2002-2020 National Recording Registry (By Year)
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1968.10.16.Pdf (8.470Mb)
_ Flt h ? - The Salis bur1 Stat'e ... occer ~(' - R cord _ ow .. Outten's 3-1-2 A nswers" Png 3! foJ:xXXVIII - NO. 2 OCTOBER 16, 196 FAI .Y '' TO y PL 0 s C. l\lr. \Vilson haron Leo nard, a senior, as Eliza Doolittle; John O'Ma y, also a sen io r, as Henry Higgins; Ike F eath er, a sophomore, as Colonel Pick in g is a n 1 I rly eli ng ; Frank Parks, a junior, as man who a ·ls Ml ll1 <' h ::u·acl t ' F'reddy Eynsford-Hill ; and Tom I al11. n c I lwC'r n J·~liza :mcl Hig Davis, a freshman, as Alfred P . g in s. Hr is the •pi Lom of lhc old Doolittle. gng ll sh grnllc•ma n." Fl"anlc Parks, who plays Fr ddy Eynsfor l-Hill, has b n in lh SSC proclu lions of arni v:tl and Com Alexander .Scourby Presents Program (• lly of J~rron; and in lh student produ lion Phoenix Too F r - A noted actor of stage, scr een, <1111·111. He a lso di!" • lr cl L ('t 'l'hrrl' radio and television came to lk 1"::trc·(• las l y 111·. cscl"ibin g I hr alisbury State College on Thurs r; hara :ler of l•' n ·clcl y, h<' said , day, October 3, 1968, in H olloway "F1·rclcl y iH an a1" islocn1li ·. s liff Hall Auditorium when Alexander 'CJli a 1· young 111 :1_11 wilh a l finilc courby presented " Walt Whit cl a mpne>ss b hincl llw cars. -
Midnight Special Songlist
west coast music Midnight Special Please find attached the Midnight Special song list for your review. SPECIAL DANCES for Weddings: Please note that we will need your special dance requests, (I.E. First Dance, Father/Daughter Dance, Mother/Son Dance etc) FOUR WEEKS in advance prior to your event so that we can confirm that the band will be able to perform the song(s) and that we are able to locate sheet music. In some cases where sheet music is not available or an arrangement for the full band is need- ed, this gives us the time needed to properly prepare the music and learn the material. Clients are not obligated to send in a list of general song requests. Many of our clients ask that the band just react to whatever their guests are responding to on the dance floor. Our clients that do provide us with song requests do so in varying degrees. Most clients give us a handful of songs they want played and avoided. Recently, we’ve noticed in increase in cli- ents customizing what the band plays and doesn’t play with very specific detail. If you de- sire the highest degree of control (allowing the band to only play within the margin of songs requested), we ask for a minimum of 100 requests. We want you to keep in mind that the band is quite good at reading the room and choosing songs that best connect with your guests. The more specific/selective you are, know that there is greater chance of losing certain song medleys, mashups, or newly released material the band has. -
Jeff Dewbray Music Artists Covered
JEFF DEWBRAY MUSIC ARTISTS COVERED Al Green Frank Sinatra Paul McCartney B52's Florida Georgia Line Police Bachman-Turner Overdrive Frankie Vallie Rare Earth Backstreet Boys Garth Brooks Rascal Flatts Barry Manilow Georgia Satellites Rascals Beatles Gin Blossoms Ray Charles Ben E. King Grand Funk Railroad Rick James Big & Rich Honeydrippers Rick Springfield Bill Withers Hootie and the Blowfish Robert Palmer Billy Idol INXS Sam & Dave Billy Joel J Geils Band Sam Cooke Billy Ocean James Taylor Santana Billy Paul Jason Mraz Simple Minds Billy Ray Cyrus Jerry Lee Lewis Sir Mix-a-Lot Black Crowes Jim Croce Smash Mouth Blake Shelton Jimmy Buffet Soft Cell Blues Brothers Joe Cocker Spin Doctors Bob Marley John Legend Steely Dan Bob Seger John Mellencamp Steppenwolf Bobby Brown Johnny Mathis Stevie Wonder Bobby Darin KC & The Sunshine Band Stone Temple Pilots Bobby McFerrin Kenny Loggins Sugarloaf Brain Setzer Kings of Lean The Box Tops Brooks & Dunn Kool and the Gang The Cure Bruce Springsteen Lenny Kravitz The Four Seasons Bruno Mars Lionel Ritchie The Grass Roots Bryan Adams Loggins & Messina The Human League Buster Poindexter Looking Glass The Isley Brothers Cheap Trick Lou Bega The Kingsmen Chuck Berry Louis Armstrong The Knack Commodores Luke Bryan The Righteous Brothers Contours Lynyrd Skynyrd The Rolling Stones Counting Crows Mambo Kings The Spinners Darius Rucker Manfred Mann The Temptations David Lee Roth Maroon 5 The Trammps Dean Martin Marvin Gaye Tom Cochrane Dishwalla Marvin Gaye & Tammi Terrell Tom Jones Dobie Gray Modern English Tom Petty Don McClean Monkees Tommy Tutone Duran Duran Nat King Cole Train Earth Wind & Fire Neil Diamond UB40 Eddie Floyd Nine Days Van Halen Elton John NSYNC Van Morrison Elton John w/Kiki Dee Otis Redding Village People Elvis Presley OutKast Walk The Moon. -
Complete Beethoven Piano Sonatas--Artur Schnabel (1932-1935) Added to the National Registry: 2017 Essay by James Irsay (Guest Post)*
The Complete Beethoven Piano Sonatas--Artur Schnabel (1932-1935) Added to the National Registry: 2017 Essay by James Irsay (guest post)* Artur Schnabel Austrian pianist Artur Schnabel has been called “the man who invented Beethoven”... a strange thing to say considering Schnabel was born more than half a century after Beethoven, universally recognized as the greatest composer in Europe, died in 1827. What, then, did Artur Schnabel invent? The 32 piano sonatas of Ludwig van Beethoven (1770-1827) represent one of the great artistic achievements in human history, and stand as the musical autobiography of the great composer's maturity, from his 25th until his 53rd year, four years before his death. The fruit of those years mark a staggering creative journey that began and ended in the composer's adopted home of Vienna, “Music Central” to the German-speaking world. Beethoven's musical path led from the domain of Haydn and Mozart to the world of his late period, when the agonizing progress of his deafness had become complete. By then, Beethoven's musical narrative had begun to speak a new language, proceeding according to a new logic that left many listeners behind. While the beauties of his music and his deep genius were generally recognized, at the same time, it was thought by some critics that Beethoven frequently smudged things up with his overly- bold, unfettered invention, even well before his final period: Beethoven, who is often bizarre and baroque, takes at times the majestic flight of an eagle, and then creeps in rocky pathways. He first fills the soul with sweet melancholy, and then shatters it by a mass of shattered chords. -
Rachmaninoff's Rhapsody on a Theme By
RACHMANINOFF’S RHAPSODY ON A THEME BY PAGANINI, OP. 43: ANALYSIS AND DISCOURSE Heejung Kang, B.A., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2004 APPROVED: Pamela Mia Paul, Major Professor and Program Coordinator Stephen Slottow, Minor Professor Josef Banowetz, Committee Member Steven Harlos, Interim Chair of Piano Jessie Eschbach, Chair of Keyboard Studies James Scott, Dean of the College of Music Sandra L. Terrill, Interim Dean of the Robert B. Toulouse School of Graduate Studies Kang, Heejung, Rachmaninoff’s Rhapsody on a Theme by Paganini, Op.43: Analysis and Discourse. Doctor of Musical Arts (Performance), May 2004, 169 pp., 40 examples, 5 figures, bibliography, 39 titles. This dissertation on Rachmaninoff’s Rhapsody on a Theme by Paganini, Op.43 is divided into four parts: 1) historical background and the state of the sources, 2) analysis, 3) semantic issues related to analysis (discourse), and 4) performance and analysis. The analytical study, which constitutes the main body of this research, demonstrates how Rachmaninoff organically produces the variations in relation to the theme, designs the large-scale tonal and formal organization, and unifies the theme and variations as a whole. The selected analytical approach is linear in orientation - that is, Schenkerian. In the course of the analysis, close attention is paid to motivic detail; the analytical chapter carefully examines how the tonal structure and motivic elements in the theme are transformed, repeated, concealed, and expanded throughout the variations. As documented by a study of the manuscripts, the analysis also facilitates insight into the genesis and structure of the Rhapsody. -
Mayodan High School Yearbook, "The Anchor"
» :-.i.jV Digitized by the Internet Archive in 2013 http://archive.org/details/anchor1958mayo ^he eAncko ,,: ^ . 1958 CHARLOTTE GANN - Editor-in-Chief SHIRLEY EASTER Assistant Editor MILDRED WHITE Sales Manager BETTY S. WILKINS Advertising MONTSIE ALLRED Class Editor FRANKIE CARLTON Picture Editor ROGER TAYLOR Art Editor UDELL WESTON Sports Editor JIMMY GROGAN Feature Editor foreword The Senior Class of '58 presents this ANCHOR as a token of our appreciation to all who have helped us progress through the past years, especially our parents, teach- ers, fellow students, and Mr. Duncan. success, It is our sincere hope that your lives may be filled with happiness and and that you will continue to manifest a spirit of loyalty to Mayodan High School. SHIRLEY EASTER CHARLOTTE GANN ^Dedication To our parents, who, in the process of rearing us, have picked us up when we have fallen, pushed us when we needed pushing, and have tried to understand o u r problems when on one else would listen to us! Because of their faithfulness, understanding, and undying love, for which we feel so deeply grateful, we dedicate to them our annual, the ANCHOR of 1958. The Seniors ^iicfk Oc/tocl faculty Not Pictured HATTIE RUTH HYDER ELLIOTT F. DUNCAN VIOLET B. SULEY B. S., A. S. T. C. A. B., U. N. C. A. B., Wisconsin University Home Economics Principal Biology Not Pictured OTIS J. STULTZ IRMA S. CREWS HENRY C. M. WHITAKER B. A., Elon College B. A., Winthrop College A. B., High Point College Business Administration A. B., High Point College Spanish, Social Studies, Band Mathematics, English MAUD G. -
“White Christmas”—Bing Crosby (1942) Added to the National Registry: 2002 Essay by Cary O’Dell
“White Christmas”—Bing Crosby (1942) Added to the National Registry: 2002 Essay by Cary O’Dell Crosby’s 1945 holiday album Original release label “Holiday Inn” movie poster With the possible exception of “Silent Night,” no other song is more identified with the holiday season than “White Christmas.” And no singer is more identified with it than its originator, Bing Crosby. And, perhaps, rightfully so. Surely no other Christmas tune has ever had the commercial or cultural impact as this song or sold as many copies--50 million by most estimates, making it the best-selling record in history. Irving Berlin wrote “White Christmas” in 1940. Legends differ as to where and how though. Some say he wrote it poolside at the Biltmore Hotel in Phoenix, Arizona, a reasonable theory considering the song’s wishing for wintery weather. Some though say that’s just a good story. Furthermore, some histories say Berlin knew from the beginning that the song was going to be a massive hit but another account says when he brought it to producer-director Mark Sandrich, Berlin unassumingly described it as only “an amusing little number.” Likewise, Bing Crosby himself is said to have found the song only merely adequate at first. Regardless, everyone agrees that it was in 1942, when Sandrich was readying a Christmas- themed motion picture “Holiday Inn,” that the song made its debut. The film starred Fred Astaire and Bing Crosby and it needed a holiday song to be sung by Crosby and his leading lady, Marjorie Reynolds (whose vocals were dubbed). Enter “White Christmas.” Though the film would not be seen for many months, millions of Americans got to hear it on Christmas night, 1941, when Crosby sang it alone on his top-rated radio show “The Kraft Music Hall.” On May 29, 1942, he recorded it during the sessions for the “Holiday Inn” album issued that year. -
100 Years: a Century of Song 1950S
100 Years: A Century of Song 1950s Page 86 | 100 Years: A Century of song 1950 A Dream Is a Wish Choo’n Gum I Said my Pajamas Your Heart Makes / Teresa Brewer (and Put On My Pray’rs) Vals fra “Zampa” Tony Martin & Fran Warren Count Every Star Victor Silvester Ray Anthony I Wanna Be Loved Ain’t It Grand to Be Billy Eckstine Daddy’s Little Girl Bloomin’ Well Dead The Mills Brothers I’ll Never Be Free Lesley Sarony Kay Starr & Tennessee Daisy Bell Ernie Ford All My Love Katie Lawrence Percy Faith I’m Henery the Eighth, I Am Dear Hearts & Gentle People Any Old Iron Harry Champion Dinah Shore Harry Champion I’m Movin’ On Dearie Hank Snow Autumn Leaves Guy Lombardo (Les Feuilles Mortes) I’m Thinking Tonight Yves Montand Doing the Lambeth Walk of My Blue Eyes / Noel Gay Baldhead Chattanoogie John Byrd & His Don’t Dilly Dally on Shoe-Shine Boy Blues Jumpers the Way (My Old Man) Joe Loss (Professor Longhair) Marie Lloyd If I Knew You Were Comin’ Beloved, Be Faithful Down at the Old I’d Have Baked a Cake Russ Morgan Bull and Bush Eileen Barton Florrie Ford Beside the Seaside, If You were the Only Beside the Sea Enjoy Yourself (It’s Girl in the World Mark Sheridan Later Than You Think) George Robey Guy Lombardo Bewitched (bothered If You’ve Got the Money & bewildered) Foggy Mountain Breakdown (I’ve Got the Time) Doris Day Lester Flatt & Earl Scruggs Lefty Frizzell Bibbidi-Bobbidi-Boo Frosty the Snowman It Isn’t Fair Jo Stafford & Gene Autry Sammy Kaye Gordon MacRae Goodnight, Irene It’s a Long Way Boiled Beef and Carrots Frank Sinatra to Tipperary -
Washington University Record, July 2, 1987
Washington University School of Medicine Digital Commons@Becker Washington University Record Washington University Publications 7-2-1987 Washington University Record, July 2, 1987 Follow this and additional works at: http://digitalcommons.wustl.edu/record Recommended Citation "Washington University Record, July 2, 1987" (1987). Washington University Record. Book 414. http://digitalcommons.wustl.edu/record/414 This Article is brought to you for free and open access by the Washington University Publications at Digital Commons@Becker. It has been accepted for inclusion in Washington University Record by an authorized administrator of Digital Commons@Becker. For more information, please contact [email protected]. I '/^OH/MGr / O/N/ /V//i/5/7V ,~*:-- § Washington WASHINGTON ■ UNIVERSITY- IN • ST- LOUIS ARCHIVES u*«ry JUL i '87 RECORD Vol. 11 No. 36/July 2, 1987 Science academy's medical institute elects two faculty Two faculty members at the School of Medicine have been elected mem- bers of the prestigious Institute of Medicine of the National Academy of Sciences. New members of the institute are Michel M. Ter-Pogossian, Ph.D., and Samuel A. Wells Jr., M.D. Ter- Pogossian is professor of radiology at the School of Medicine and director of radiation sciences for Mallinckrodt Institute of Radiology. Wells is Bixby Professor and chairman of the De- partment of Surgery at the medical school. He is also chief of surgery at Barnes and Children's Hospitals in the Washington University Medical Center. The two are among 40 new members elected to the institute in recognition of their contributions to health and medicine or related fields. As members of the institute, which was established in 1970, Wells and Ter-Pogossian will help examine health policy issues and advise the federal government. -
SENATE JOINT RESOLUTION 803 By
SENATE JOINT RESOLUTION 803 By Henry A RESOLUTION to honor the memory of Earl Scruggs, an American musical treasure. WHEREAS, the members of this General Assembly and music fans around the globe were greatly saddened to learn of the passing of bluegrass music legend and American treasure, Mr. Earl Scruggs; and WHEREAS, Earl Scruggs was revered around the world as a musical genius whose innovative talent on the five-string banjo pioneered modern banjo playing and he crafted the sound we know as bluegrass music. We will never see his superior; and WHEREAS, born on January 6, 1924, in Flint Hill, North Carolina, Earl Eugene Scruggs was the son of George Elam Scruggs, a farmer and bookkeeper who played the banjo and fiddle, and Lula Ruppe Scruggs, who played the pump organ in church; and WHEREAS, after losing his father at the age of four, Earl Scruggs began playing banjo and guitar at a very young age, using the two-finger picking style on the banjo until he was about ten years old, when he began to use three - the thumb, index, and middle finger - in an innovative up-picking style that would become world-renowned and win international acclaim; and WHEREAS, as a young man, Mr. Scruggs' banjo mastery led him to play area dances and radio shows with various bands, including Lost John Miller and His Allied Kentuckians. In December of 1945, he quit high school and joined Bill Monroe's band, the Blue Grass Boys; and WHEREAS, with his magnificent banjo picking, the group's popularity soared and Earl Scruggs redefined the sound of bluegrass music, as evidenced on such classic Bill Monroe and the Blue Grass Boys tracks as "Blue Moon of Kentucky," "Blue Grass Breakdown," and "Molly and Tenbrooks (The Race Horse Song)"; and WHEREAS, with his mastery of the banjo and guitar matched only by his beautiful baritone, Mr. -
Voices in the Hall: Sam Bush (Part 1) Episode Transcript
VOICES IN THE HALL: SAM BUSH (PART 1) EPISODE TRANSCRIPT PETER COOPER Welcome to Voices in the Hall, presented by the Country Music Hall of Fame and Museum. I’m Peter Cooper. Today’s guest is a pioneer of New-grass music, Sam Bush. SAM BUSH When I first started playing, my dad had these fiddle albums. And I loved to listen to them. And then realized that one of the things I liked about them was the sound of the fiddle and the mandolin playing in unison together. And that’s when it occurred to me that I was trying on the mandolin to note it like a fiddle player notes. Then I discovered Bluegrass and the great players like Bill Monroe of course. You can specifically trace Bluegrass music to the origins. That it was started by Bill Monroe after he and his brother had a duet of mandolin and guitar for so many years, the Monroe Brothers. And then when he started his band, we're just fortunate that he was from the state of Kentucky, the Bluegrass State. And that's why they called them The Bluegrass Boys. And lo and behold we got Bluegrass music out of it. PETER COOPER It’s Voices in the Hall, with Sam Bush. “Callin’ Baton Rouge” – New Grass Revival (Best Of / Capitol) PETER COOPER “Callin’ Baton Rouge," by the New Grass Revival. That song was a prime influence on Garth Brooks, who later recorded it. Now, New Grass Revival’s founding member, Sam Bush, is a mandolin revolutionary whose virtuosity and broad- minded approach to music has changed a bunch of things for the better. -
December 2016
Traditional Folk Song Circle goers to hear Potomac Accordion Ensemble December 10 December 2016 Inside this issue: From the President 2 Open Mics 3 Pics from Sunday Open Stage 4 Traditional Folk Song Circle 5 The Songs We Sing 6 Comfortable Concerts 7 Hill Chapel Concert 9 Gear of the Month 10 Pull up a Chair 12 Other Music Orgs of interest 13 Member Ads 14 Open Mic Photos 16 Board of Directors 18 F.A.M.E. Goals 18 Membership Renewal/App 18 Poster art courtesy of Todd C Walker Page 2 From the President I don’t know whose thought this is, but I read somewhere that “music is the wheels of a movement. I know that music made a tremendous difference in the anti- war movement of the 60s as well as the civil rights movement. Music is a powerful force that is often unrecognized. A song has a way of inspiring folks that nothing else comes even close to. We are in need of inspiring songs. One of the roles of a songwriter is not only to reflect on what is happening in the present but also to provide a vision of the future. What is your vision of the future? For some it is nihilistic bleakness – a very cynical response to our world. For others, it is filled with hope – we are somehow going to be able to figure out how we can live together and with all of creation. If you are a performer, I want to challenge you to get out of yourself and add songs that reflect your vision of the future to your repertoire.