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ÐÐ ¹Ð·ÑŠÐº Ð¥ÐµÐ¹Ñ ÐÐ »Ð±ÑƒÐ¼ ÑÐ ¿Ð¸ÑÑ ŠÐº (Ð ´Ð¸ÑÐ ºÐ¾Ð³Ñ€Ð°Ñ„Ð¸ÑÑ ‚Ð° & Ð³Ñ€Ð°Ñ„Ð¸Ðº) Don't Let Go https://bg.listvote.com/lists/music/albums/don%27t-let-go-23020713/songs And Once Again https://bg.listvote.com/lists/music/albums/and-once-again-22265349/songs Chocolate Chip https://bg.listvote.com/lists/music/albums/chocolate-chip-20686210/songs U-Turn https://bg.listvote.com/lists/music/albums/u-turn-25095030/songs New Horizon https://bg.listvote.com/lists/music/albums/new-horizon-25095005/songs Raw & Refined https://bg.listvote.com/lists/music/albums/raw-%26-refined-24807731/songs Groove-A-Thon https://bg.listvote.com/lists/music/albums/groove-a-thon-23038177/songs Juicy Fruit https://bg.listvote.com/lists/music/albums/juicy-fruit-23038198/songs For the Sake of Love https://bg.listvote.com/lists/music/albums/for-the-sake-of-love-24077629/songs Lifetime Thing https://bg.listvote.com/lists/music/albums/lifetime-thing-22265428/songs Joy https://bg.listvote.com/lists/music/albums/joy-20813558/songs Love Attack https://bg.listvote.com/lists/music/albums/love-attack-19894022/songs Branded https://bg.listvote.com/lists/music/albums/branded-25095032/songs Live at the Sahara Tahoe https://bg.listvote.com/lists/music/albums/live-at-the-sahara-tahoe-26298843/songs Hotbed https://bg.listvote.com/lists/music/albums/hotbed-26335133/songs Use Me https://bg.listvote.com/lists/music/albums/use-me-26331248/songs Royal Rappin's https://bg.listvote.com/lists/music/albums/royal-rappin%27s-26386518/songs Wonderful https://bg.listvote.com/lists/music/albums/wonderful-26392021/songs Black Moses https://bg.listvote.com/lists/music/albums/black-moses-2905426/songs The Isaac Hayes https://bg.listvote.com/lists/music/albums/the-isaac-hayes-movement-3282954/songs Movement â€¦To Be Continued https://bg.listvote.com/lists/music/albums/%E2%80%A6to-be-continued-3282851/songs Hot Buttered Soul https://bg.listvote.com/lists/music/albums/hot-buttered-soul-521823/songs Shaft https://bg.listvote.com/lists/music/albums/shaft-914367/songs Presenting Isaac Hayes https://bg.listvote.com/lists/music/albums/presenting-isaac-hayes-7241008/songs Disco Connection https://bg.listvote.com/lists/music/albums/disco-connection-24077627/songs Blue Hayes https://bg.listvote.com/lists/music/albums/blue-hayes-62709141/songs In the Beginning https://bg.listvote.com/lists/music/albums/in-the-beginning-62709677/songs At Wattstax https://bg.listvote.com/lists/music/albums/at-wattstax-26406954/songs Truck Turner https://bg.listvote.com/lists/music/albums/truck-turner-26308627/songs A Man and a Woman https://bg.listvote.com/lists/music/albums/a-man-and-a-woman-26332207/songs Tough Guys https://bg.listvote.com/lists/music/albums/tough-guys-26306525/songs.

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Discourse on Disco
Chapter 1: Introduction to the cultural context of electronic dance music The rhythmic structures of dance music arise primarily from the genre’s focus on moving dancers, but they reveal other influences as well. The poumtchak pattern has strong associations with both disco music and various genres of electronic dance music, and these associations affect the pattern’s presence in popular music in general. Its status and musical role there has varied according to the reputation of these genres. In the following introduction I will not present a complete history of related contributors, places, or events but rather examine those developments that shaped prevailing opinions and fields of tension within electronic dance music culture in particular. This culture in turn affects the choices that must be made in dance music production, for example involving the poumtchak pattern. My historical overview extends from the 1970s to the 1990s and covers predominantly the disco era, the Chicago house scene, the acid house/rave era, and the post-rave club-oriented house scene in England.5 The disco era of the 1970s DISCOURSE ON DISCO The image of John Travolta in his disco suit from the 1977 motion picture Saturday Night Fever has become an icon of the disco era and its popularity. Like Blackboard Jungle and Rock Around the Clock two decades earlier, this movie was an important vehicle for the distribution of a new dance music culture to America and the entire Western world, and the impact of its construction of disco was gigantic.6 It became a model for local disco cultures around the world and comprised the core of a common understanding of disco in mainstream popular music culture.
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“It's Just a Matter of Time”: African American Musicians and The
“It’s just a matter of time”: African American Musicians and the Cultural Boycott in South Africa, 1968-1983 by Ashrudeen Waggie Thesis presented in fulfilment of the requirements for the degree of Master of Arts (History) in the Faculty of Arts and Social Sciences at Stellenbosch University Supervisor: Dr. L. Lambrechts Co-supervisor: Dr. C. J. P. Fransch March 2020 Stellenbosch University https://scholar.sun.ac.za Declaration By submitting this thesis electronically, I declare that the entirety of the work contained therein is my own, original work, that I am the sole author thereof (save to the extent explicitly otherwise stated), that reproduction and publication thereof by Stellenbosch University will not infringe any third-party rights and that I have not previously in its entirety or in part submitted it for obtaining any qualification. Ashrudeen Waggie March 2020 Copyright © 2020 Stellenbosch University All rights reserved i Stellenbosch University https://scholar.sun.ac.za Abstract In 1968 the United Nations General Assembly instituted a cultural boycott against apartheid South Africa. The cultural boycott prevented South Africa from having cultural, educational and sporting ties with the rest of the world, and it was an attempt by the international community to sever ties with South Africa. A culmination of this strategy was the publication of an annual registry by the United Nations of all international entertainers, actors, and others who performed in South Africa from 1983. Based on this registry a number of academic studies have been conducted, but very few studies have investigated those who came to perform in South Africa before the publication of the registry even though renowned artists such as Percy Sledge (1970), Brook Benton (1971 & 1982), Jimmy Smith (1978 & 1982) and Isaac Hayes (1978) performed in South Africa during this time.
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Petrella Pollefeyt
ARCHIVES OF AFRICAN AMERICAN MUSIC AND CULTURE liner notesNO. 19 / 2014-2015 Petrella Pollefeyt: First Lady of Country Soul aaamc mission From the Desk of the Director The AAAMC is devoted to the collection, preservation, and dissemination of materials for In drafting this column for the first sang with the aesthetic beauty and the purpose of research and time as Director of the AAAMC, I feel spiritual grace fitting for such an iconic study of African American compelled to acknowledge the legacy figure. From Grammy-award winning music and culture. of Portia Maultsby, whose vision in Dr. Bobby Jones of Sunday morning www.indiana.edu/~aaamc 1991 led to its founding. Initially BET Gospel fame to GospoCentric supported by a Ford Foundation grant, founder, Vicki Mack Lataillade, the the Archives represented Dr. Maultsby’s tributes extolled Hobbs’ commanding desire to identify and gather the many leadership in the world of gospel music. Table of Contents print, audio and visual resources The public face of the Archives which document the richness of this year was most strongly evident From the Desk of the Director .....................2 African American music in shaping in our Themester event, Hot Buttered and defining the American musical Soul: The Role of Foodways and Music In the Vault: landscape. It is a history most worthy Making in Building and Sustaining Recent Donations .................3 of preservation, and following the African American Communities, which path forged by Dr. Maultsby is both an attracted an extremely responsive One on One: Interview honor and a challenge. We welcome her audience of almost 150 students, faculty, with Petrella Pollefeyt ...........4 continued involvement in identifying staff, and community members.
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'Hot Buttered Soul' and Me
Cover Story ‘Hot Buttered Soul’ and Me DCCCD professor remembers Isaac Hayes By Jacquinette D. Murphy was playing with a band and nobody was six-year quest for stardom. A second sur- that his head was bumpy although he was orth Dallas Gazette talking to him, so I began to strike up a prise came when Hayes asked her to join bald. “He was keeping his head shaved, conversation with him.” She had no idea him for a Chicago performance at the but it had bumps all on it,” began Elder- “Hot Buttered Soul”, “Black Moses”, that this conversation would blossom into McCormick Place. Jones. “He was just going to a local “Shaft” and “Chef” are all reminiscent of a unique friendship that would continue “I saw how the audience went wild shop. I said that you are too big to be the decades of success of the ‘cool of for more than four decades. over him and I was awed by that. He had going to a regular barber shop, you need soul’ - the late legendary music icon - “It was 1963 when I became friends to do several encores, but when he final- to hire your own barber.” Hayes instant- Isaac Hayes. He is credited with shaping with him. He did not have a lot, but he ly came down, I said, 'Oh my God, ly agreed “saying Dee your right, you the Memphis music sound in the 1960. was intellectual. He told me that if he Bubba, you are all of that!” she recalled, can come to my studio and do my hair”.
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Singles 1970 to 1983
AUSTRALIAN RECORD LABELS PHILIPS–PHONOGRAM 7”, EP’s and 12” singles 1970 to 1983 COMPILED BY MICHAEL DE LOOPER © BIG THREE PUBLICATIONS, APRIL 2019 PHILIPS-PHONOGRAM, 1970-83 2001 POLYDOR, ROCKY ROAD, JET 2001 007 SYMPATHY / MOONSHINE MARY STEVE ROWLAND & FAMILY DOGG 5.70 2001 072 SPILL THE WINE / MAGIC MOUNTAIN ERIC BURDON & WAR 8.70 2001 073 BACK HOME / THIS IS THE TIME OF THE YEAR GOLDEN EARRING 10.70 2001 096 AFTER MIDNIGHT / EASY NOW ERIC CLAPTON 10.70 2001 112 CAROLINA IN MY MIND / IF I LIVE CRYSTAL MANSION 11.70 2001 120 MAMA / A MOTHER’S TEARS HEINTJE 3.71 2001 122 HEAVY MAKES YOU HAPPY / GIVE ‘EM A HAND BOBBY BLOOM 1.71 2001 127 I DIG EVERYTHING ABOUT YOU / LOVE HAS GOT A HOLD ON ME THE MOB 1.71 2001 134 HOUSE OF THE KING / BLACK BEAUTY FOCUS 3.71 2001 135 HOLY, HOLY LIFE / JESSICA GOLDEN EARING 4.71 2001 140 MAKE ME HAPPY / THIS THING I’VE GOTTEN INTO BOBBY BLOOM 4.71 2001 163 SOUL POWER (PT.1) / (PTS.2 & 3) JAMES BROWN 4.71 2001 164 MIXED UP GUY / LOVED YOU DARLIN’ FROM THE VERY START JOEY SCARBURY 3.71 2001 172 LAYLA / I AM YOURS DEREK AND THE DOMINOS 7.72 2001 203 HOT PANTS (PT.1) / (PT.2) JAMES BROWN 10.71 2001 206 MONEY / GIVE IT TO ME THE MOB 7.71 2001 215 BLOSSOM LADY / IS THIS A DREAM SHOCKING BLUE 10.71 2001 223 MAKE IT FUNKY (PART 1) / (PART 2) JAMES BROWN 11.71 2001 233 I’VE GOT YOU ON MY MIND / GIVE ME YOUR LOVE CAROLYN DAYE LTD.
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Filed for Intro on 01/21/2004 HOUSE BILL 2235 by Brooks (Shelby) AN
Filed for intro on 01/21/2004 HOUSE BILL 2235 By Brooks (Shelby) AN ACT to provide for the erection of signs on U.S. Highway 51 proclaiming Tipton County as the “Birthplace of Isaac Hayes”. BE IT ENACTED BY THE GENERAL ASSEMBLY OF THE STATE OF TENNESSEE: WHEREAS, from time to time, this General Assembly has seen fit to recognize Tennessee’s sons and daughters and their many accomplishments in the arts on this state’s highway system; and WHEREAS, no Tennessee artist could possibly be more deserving of such recognition than legendary singer, songwriter, musician and Soul Man, Isaac Hayes; and WHEREAS, in addition to being one of the creators of the Memphis Sound while at Stax Records, Isaac Hayes is an innovative solo artist whose music combines elements of rhythm- and-blues, soul and jazz to create a unique signature sound that identifies him as a progenitor of widely divergent genres, from disco to hip-hop; and WHEREAS, in addition to this peerless musical legacy, he has also distinguished himself as one of the most influential and productive figures in African American culture today through his many good works in service of literacy and education across the globe; and WHEREAS, born in the rural poverty of a sharecropper’s family in Covington, Tipton County, Isaac Hayes sang publicly for the first time at an Easter ceremony at Saint Stephen’s Chapel when he was only three years old; and WHEREAS, Issac Hayes attended a small schoolhouse in Rialto until third grade when he moved to Memphis, graduated from Memphis Manassas High School in
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Transforming Southern Soul: an Examination of Stax Fax and Stax
Transforming Southern Soul: An Examination of Stax Fax and Stax Records During the Late 1960s Chandler Vaught Rhodes Institute for Regional Studies 2017 Vaught 2 Special Thanks to Al Bell Deanie Parker Jeff Kollath Jennifer Campbell And Dr. Charles Hughes Vaught 3 In the early 1960s Deanie Parker moved from Ironton, Ohio to Memphis, Tennessee in order to finish high school and be with her mother, who was living in the city at the time. She attended Hamilton High School, where future star Carla Thomas would also graduate from, and became the lead female vocalist for a student band.1 Encouraged by the school’s glee club instructor, the group took part in a Beale Street music competition for which the first place prize was an opportunity to audition for Stax Records. “And we won that prize,” Parker recalls, “So that was how I managed to get into Stax Records and to learn what it was they did in that old Capitol Theater that had been converted into a recording company. Which was behind Satellite Record Shop on McLemore at College.”2 Though Deanie would not go on to become a hit musician, she would become an integral part of Stax Records. In 1965 Jim Stewart, the president of Stax, hired Deanie as the company’s first publicist. The ultimate goal of her job was to package and advertise the product (the songs and artists of Stax) to both the DJs who played their music and the general public as a whole.3 In the fall of 1968 a new marketing tool was developed that would aid her in this endeavor, Stax’s very own magazine called Stax Fax.
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The Assassination of Dr. Martin Luther King Jr. and the Birth of Funk Culture
Loyola University Chicago Loyola eCommons Dissertations Theses and Dissertations 2013 Funk My Soul: The Assassination of Dr. Martin Luther King Jr. And the Birth of Funk Culture Domenico Rocco Ferri Loyola University Chicago Follow this and additional works at: https://ecommons.luc.edu/luc_diss Part of the United States History Commons Recommended Citation Ferri, Domenico Rocco, "Funk My Soul: The Assassination of Dr. Martin Luther King Jr. And the Birth of Funk Culture" (2013). Dissertations. 664. https://ecommons.luc.edu/luc_diss/664 This Dissertation is brought to you for free and open access by the Theses and Dissertations at Loyola eCommons. It has been accepted for inclusion in Dissertations by an authorized administrator of Loyola eCommons. For more information, please contact [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License. Copyright © 2013 Domenico Rocco Ferri LOYOLA UNIVERSITY CHICAGO FUNK MY SOUL: THE ASSASSINATION OF DR. MARTIN LUTHER KING JR. AND THE BIRTH OF FUNK CULTURE A DISSERTATION SUBMITTED TO THE FACULTY OF THE GRADUATE SCHOOL IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY PROGRAM IN HISTORY BY DOMENICO R. FERRI CHICAGO, IL AUGUST 2013 Copyright by Domenico R. Ferri, 2013 All rights reserved. ACKNOWLEDGEMENTS Painstakingly created over the course of several difficult and extraordinarily hectic years, this dissertation is the result of a sustained commitment to better grasping the cultural impact of Dr. Martin Luther King Jr.’s life and death. That said, my ongoing appreciation for contemporary American music, film, and television served as an ideal starting point for evaluating Dr.
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HAYES by ROB BOWMAN
i S f ? PERFORMERS HAYES By ROB BOWMAN IN THE PAST FIFTY YEARS, THERE HAVE BEEN A HAND- Hayes’s story is one of epic proportions. Begin ful of seminal, innovative albums that truly changed ning in 1969, with the release of Hot Buttered Soul, the course of popular-music history. LPs such as he became the biggest artist Stax Records ever pro Miles Davis’s Kind of Blue, James Brown’s Live at the duced and one of the most important artists in the Apollo, the Beatles’ Sgt. Pepper’s Lonely Hearts Club history of rhythm & blues. In the first few years of Band and the Sex Pistols’ Never Mind the Bollocks the 1970s, he single-handedly redefined the sonic opened new doors, created new possibilities and possibilities for black music, in the process opening suggested new directions to other musicians, record up the album market as a commercially viable me company personnel and fans alike. Each of these al dium for black artists. Earlier, Hayes, alongside bums, in its own way, defined a moment in time, cap partner David Porter, had helped shape the sound tured the Zeitgeist of an era and helped create a mu of soul music in the 1960s with such definitive com sical subgenre in the process. To have created one positions as “Hold On! I’m a Cornin’,” “Soul Man,” such album over the course of a career “When Something Is Wrong With My Isaac Hayes: (Opposite) is a heady accomplishment. To have Baby,” “B-A-B-Y,” “I T hank You” and In 1972, in Shaft mode, and “Wrap It Up.” The fact that one artist done it twice, as Isaac Hayes did with (above) as Black Moses, Hot Buttered Soul and Shaft, puts one in the title of one of three could be responsible for such disparate extremely rarefied company indeed.
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DISCO AS OPERATING SYSTEM, PART ONE Tan Lin
DISCO AS OPERATING SYSTEM, PART ONE Tan Lin When exactly did the era of the medium dissolve? Like most cultural phe- nomena, the dissolution of the medium and its attendant auras—painting, fi lm, music, photography, the novel—is hard to pinpoint. So it’s useful to turn from the PowerPoint lectures of art history, with their virtual-poetic implications, and look for sensory clues on the dance fl oor of the seventies, regarded as an operating system with a mirror ball, two turntables, Quaaludes, and a mixing board. The ad-hoc setup known as “seventies dance culture” or the “Disco Era”—beginning roughly in 1973 and ending in 1979—ushered in a post-medium era for the masses. In disco’s particular case, it led to a host of media formats and musics in the eighties and beyond: house, ambient, electronica, hip-hop, snap, trip-hop, dub, crunk, garage, hyphy, and techno. These mutations suggest how varied and unspecifi c dis- co as a genre became and how complicated its evolution and mainstreaming ultimately was. But then genre or medium was never the right way to think about disco. Asking what disco is is no less diffi cult than asking, What is music? But the question might be better rendered as, What sounds like music in an age of the dissolving medium? And one of the answers to this is “disco,” or, to use a more ambient search parameter, “the disco sound.” The post-medium era had numerous precursors both visual and aural.1 In his notes to the 1914 Box, Marcel Duchamp proposed bypassing the outmoded channel of retinal processing by making a “painting of frequency,”2 a project followed up by Duchamp’s program for “large sculptures in which the listener would be at the center.
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The Assassination of Dr. Martin Luther King Jr. and the Birth of Funk Culture Domenico Rocco Ferri Loyola University Chicago, [email protected]
Loyola University Chicago Loyola eCommons Dissertations Theses and Dissertations 2013 Funk My Soul: The Assassination of Dr. Martin Luther King Jr. And the Birth of Funk Culture Domenico Rocco Ferri Loyola University Chicago, [email protected] Recommended Citation Ferri, Domenico Rocco, "Funk My Soul: The Assassination of Dr. Martin Luther King Jr. And the Birth of Funk Culture" (2013). Dissertations. Paper 664. http://ecommons.luc.edu/luc_diss/664 This Dissertation is brought to you for free and open access by the Theses and Dissertations at Loyola eCommons. It has been accepted for inclusion in Dissertations by an authorized administrator of Loyola eCommons. For more information, please contact [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License. Copyright © 2013 Domenico Rocco Ferri LOYOLA UNIVERSITY CHICAGO FUNK MY SOUL: THE ASSASSINATION OF DR. MARTIN LUTHER KING JR. AND THE BIRTH OF FUNK CULTURE A DISSERTATION SUBMITTED TO THE FACULTY OF THE GRADUATE SCHOOL IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY PROGRAM IN HISTORY BY DOMENICO R. FERRI CHICAGO, IL AUGUST 2013 Copyright by Domenico R. Ferri, 2013 All rights reserved. ACKNOWLEDGEMENTS Painstakingly created over the course of several difficult and extraordinarily hectic years, this dissertation is the result of a sustained commitment to better grasping the cultural impact of Dr. Martin Luther King Jr.’s life and death. That said, my ongoing appreciation for contemporary American music, film, and television served as an ideal starting point for evaluating Dr. King’s legacy in mass culture. This work likewise is wrought from an intricate combination of support and insight derived from many individuals who, in some way, shape, or form, contributed encouragement, scholarly knowledge, or exceptional wisdom.
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