Kingsnakes. Hailed by both aficionados and the music Chris is backed by a band of great musicians. -
FOR IMMEDIATE RELEASE August 27, 2018
Contact: Amy Schreiber Executive Assistant for Advancement and Administration 260. 422. 6467, ext. 334 [email protected] FOR IMMEDIATE RELEASE August 27, 2018 Solo exhibition by Chuck Sperry, legendary rock poster artist, opens September 15 Including a sister exhibition of work from the psychedelic era opening September 8 [Fort Wayne, IN] ̶ The Fort Wayne Museum of Art is pleased to announce dual exhibitions exploring the intersection of art, music, and journalism, and their influence by the psychedelic era of the 1960s. On September 8, FWMoA will open Litmus Test: Works on Paper from the Psychedelic Era, followed by the opening of All Access: Exploring Humanism in the Art of Chuck Sperry a week later on September 15. The Psychedelic Era was, among many things, a cultural frontier for colors and imagery. Music, politics, and drugs ignited an unprecedented expansion of art revolving around these elements. From Berkeley College to the Grande Ballroom in Detroit, young idealists organized and the art of the era came to fruition. This exhibition will be our bridge to that time, showcasing a psychedelic era works on paper. The poster work and ephemera of Gary Grimshaw and the photography of Leni Sinclair will showcase the art that poured from that time and place. Blotter sheets from Mark Mothersbaugh, H.R. Giger, S. Clay Wilson, Chuck Sperry, and more will represent the creative fuel for many of the artists of the time. Also featured will be the work of the poster artists of the time: Wes Wilson, Victor Moscoso, Stanley Mouse, Rick Griffin, and Alton Kelley.