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Strange Brew√ Fresh Insights on Rock Music | Edition 03 of September 30 2006
M i c h a e l W a d d a c o r ‘ s πStrange Brew Fresh insights on rock music | Edition 03 of September 30 2006 L o n g m a y y o u r u n ! A tribute to Neil Young: still burnin‘ at 60 œ part two Forty years ago, in 1966, Neil Young made his Living with War (2006) recording debut as a 20-year-old member of the seminal, West Coast folk-rock band, Buffalo Springfield, with the release of this band’s A damningly fine protest eponymous first album. After more than 35 solo album with good melodies studio albums, The Godfather of Grunge is still on fire, raging against the System, the neocons, Rating: ÆÆÆÆ war, corruption, propaganda, censorship and the demise of human decency. Produced by Neil Young and Niko Bolas (The Volume Dealers) with co-producer L A Johnson. In this second part of an in-depth tribute to the Featured musicians: Neil Young (vocals, guitar, Canadian-born singer-songwriter, Michael harmonica and piano), Rick Bosas (bass guitar), Waddacor reviews Neil Young’s new album, Chad Cromwell (drums) and Tommy Bray explores his guitar playing, re-evaluates the (trumpet) with a choir led by Darrell Brown. overlooked classic album from 1974, On the Beach, and briefly revisits the 1990 grunge Songs: After the Garden / Living with War / The classic, Ragged Glory. This edition also lists the Restless Consumer / Shock and Awe / Families / Neil Young discography, rates his top albums Flags of Freedom / Let’s Impeach the President / and highlights a few pieces of trivia about the Lookin’ for a Leader / Roger and Out / America artist, his associates and his interests. -
United States Air Force and Its Antecedents Published and Printed Unit Histories
UNITED STATES AIR FORCE AND ITS ANTECEDENTS PUBLISHED AND PRINTED UNIT HISTORIES A BIBLIOGRAPHY EXPANDED & REVISED EDITION compiled by James T. Controvich January 2001 TABLE OF CONTENTS CHAPTERS User's Guide................................................................................................................................1 I. Named Commands .......................................................................................................................4 II. Numbered Air Forces ................................................................................................................ 20 III. Numbered Commands .............................................................................................................. 41 IV. Air Divisions ............................................................................................................................. 45 V. Wings ........................................................................................................................................ 49 VI. Groups ..................................................................................................................................... 69 VII. Squadrons..............................................................................................................................122 VIII. Aviation Engineers................................................................................................................ 179 IX. Womens Army Corps............................................................................................................ -
Robert Glasper's In
’s ION T T R ESSION ER CLASS S T RO Wynton Marsalis Wayne Wallace Kirk Garrison TRANSCRIP MAS P Brass School » Orbert Davis’ Mission David Hazeltine BLINDFOLD TES » » T GLASPE R JAZZ WAKE-UP CALL JAZZ WAKE-UP ROBE SLAP £3.50 £3.50 U.K. T.COM A Wes Montgomery Christian McBride Wadada Leo Smith Wadada Montgomery Wes Christian McBride DOWNBE APRIL 2012 DOWNBEAT ROBERT GLASPER // WES MONTGOMERY // WADADA LEO SmITH // OrbERT DAVIS // BRASS SCHOOL APRIL 2012 APRIL 2012 VOLume 79 – NumbeR 4 President Kevin Maher Publisher Frank Alkyer Managing Editor Bobby Reed News Editor Hilary Brown Reviews Editor Aaron Cohen Contributing Editors Ed Enright Zach Phillips Art Director Ara Tirado Production Associate Andy Williams Bookkeeper Margaret Stevens Circulation Manager Sue Mahal Circulation Assistant Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] Advertising Sales Assistant Theresa Hill 630-941-2030 [email protected] OFFICES 102 N. Haven Road Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, John McDonough Atlanta: Jon Ross; Austin: Michael Point, Kevin Whitehead; Boston: Fred Bouchard, Frank-John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Bob Doerschuk; New Or- leans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D. -
Reel-To-Real: Intimate Audio Epistolarity During the Vietnam War Dissertation Presented in Partial Fulfillment of the Requireme
Reel-to-Real: Intimate Audio Epistolarity During the Vietnam War Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Matthew Alan Campbell, B.A. Graduate Program in Music The Ohio State University 2019 Dissertation Committee Ryan T. Skinner, Advisor Danielle Fosler-Lussier Barry Shank 1 Copyrighted by Matthew Alan Campbell 2019 2 Abstract For members of the United States Armed Forces, communicating with one’s loved ones has taken many forms, employing every available medium from the telegraph to Twitter. My project examines one particular mode of exchange—“audio letters”—during one of the US military’s most trying and traumatic periods, the Vietnam War. By making possible the transmission of the embodied voice, experiential soundscapes, and personalized popular culture to zones generally restricted to purely written or typed correspondence, these recordings enabled forms of romantic, platonic, and familial intimacy beyond that of the written word. More specifically, I will examine the impact of war and its sustained separations on the creative and improvisational use of prosthetic culture, technologies that allow human beings to extend and manipulate aspects of their person beyond their own bodies. Reel-to-reel was part of a constellation of amateur recording technologies, including Super 8mm film, Polaroid photography, and the Kodak slide carousel, which, for the first time, allowed average Americans the ability to capture, reify, and share their life experiences in multiple modalities, resulting in the construction of a set of media-inflected subjectivities (at home) and intimate intersubjectivities developed across spatiotemporal divides. -
Album of the Week: the Flaming Lips' Oczy Mlody
Album Of The Week: The Flaming Lips’ Oczy Mlody There are bands that do unique and weird things, and then there’s The Flaming Lips. Things have changed a lot since the band started out as “the punks on acid” in the early ‘80s and then gradually became an enigmatic and psychedelic act of wonder. The core members of Wayne Coyne, Michael Ivins and Steven Drozd always manage to delve into different territory and push the artistic envelope with each release. Their latest, Oczy Mlody, takes the senses to a totally different place. Soothing tones and hypnotic vibes are abundant from start to finish. It’s The Flaming Lips’ first album without longtime drummer Kliph Spurlock who left after the making of the band’s previous album, The Terror, in 2014. There are orchestral dimensions and extravagant structures that make up parts of each track. Coyne’s vocals seem like they’re traveling over the rhythms and beats as if on a voyage. It seems like the band has gone further toward the electronic realm while retaining their psychedelic roots. The album goes along with the space aesthetics that have always been a part of The Flaming Lips’ sound. A dream pop presence is noticeable while the wide-ranging arrangements keep the album from becoming redundant and boring. For a band as limitless as The Flaming Lips, there’s not a lot that can be predicted when a new release is put out. Oczy Mlody is a great example of how Coyne and company can progress their art and present new things more than 30 years later. -
Album Cover Art Price Pages.Key
ART OF THE ALBUM COVER SAN FRANCISCO ART EXCHANGE LLC Aretha Franklin, Let Me In Your Life Front Cover, 1974 $1,500 by JOEL BRODSKY (1939-2007) Not including frame Black Sabbath, Never Say Die Album Cover, 1978 NFS by HIPGNOSIS 1968-1983 Blind Faith Album Cover, London, 1969 $17,500 by BOB SEIDEMANN (1941-2017) Not including frame Bob Dylan & Johnny Cash Performance, The Dylan Cash Session Album Cover, 1969 $1,875 by JIM MARSHALL (b.1936 - d.2010) Not including frame Bob Dylan, Blonde on Blonde Album Cover, NYC, 1966 $25,000 by JERRY SCHATZBERG (b.1927) Not including frame Bob Dylan, Greatest Hits Album Cover, Washington DC, 1965 $5,000 by ROWLAND SCHERMAN (b.1937) Not including frame Bob Dylan, Nashville Skyline Album Cover, 1969 $1,700 by ELLIOT LANDY (b.1942) Not including frame Booker T & the MGs, McLemore Ave Front Cover Outtake, 1970 $1,500 by JOEL BRODSKY (1939-2007) Not including frame Bruce Springsteen, As Requested Around the World Album Cover, 1979 $2,500 by JOEL BERNSTEIN (b.1952) Not including frame Bruce Springsteen, Hungry Heart 7in Single Sleeve, 1980 $1,500 by JOEL BERNSTEIN (b.1952) Not including frame Carly Simon, Playing Possum Album Cover, Los Angeles, 1974 $3,500 by NORMAN SEEFF (b.1939) Not including frame Country Joe & The Fish, Fixin’ to Die Back Cover Outtake, 1967 $7,500 by JOEL BRODSKY (1939-2007) Not including frame Cream, Best of Cream Back Cover Outtake, 1967 $6,000 by JIM MARSHALL (b.1936 - d.2010) Not including frame Cream, Best of Cream Back Cover Outtake, 1967 Price on Request by JIM MARSHALL (b.1936 -
F 7 Inhaltsverz #2
France #1 Buffalo Atco 41 Atco 49 Springfield Go And Say Goodbye / For What It's Worth / Burned Nowadays Clancy Can't Even Sing Atco 77 Merry-Go-Round / Uno Mundo Atco 181 Atco 197 Atco 103.196 Expecting To Fly / Special On The Way Home / Rock'n Roll Woman / For Care Questions What It's Worth © peter kraege 01/2020 France #2 Atco 1245 Atco EP 34 J Bluebird / On The Way Bluebird / Mr. Soul / Rock'n Home Roll Woman / Burned Atco EP 45 JD Crazy Horse On The Way Home / Special Care / Expecting To Fly Crosby, Stills, Atlantic 650.123 Nash & Young Teach Your Children / Country Girl © peter kraege 01/2020 France #3 The Stills-Young Band Reprise 14 467 Neil Young & Midnight On The Bay / Graham Nash Black Coral © peter kraege 01/2020 France #4 Neil Young Reprise 14 070 Reprise 14 121 Everybody Knows This Is Cinnamon Girl / Sugar Nowhere / Down By The Mountain River Reprise EP 708 Reprise 14 137 Cinnamon Girl / Down By Only Love Can Break Your The River / Sugar Heart / Birds Mountain / Round & Round Reprise 14 140 J Heart Of Gold / Sugar Mountain © peter kraege 01/2020 France #5 Reprise EP 600 J Heart Of Gold / Harvest / Alabama / Are You Ready For The Country Reprise 14 300 J Reprise PRO 12 Time Fades Away / Don't See The Sky About To Rain / Be Denied Vampire Blues Reprise 14 398 Come On Bay Let's Go Downtown / New Mama © peter kraege 01/2020 France #6 Reprise 14 516 J Geffen A.2781 Southern Pacific / Motor Little Thing Called Love / City We R In Control Geffen A.3230 Geffen J 73 Geffen A.3581 Computer Age / Sample & Computer Age / Sample & Wonderin' / Payola Blues Hold Hold Geffen J 233 Wonderin' / Payola Blues © peter kraege 01/2020. -
Hayley Levin ’
Spotlight: Hayley Levin ’16 Hayley Levin ’16 was recently named Grinnell College Athlete of the Week, as well as the Midwest Conference Women’s Swimming and Diving Performer of the Week. She holds the fastest time in the Midwest Conference this season for the 100 fly and 200 IM, is ranked second in the 400 IM, 100 breast and 200 breast and has the third-fastest time in the 200 free and 200 fly. She also swims on several highly ranked relays. Photo by Saw Min Maw Why did you choose Grinnell College? I chose Grinnell because I got recruited for swimming, which was the first eye-opener I had to Grinnell. Also, the academics are amazing and I believe a liberal arts education is important to have. Another really cool thing that drew me to Grinnell was that I could create my own schedule and I wasn’t limited to certain topics. When did you begin swimming? I started swimming when I was nine through summer league. I actually did a bunch of other sports like ice-skating, gymnastics, softball and soccer. Eventually my mom said I needed to pick one and I just really loved being in the water. I just felt really good when I was in the water, so I stayed. What was a highlight of the team training trip to Florida this year? The Connecticut College meet, which was outside and we were able to race fast people. On a non-swimming note, we had a beach day, which was a day off. We got to hang out with the entire team the whole day and bury ourselves in sand and play elbow tag in the ocean. -
Austin's Progressive Country Music Scene and the Negotiation
Space, Place, and Protest: Austin’s Progressive Country Music Scene and the Negotiation of Texan Identities, 1968-1978 Travis David Stimeling A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements of the Doctor of Philosophy in the Department of Music. Chapel Hill 2007 Approved by: Jocelyn R. Neal, Chair Jon W. Finson David García Mark Katz Philip Vandermeer © 2007 Travis David Stimeling ALL RIGHTS RESERVED ii ABSTRACT TRAVIS DAVID STIMELING: “Space, Place, and Protest: Austin’s Progressive Country Music Scene and the Negotiation of Texan Identities, 1968-1978” (Under the direction of Jocelyn R. Neal) The progressive country music movement developed in Austin, Texas, during the early 1970s as a community of liberal young musicians and concertgoers with strong interests in Texan country music traditions and contemporary rock music converged on the city. Children of the Cold War and the post-World War II migration to the suburbs, these “cosmic cowboys” sought to get back in touch with their rural roots and to leave behind the socially conservative world their parents had created for them. As a hybrid of country music and rock, progressive country music both encapsulated the contradictions of the cosmic cowboys in song and helped to create a musical sanctuary in which these youths could articulate their difference from mainstream Texan culture. Examining the work of the movement’s singer-songwriters (Michael Murphey, Guy Clark, Gary P. Nunn), western swing revivalists (Asleep at the Wheel, Alvin Crow and the Pleasant Valley Boys), and commercial country singers (Willie Nelson, Waylon Jennings), this dissertation explores the proliferation of stock imagery, landscape painting, and Texan stereotypes in progressive country music and their role in the construction of Austin’s difference. -
The Flaming Lips
ISSUE #37 MMUSICMAG.COM ISSUE #37 MMUSICMAG.COM Q&A Was taking on the Beatles intimidating? is. My energy and my focus are part of we could quit our restaurant jobs and figure There are three groups: People who love the what gets it from being an idea to getting out how to make our records and shows Beatles and love what we did; people who it done. That doesn’t mean it’s all worth better. This went on for three or four years don’t care about the Beatles and what we did; doing—but that’s what creative people do: without anyone coming in and saying “Wait and the third group who love the Beatles and create. The more you do it, the more freedom a minute, what are you freaks doing?” That think if you try to do their music you should you have to do stuff, and the less you was a great time for us to take it seriously and be killed. We try not to think about those get hung up on it. work hard. We were fortunate that it worked freaks. The Beatles music is out there—and and we were able to keep going. doing our version doesn’t harm their version. Was it like this in the beginning? Being creative doesn’t mean you only create Is a new album in the works? How did you choose the artists? good things. The mistake people make is that It’s like we do so much stuff that sometimes Most are friends of ours who are not famous they don’t want to do anything that’s bad, so we forget. -
2017 MAJOR EURO Music Festival CALENDAR Sziget Festival / MTI Via AP Balazs Mohai
2017 MAJOR EURO Music Festival CALENDAR Sziget Festival / MTI via AP Balazs Mohai Sziget Festival March 26-April 2 Horizon Festival Arinsal, Andorra Web www.horizonfestival.net Artists Floating Points, Motor City Drum Ensemble, Ben UFO, Oneman, Kink, Mala, AJ Tracey, Midland, Craig Charles, Romare, Mumdance, Yussef Kamaal, OM Unit, Riot Jazz, Icicle, Jasper James, Josey Rebelle, Dan Shake, Avalon Emerson, Rockwell, Channel One, Hybrid Minds, Jam Baxter, Technimatic, Cooly G, Courtesy, Eva Lazarus, Marc Pinol, DJ Fra, Guim Lebowski, Scott Garcia, OR:LA, EL-B, Moony, Wayward, Nick Nikolov, Jamie Rodigan, Bahia Haze, Emerald, Sammy B-Side, Etch, Visionobi, Kristy Harper, Joe Raygun, Itoa, Paul Roca, Sekev, Egres, Ghostchant, Boyson, Hampton, Jess Farley, G-Ha, Pixel82, Night Swimmers, Forbes, Charline, Scar Duggy, Mold Me With Joy, Eric Small, Christer Anderson, Carina Helen, Exswitch, Seamus, Bulu, Ikarus, Rodri Pan, Frnch, DB, Bigman Japan, Crawford, Dephex, 1Thirty, Denzel, Sticky Bandit, Kinno, Tenbagg, My Mate From College, Mr Miyagi, SLB Solden, Austria June 9-July 10 DJ Snare, Ambiont, DLR, Doc Scott, Bailey, Doree, Shifty, Dorian, Skore, March 27-April 2 Web www.electric-mountain-festival.com Jazz Fest Vienna Dossa & Locuzzed, Eksman, Emperor, Artists Nervo, Quintino, Michael Feiner, Full Metal Mountain EMX, Elize, Ernestor, Wastenoize, Etherwood, Askery, Rudy & Shany, AfroJack, Bassjackers, Vienna, Austria Hemagor, Austria F4TR4XX, Rapture,Fava, Fred V & Grafix, Ostblockschlampen, Rafitez Web www.jazzfest.wien Frederic Robinson, -
Westword “Sparklehorse”
Sparklehorse Why did it take Mark Linkous five years to make his new record? By Rob Trucks Thursday, Feb 15 2007 For all intents and purposes, Sparklehorse is Mark Linkous . And yet, despite a welcome move to a western North Carolina mountaintop and noteworthy assists from Tom Waits , Danger Mouse and the Flaming Lips ' Steven Drozd , his latest release, Dreamt for Light Years in the Belly of a Mountain (full of rural atmosphere and pain and served with a light psychedelic dressing), took five years to produce. We spoke with Linkous before he headed out on tour and asked him what took so damn long, exactly. Westword: I would imagine, living in the Smoky Mountains , that oftentimes you'll walk away from the house and find a place to just sit for a while. Mark Linkous: Oh, yeah, definitely. I like doing that. I did that a lot as a kid growing up in the South. I spent so much time out in the woods, just walking for hours and just days. You know, summer seemed months and months and months longer when I was a kid, because I was outside in the woods every day. Would it be a violation of nature if you took along a pen and a notebook, or maybe even a guitar? Do you do that when you go out, or is it pretty much just you and the dog, and the peacefulness shouldn't be interrupted? Unfortunately, I need to be more disciplined about doing that. I don't do that often enough. I think I get lazy sometimesŠand I'd just rather watch a black- and-white movie on Turner Classic Movies and be content.