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RAY STEVENS' Cabaray NASHVILLEPUBLIC TV 201 NEW
1. REVISION #3 3/20/2017 RAY STEVENS’ CabaRay NASHVILLEPUBLIC TV SYNDICATED EPISODES 201 - 252 PBS SHOW # GUEST(S) PERFORMANCES FEED DATE 201 Harold Bradley “Sgt. Preston of the Mounties” . NEW SHOW 7.07.2017 “Jeremiah Peabody’s Poly-Unsaturated, w.Mandy Barnett Quick Dissolving, Fast-Actin’, Pleasant Tastin’, Green and Purple Pills” .”Harry, The Hairy Ape” (RAY) “Crazy” & “I’m Confessin’” (MANDY) * 202 “Ned Nostril” (Ray) 7.14.2017 “Only You” (Ray) “Two Dozen Roses” (Shenandoah) “Sleepwalk” (A-Team) “I Want To Be Loved Like That” (Shenandoah) “Church On The Cumberland Road” (Shenandoah) * 203 Michael W. Smith “Dry Bones” (RAY) 7.21.2017 (GOSPEL THEME) “Would Jesus Wear A Rolex” (RAY) “This Ole House” (Ray) “I’ll Fly Away” (Duet w.Smitty) “Shine On Me” (SMITTY) 204 BJ Thomas ‘Hound Dog” (RAY) 7.28.2017 “Mr. Businessman” (duet w.BJ) “I Saw Elvis In A UFO” (RAY) “Rain Drops Keep Fallin’ On My Head” (chorus & verse BJ) “Somebody Done Somebody Wrong Song” (BJ) * 205 Rhonda Vincent “King of the Road” (RAY) 8.04.2017 “Chug-A-Lug” (RAY) “Just A Closer Walk With Thee” (Duet w.Rhonda) “Jolene” * 206 Restless Heart “That Ole Black Magic” (RAY) 8.11.2017 Larry Steward “Spiders And Snakes” (RAY) John Dittrich “Everything Is Beautiful” (duet Paul Gregg With Restless Heart) David Innis “Bluest Eyes In Texas” (RESTLESS) Greg Jennings * 207 John Michael “Get Your Tongue Out 8.18.2017 Montgomery Of My Mouth, I’m Kissing You Goodbye” & “Retired” (RAY) “Letters From Home” & “Sold” (JOHN MICHAEL) 208 Ballie and the Boys “Little Egypt” & “Poison Ivy” (RAY) 8.25.2017 Kathie Bonagoura “(Wish I Had) A Heart of Stone” & Michael Bonagoura “House My Daddy Built” (BAILLIE) Molly Cherryholmes 2. -
HOUSE JOINT RESOLUTION 1221 by Maggart a RESOLUTION To
HOUSE JOINT RESOLUTION 1221 By Maggart A RESOLUTION to honor and commend Harold Ray Bradley upon being inducted into the Country Music Hall of Fame. WHEREAS, the members of this General Assembly are proud to formally recognize those talented musicians whose influence on and participation in a genre of music is of great import and whose talent has set them apart as the finest of American artists; and WHEREAS, veteran guitarist Harold Ray Bradley is one such musician who is widely renowned for his prolific recordings, studio achievements, and industry leadership; and WHEREAS, in recognition of the impact he has had on the genre of country music, Harold Bradley was formally inducted into the prestigious Country Music Hall of Fame by the Country Music Association in 2006; and WHEREAS, born on January 2, 1926, in Nashville, Harold Bradley first took an interest in the banjo, but his brother, the late Owen Bradley, steered him toward guitar; by 1943, Harold Bradley was playing amplified jazz guitar and acquired his first job playing lead guitar with Ernest Tubb’s Texas Troubadours; and WHEREAS, from 1944 to 1946, he proudly served his country as a member of the United States Navy during World War II; he then headed home to Nashville to study music; and WHEREAS, Mr. Bradley’s first country recording session came in 1946, when he recorded with Pee Wee King’s Golden West Cowboys in Chicago; his acoustic rhythm guitar opened Red Foley’s 1950 smash hit “Chattanoogie Shoe Shine Boy,” which jumped to number one on both the country and pop charts; and WHEREAS, though a capable lead guitarist, Harold Bradley’s studio specialty has been rhythm work; on many sessions he lent his musical talents to a studio-triumvirate with lead specialists Hank Garland and Grady Martin; and HJR1221 01147350 -1- WHEREAS, Mr. -
QUES in ARCH HIST I Jump to Today Questions in Architectural History 1
[email protected] - QUES IN ARCH HIST I Jump to Today Questions in Architectural History 1 Faculty: Zeynep Çelik Alexander, Reinhold Martin, Mabel O. Wilson Teaching Fellows: Oskar Arnorsson, Benedict Clouette, Eva Schreiner Thurs 11am-1pm Fall 2016 This two-semester introductory course is organized around selected questions and problems that have, over the course of the past two centuries, helped to define architecture’s modernity. The course treats the history of architectural modernity as a contested, geographically and culturally uncertain category, for which periodization is both necessary and contingent. The fall semester begins with the apotheosis of the European Enlightenment and the early phases of the industrial revolution in the late eighteenth century. From there, it proceeds in a rough chronology through the “long” nineteenth century. Developments in Europe and North America are situated in relation to worldwide processes including trade, imperialism, nationalism, and industrialization. Sequentially, the course considers specific questions and problems that form around differences that are also connections, antitheses that are also interdependencies, and conflicts that are also alliances. The resulting tensions animated architectural discourse and practice throughout the period, and continue to shape our present. Each week, objects, ideas, and events will move in and out of the European and North American frame, with a strong emphasis on relational thinking and contextualization. This includes a historical, relational understanding of architecture itself. Although the Western tradition had recognized diverse building practices as “architecture” for some time, an understanding of architecture as an academic discipline and as a profession, which still prevails today, was only institutionalized in the European nineteenth century. -
Music Industry Report 2020 Includes the Work of Talented Student Interns Who Went Through a Competitive Selection Process to Become a Part of the Research Team
2O2O THE RESEARCH TEAM This study is a product of the collaboration and vision of multiple people. Led by researchers from the Nashville Area Chamber of Commerce and Exploration Group: Joanna McCall Coordinator of Applied Research, Nashville Area Chamber of Commerce Barrett Smith Coordinator of Applied Research, Nashville Area Chamber of Commerce Jacob Wunderlich Director, Business Development and Applied Research, Exploration Group The Music Industry Report 2020 includes the work of talented student interns who went through a competitive selection process to become a part of the research team: Alexander Baynum Shruthi Kumar Belmont University DePaul University Kate Cosentino Isabel Smith Belmont University Elon University Patrick Croke University of Virginia In addition, Aaron Davis of Exploration Group and Rupa DeLoach of the Nashville Area Chamber of Commerce contributed invaluable input and analysis. Cluster Analysis and Economic Impact Analysis were conducted by Alexander Baynum and Rupa DeLoach. 2 TABLE OF CONTENTS 5 - 6 Letter of Intent Aaron Davis, Exploration Group and Rupa DeLoach, The Research Center 7 - 23 Executive Summary 25 - 27 Introduction 29 - 34 How the Music Industry Works Creator’s Side Listener’s Side 36 - 78 Facets of the Music Industry Today Traditional Small Business Models, Startups, Venture Capitalism Software, Technology and New Media Collective Management Organizations Songwriters, Recording Artists, Music Publishers and Record Labels Brick and Mortar Retail Storefronts Digital Streaming Platforms Non-interactive -
OBHOF INDUCTEES Why We Honor Them 2104
OBHOF INDUCTEES 2104 Why We HonorThem: Dr. Harold Aldridge March 3, 2014 Aldridge sings the blues Dr. Harold Aldridge is a retired professor of psychology at NSU in Tahlequah. Tahlequah Daily Press By RENEE FITE Special Writer TAHLEQUAH — The gray is beginning to cover his once-black hair, and it shows when the tall, lanky musician adjusts his black felt cowboy hat. He’s admits to being a little nervous. To keep his hands busy and mind occupied before the show begins, he tunes his guitar, glancing around the room, waving or nodding to friends. “An Evening of Blues Music,” presented at Webb Tower by Dr. Harold Aldridge, professor emeritus of psychology at Northeastern State University, was in observance of Black History month. After a brief introduction and enthusiastic applause, Aldridge began with a joke. “As the milk cow said to the dairy man, ‘Thanks for the warm hand,’” he said. For the next hour, the audience was taken on a journey through black history via the blues, from deep in the Mississippi Delta, to Alabama, the East Coast, Kansas City, Oklahoma, Texas and California. “I’m going to tell you the history of blues, and hopefully, it will be entertaining,” Aldridge said. “I stick with the old stuff, from Memphis, Mississippi, Alabama, and Tennessee.” According to Aldridge, blues music is evolving. “It’s almost like rock in some places; I guess next we’ll have rap blues,” he said. As his story unfolded, the audience learned the blues has changed with varying locations and situations. “The blues originated in West Africa and came here as a feeling, the soul of it, the spirit of high John the Conqueror,” said the Aldridge. -
Robert E. Litan's CV
CURRICULUM VITAE Robert E. Litan Home and Office Address 2018 Hogan Dr. Lawrence, Ks. 66047 [email protected] [email protected] Affilations and Employment 2014- Partner, Korein Tillery law firm (St. Louis and Chicago), specializing in Antitrust and other complex business litigation 2017- Non-Resident Senior Fellow, The Brookings Institution, Washington, D.C. Research on regulation, financial institutions, general economic policy 2019- Independent columnist on sports law and economics, The Athletic 2015-17 Adjunct Senior Fellow, Council on Foreign Relations Overseeing a seminar series on how global cities can encourage Entrepreneurship; Research on trade and domestic adjustment to it 2015-17 Co-Chair, Insurance Reform Task Force, Bipartisan Policy Center 2014-15 Non-resident Senior Fellow, The Brookings Institution, Washington, D.C. Authoring studies of regulation, financial institutions and entrepreneurship 2015- Visiting Senior Policy Scholar, Georgetown University, McDonough School of Business, Center for Business & Public Policy 2014-16 Regular Contributor, Wall Street Journal “Think Tank” Blog 2014-18 Special Consultant, Economists, Inc., Washington, D.C. 2012-14 Director of Research, Bloomberg-Government, Washington, D.C. Oversaw a team of analysts covering business impact of federal governmental decisions; authoring weekly columns on a wide range of policy topics behind the BGov paywall (and sometimes for Bloomberg.com). 2007-09 Contributing Editor, Inc Magazine 2003-12 Vice President, Research and Policy, Ewing Marion -
Bobby Karl Works the Room Chapter 323 There Was Joy in the Schermerhorn Associated with Inductee Chet Atkins, Symphony Center Monday Night (10/12)
page 1 Wednesday, October 14, 2009 Bobby Karl Works The Room Chapter 323 There was joy in the Schermerhorn associated with inductee Chet Atkins, Symphony Center Monday night (10/12). both in tandem with Paul Yandell and Performer after performer at the solo. third annual Musicians Hall of Fame Chet’s daughter, Merle Atkins ceremony conveyed just how much pure Russell accepted. “It’s a wonderful pleasure there is in making the music night,” she said. “It was all about music, you love. for Daddy. This is huge.” “I’ve been a very blessed person, Harold Bradley described inductee working in the business I love,” said Foster as “a nonconformist” and “a producer inductee Fred Foster. visionary” for having signed and “When you do that, you’re produced such talents as Roy not working, you’re Orbison, Dolly Parton and playing.” Kris Kristofferson, all of “For all the loyal fans, whom appeared in a video thank you for keeping the tribute. Fred-produced spirit alive,” said inductee Tony Joe White got a Billy Cox after performing a standing ovation for a super blistering rock set with his funky workout on “Polk Salad group, featuring guest drummer Annie.” Chris Layton from Stevie Ray “This is a great honor Vaughn’s band Double Trouble. that goes in my memory book for Gary Puckett gleefully turned many visits in the future,” said Fred. the mic over to the audience for a Al Jardine of The Beach Boys sing-along rendition of “Young Girl.” He enthusiastically sang “Help Me Rhonda” inducted percussion, keyboard and vibes before inducting Dick Dale, the King of “musician’s musician” Victor Feldman. -
Statue of Liberty National Monument and Ellis Island New Jersey and New York July 2018 Foundation Document
NATIONAL PARK SERVICE • U.S. DEPARTMENT OF THE INTERIOR Foundation Document Statue of Liberty National Monument and Ellis Island New Jersey and New York July 2018 Foundation Document NEW JERSEY HUDSON JERSEY CITY RIVER NEW YORK Ferry tickets MANHATTAN N Railroad Terminal ew J e r Liberty State Park s e Ferry tickets y Battery f Castle Clinton e Park Ellis r National r Island y Monument Statue of Liberty National y EAST RIVER rr Monument e f rk o Y ew Governors Island Liberty N National Monument Island North 0 0.5 Kilometer BROOKLYN 0 0.5 Mile ELLIS ISLAND IMMIGRATION MUSEUM Interior shown at right Ferry Building American Immigrant Museum Wall of Honor Entrance Ellis Island Fort Gibson 0 75 meters 0 250 feet Buildings shown in gray are closed to the public. Statue of Liberty National Monument and Ellis Island Contents Mission of the National Park Service 1 Introduction 2 Part 1: Core Components 3 Brief Description of the Park 3 Statue of Liberty National Monument 3 Ellis Island 5 Park Purpose 6 Park Significance 7 Fundamental Resources and Values 8 Other Important Resources and Values 10 Interpretive Themes 10 Part 2: Dynamic Components 11 Special Mandates and Administrative Commitments 11 Special Mandates 11 Administrative Commitments 11 Assessment of Planning and Data Needs 12 Analysis of Fundamental Resources and Values 13 Analysis of Other Important Resources and Values 28 Identification of Key Issues and Associated Planning and Data Needs 31 Planning and Data Needs 31 Part 3: Contributors 33 Statue of Liberty National Monument and -
“The Stories Behind the Songs”
“The Stories Behind The Songs” John Henderson The Stories Behind The Songs A compilation of “inside stories” behind classic country hits and the artists associated with them John Debbie & John By John Henderson (Arrangement by Debbie Henderson) A fascinating and entertaining look at the life and recording efforts of some of country music’s most talented singers and songwriters 1 Author’s Note My background in country music started before I even reached grade school. I was four years old when my uncle, Jack Henderson, the program director of 50,000 watt KCUL-AM in Fort Worth/Dallas, came to visit my family in 1959. He brought me around one hundred and fifty 45 RPM records from his station (duplicate copies that they no longer needed) and a small record player that played only 45s (not albums). I played those records day and night, completely wore them out. From that point, I wanted to be a disc jockey. But instead of going for the usual “comedic” approach most DJs took, I tried to be more informative by dropping in tidbits of a song’s background, something that always fascinated me. Originally with my “Classic Country Music Stories” site on Facebook (which is still going strong), and now with this book, I can tell the whole story, something that time restraints on radio wouldn’t allow. I began deejaying as a career at the age of sixteen in 1971, most notably at Nashville’s WENO-AM and WKDA- AM, Lakeland, Florida’s WPCV-FM (past winner of the “Radio Station of the Year” award from the Country Music Association), and Springfield, Missouri’s KTTS AM & FM and KWTO-AM, but with syndication and automation which overwhelmed radio some twenty-five years ago, my final DJ position ended in 1992. -
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CANON: ENGLISH ANTECEDENTS OF THE QUEEN ANNE IN AMERICA 1 ACKNOWLEDGEMENTS First I would like to thank my thesis advisor Janet W. Foster, adjunct assistant professor, Columbia University, for her endless positivity and guidance throughout the process. We share an appreciation for late nineteenth century American architecture and I feel very grateful to have worked with an advisor who is an expert on the period of time explored in this work. I would also like to thank my readers Jeffrey Karl Ochsner, professor, University of Washington, and Andrew Saint, author, for their time and assistance. Professor Ochsner thank you for your genuine interest in the topic and for contributing your expertise on nineteenth century American architecture, Henry Hobson Richardson and the Sherman house. Andrew thank you for providing an English perspective and for your true appreciation for the “Old English.” You are the expert on Richard Norman Shaw and your insight was invaluable in understanding Shaw’s works. This work would not have come to fruition without the insight and interest of a number of individuals in the topic. Thank you Sarah Bradford Landau for donating many of the books used in this thesis and whose article “Richard Morris Hunt, the Continental Picturesque and the ‘Stick Style’” was part of the inspiration for writing this thesis, and as this work follows where your article concluded. Furthermore, I would like to thank Andrew Dolkart, professor, Columbia University, for your recommendations on books to read and places to see in England, which guided the initial ideas for the thesis. There were many individuals who offered their time, assistance and expertise, thank you to: Paul Bentel, adjunct professor, Columbia University Chip Bohl, architect, Annapolis, Maryland Françoise Bollack, adjunct professor, Columbia University David W. -
The Statue of Liberty: an American Symbol in Its Classical Context Victoria Tietze Larson
The statue of Liberty: an American symbol in its classical context Victoria Tietze Larson The Statue of Liberty (fig.1) is one of the most instantaneously recognizable tourist images in the world, along with the likes of the Taj Mahal, Colosseum,Parthenon, and Eiffel Tower, and has been satirized, idealized, reproduced, and generally exploited so many times, that now, more than anything, it is the embodiment of 'kitsch'. Indeed, the vast rnajority of the more than one million visitors annually who clamber onto the Miss New Jersey and Miss New York to be ferried, consuming soda and pretzels, from Manhattan and New Jersey, to visit the Statue, have little inkling of the classical tradition to which this monument belongs and which was so important a part of its original meaning when it was unveiled by its sculptor, the Frenchman Frederic- Auguste Bartholdi, in 1886. Allegorical representations of abstract concepts in female form (everything from Immortality to Electricity!) were all the rage in European and American nineteenth-century sculpture, so in a sense we have to look no further than contemporary art to understand the immediate influences which shaped the Statue of Liberty. Yet the nineteenth-century fashion for such allegories was the final flowering of a plant that had its roots in antiquity. The conventional training of the nineteenth-century sculptor included much study of classical casts, and in one photograph of a young Bartholdi, staged to represent his evolution as sculptor, he poses next to a replica of Polyclitus' famous Doryphorus or Spear Bearer (fig. 2). In his publicization of the Statue of Liberty Bartholdi emphasized its classical precedents-especially for its colossal size. -
9781938360985 Half Book.Indd
Statue of Liberty Art of the United States of America Rebecca Hinson Statue of Liberty Art of the United States of America Rebecca Hinson Dedicated to my beloved friend, Penelope Day Copyright © 2013 by Rebecca Ann Hinson All rights reserved. Library of Congress Control Number: 2014917055 Edited by Richard Lederer & John Robuck History Consultant: Roy Bartolomei Rebecca Hinson Publishing Lake Worth, Florida Printed in the United States of America ISBN 978-1-938360-98-5 ARTISTS Cover, 2, 12-20, 24, Frédéric Auguste Bartholdi, Alexandre-Gustave Eiffel, Richard Morris Hunt; 4, Allan Ramsay; 5, William Barnes Wollen; 6, John Ward Dunsmore; 7, Antoine Roux; 8, Junius Brutus Stearns. The Statue of Liberty Enlightening the World stands on Liberty Island in New York Harbor. The story of the monument begins with the Thirteen Colonies, which were British territories founded on the Atlantic coast of North America. When the British Parliament levied taxes on the colonies and passed laws that the colonists hated, many resisted. In 1775, King George III declared they were traitors. The colonists formed the Continental Congress, which declared the independence of the United States of America. The American Revolutionary War had begun. French allies provided the Americans with money, 6,000 soldiers, and a squadron of warships. The French Marquis de Lafayette served in the Continental Army under George Washington. During the war, Lafayette convinced King Louis XVI to send 6,000 more soldiers and six more warships. With help from the French, the Americans won the war. The country’s freedom from Great Britain’s power had been secured, but some people lacked freedom.