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January / February
CELTIC MUSIC • KENNY HALL • WORLD MUSIC • KIDS MUSIC • MEXICAN PAPER MAKING • CD REVIEWS FREE Volume 3 Number 1 January-February 2003 THE BI-MONTHLY NEWSPAPER ABOUT THE HAPPENINGS IN & AROUND THE GREATER LOS ANGELES FOLK COMMUNITY A Little“Don’t you know that Folk Music Ukulele is illegal in Los Angeles?” — WARREN C ASEYof theWicket Tinkers is A Lot of Fun – a Beginner’s Tale BY MARY PAT COONEY t all started three workshop at UKE-topia hosted by Jim Beloff at years ago when I McCabe’s Guitar Shop in Santa Monica. I was met Joel Eckhaus over my head in about 15 minutes, but I did at the Augusta learn stuff during the rest of the hour – I Heritage Festival just couldn’t execute any of it! But in Elkins, West my fear of chords in any key but I Virginia. The C was conquered. Augusta Heritage The concert that Festival is has been in existence evening was a for over 25 years, and produces delight with an annual 5-week festival of traditional music almost every uke and dance. Each week of the Festival specialist in the explores different styles, including Cajun, SoCal area on the bill. Irish, Old-Time, Blues, Bluegrass. The pro- The theme was old gram also features folk arts and crafts, espe- time gospel, in line with cially those of West Virginia. Fourteen years the subject of Jim’s latest ago Swing Week was instigated by Western book, and the performers that evening had Swing performers Liz Masterson and Sean quite a romp – some playing respectful Blackburn of Denver, CO as a program of gospel, and others playing whatever they music. -
174Th Historic Preservation Meeting Notes (Pdf)
6 December 2108 State Board for Historic Preservation Meeting NYS Library Board Room Presentation by William Krattinger ROBINWOOD HISTORIC DISTRICT The Robinwood Historic District consists of 21 mid-century Modern houses erected as the centerpiece of a unified housing development in the mid-1960s in the Town of Ossining, Westchester County, and one preexisting house which was modified in association with the new development. The houses which form this cohesive housing enclave were designed by Harry Wenning, an MIT-trained architect, in collaboration with developer Marcel Robins. For the Robinwood houses, Wenning authored designs which were stylistically contemporary and well-integrated with their immediate site and natural surroundings. Although the various houses within the district feature relatively uniform setbacks from the road, their relationship to the physical traits of their individual parcels, and not their relationship to other adjacent houses, was the critical factor in the manner in which they were oriented. Many of the houses are elevated above the level of the roadway and feature consistent landscape elements such as grassy lawns, mature deciduous and coniferous trees, and ornamental plantings. Wenning’s Robinwood designs, characterized by their straightforward geometric massing, post-and-beam construction and large window expanses, maximized the interaction between house and landscape, one of their foremost and most enduring qualities. These houses incorporated features necessary for efficient and economical construction -
Sly & Robbie – Primary Wave Music
SLY & ROBBIE facebook.com/slyandrobbieofficial Imageyoutube.com/channel/UC81I2_8IDUqgCfvizIVLsUA not found or type unknown en.wikipedia.org/wiki/Sly_and_Robbie open.spotify.com/artist/6jJG408jz8VayohX86nuTt Sly Dunbar (Lowell Charles Dunbar, 10 May 1952, Kingston, Jamaica, West Indies; drums) and Robbie Shakespeare (b. 27 September 1953, Kingston, Jamaica, West Indies; bass) have probably played on more reggae records than the rest of Jamaica’s many session musicians put together. The pair began working together as a team in 1975 and they quickly became Jamaica’s leading, and most distinctive, rhythm section. They have played on numerous releases, including recordings by U- Roy, Peter Tosh, Bunny Wailer, Culture and Black Uhuru, while Dunbar also made several solo albums, all of which featured Shakespeare. They have constantly sought to push back the boundaries surrounding the music with their consistently inventive work. Dunbar, nicknamed ‘Sly’ in honour of his fondness for Sly And The Family Stone, was an established figure in Skin Flesh And Bones when he met Shakespeare. Dunbar drummed his first session for Lee Perry as one of the Upsetters; the resulting ‘Night Doctor’ was a big hit both in Jamaica and the UK. He next moved to Skin Flesh And Bones, whose variations on the reggae-meets-disco/soul sound brought them a great deal of session work and a residency at Kingston’s Tit For Tat club. Sly was still searching for more, however, and he moved on to another session group in the mid-70s, the Revolutionaries. This move changed the course of reggae music through the group’s work at Joseph ‘Joe Joe’ Hookim’s Channel One Studio and their pioneering rockers sound. -
Robert Mapplethorpe Larry Hunt, 1978 Gelatin Silver Print Sheet: 50.5 × 40.7 Cm (19 7/8 × 16 In.) Image: 35.6 × 35.6 Cm (14 × 14 In.) Getty Research Institute
Robert Mapplethorpe Larry Hunt, 1978 Gelatin silver print Sheet: 50.5 × 40.7 cm (19 7/8 × 16 in.) Image: 35.6 × 35.6 cm (14 × 14 in.) Getty Research Institute Robert Mapplethorpe Peter Klashorst and a man holding a video camera Gelatin silver print Sheet: 50.3 × 40.2 cm (19 13/16 × 15 13/16 in.) Image: 38.6 × 38.6 cm (15 3/16 × 15 3/16 in.) Getty Research Institute Robert Mapplethorpe Thomas in a tank shirt, 1986 Gelatin silver print Sheet: 60.1 × 50.5 cm (23 11/16 × 19 7/8 in.) Image: 48.9 × 49 cm (19 1/4 × 19 5/16 in.) Getty Research Institute Robert Mapplethorpe Polaroid Test Shot, circa 1980 Dye diffusion print Sheet: 8.6 × 10.8 cm (3 3/8 × 4 1/4 in.) Image: 7.3 × 9.5 cm (2 7/8 × 3 3/4 in.) Getty Research Institute Page 1 Robert Mapplethorpe Model release card for Colin Streeter Black ink on paper Sheet: 7.4 × 12.4 cm (2 15/16 × 4 7/8 in.) Getty Research Institute Robert Mapplethorpe Model release card for Dennis Speight, 1983 Blue ink on paper Sheet: 9 × 14 cm (3 9/16 × 5 1/2 in.) Getty Research Institute Robert Mapplethorpe Model release for Robert Sherman, 1979 Blue ink on paper Sheet: 7.4 × 12.4 cm (2 15/16 × 4 7/8 in.) Getty Research Institute Robert Mapplethorpe Model release card for Rory Bernal, 1982 Blue ink on paper Sheet: 9 × 14 cm (3 9/16 × 5 1/2 in.) Getty Research Institute Robert Mapplethorpe Polaroid Test Shot, circa 1975-1989 Dye diffusion transfer print Sheet: 8.6 × 10.8 cm (3 3/8 × 4 1/4 in.) Getty Research Institute Page 2 Robert Mapplethorpe Polaroid Test Shot, circa 1975-1989 Dye diffusion transfer print Sheet: -
American Road Trip
Quapaw Quartet Presents American Road Trip New York City, New York (George Gershwin) Washington D.C. (John Philip Sousa) Nashville, Tennessee (Jay Ungar and Molly Mason) Texarkana, Arkansas (Scott Joplin) Los Angeles/ Hollywood, California (Carl Stalling) George Gershwin George Gershwin was one of the most significant American composers of the 20th century, known for popular stage and screen music as well as classical compositions. He was born Jacob Gershowitz on September 26, 1898, in Brooklyn, New York. The son of Russian-Jewish immigrants, George began to play piano at age eleven. His teacher, Charles Hambitzer wrote, “I have a new pupil who will make his mark if anybody will.” Beginning at age fifteen, Gershwin played in several New York nightclubs and as a ‘song plugger’ for one of Tin Pan Alley’s music publishers. After three years of doing this, he had become a highly skilled composer. To earn extra cash, he also worked as a rehearsal pianist for Broadway singers. In 1916, he composed his first published song. Gershwin wrote numerous songs for stage and screen that quickly became standards, including “Oh, Lady Be Good!” “Someone to Watch over Me,” “Strike Up the Band,” “Embraceable You” and “Let’s Call the Whole Thing Off.” [Listen to them on YouTube.] In 1925, he composed “Rhapsody in Blue” for piano and orchestra, which became his most often-performed work. Ten years later, his most ambitious composition, “Porgy and Bess” was staged. Gershwin called it his “folk opera” and it is considered to be among the most important American musical dramas of the 20th century. -
Georgie Fame
Georgie Fame Born on 26th June 1943 in the industrial town of Leigh, Lancashire, his interest in music grew from family entertainment “sessions” at home and musical evenings in the church hall across the street, where his father played in an amateur dance band. Although he took piano lessons for a short time at the age of seven, it wasn’t until the advent of rock’n’roll on radio during the mid-fifties that young Georgie began to take the family piano seriously. Fats Domino, Jerry Lee Lewis and Little Richard were among his catalysts. Upon leaving school, shortly after his fifteenth birthday, he followed the family tradition and took a job as an apprentice cotton weaver in one of the many local mills. Leisure time, however, was spent playing piano in various pubs and with a local group, “The Dominoes”. In July 1959, at a summer holiday camp, Georgie was spotted by Rory Blackwell, the resident rock’n’roll bandleader, who offered the young singer/pianist a full time job. Goodbye, weaving shed. Rory and the Blackjacks departed for London, their hometown, when the summer season ended prematurely and Georgie went with them. The promised glamorous work did not materialise and the band broke up, but the determined young man from Leigh eventually took up a solo residency at The Essex Arms pub in London’s Dockland, where the kindly landlord provided a room to sleep in. In October of that year, the Marty Wilde Show was performing at the Lewisham Gaumont and Rory Blackwell arranged for Georgie to audition “live” for impressario Larry Parnes. -
Uncle Calvin's Coffeehouse 4Th Quarter 2011
Uncle Calvin’s Coffeehouse ♫ 4th Quarter 2011 1982-2011 • OUR 29th YEAR! • 214-363-0044 • www.unclecalvins.org Oct. 7 • Amy Speace Oct. 28 • Catie Curtis ($15/18) Nov. 18 • K.C. Clifford / Louise Mosrie Amy Speace’s path to Catie Curtis, has called Boston K.C. Clifford continues to win songwriting may not have home for nearly all of her twenty- over fans and critics who are been a straight line, but like year music career. Since the release touched by her hopeful message many journeys, has been better of her last album in 2009, Curtis and scorching vocals. A two- for the winding way. After has toured extensively, while also time finalist in the Kerrville New graduating from Amherst spending time writing and testing Folk competition, she has also College, she moved to Manhattan to study acting, out new material. The result is a been honored by Mountain Stage, toured with The National Shakespeare Company. collection of masterfully written lyrics that serve as Billboard, and many others for her unique artistry. In 2005, Judy Collins signed Amy to her own the heart of her newest record, Stretch Limousine Ignoring traditional boundaries, she remains Wildflower Records label, releasing Songs for on Fire. On the new album, Curtis delivers some unhindered by the confines of genre, and just Bright Street, followed by The Killer In Me in of the finest material of her career: ten original writes what is real and true for her in each moment. 2009. In 2010, John Platt of NYC’s premiere songs that push at her own musical boundaries and “Home” is the new album from AAA radio station WFUV named Amy’s song explore “the difficult edges of passing events” in Nashville artist and Kerrville “The Weight of the World” in the Top 5 of his life, harsh realities that are tempered with moments New Folk winner Louise Mosrie, list of the “Best Folk Songs of the Decade.” In of fleeting beauty. -
Music Culture in and Around Birmingham, Uk
N Rob Halford Cozy Powell Lolly The Station The Gate Matt Everitt Credit To The Nation Mike Burney Joan Armatrading Livid Kid Biz Bizley Stevie Winwood Andy Cash The Moody Blues Fuzzbox Mike Pinder Mothers Johnny West And The Sunsets Lawrence Hayward The Barn Ozzy Osbourne Plaza Black Sabbath Cleopatra Bruce Springsteen Rod Stewart PCRL Blackfoot Sue Villa Lesiure Centre Benjamin Zephaniah Steel PulseB21Apache Indian Musical Youth Band Of Joy David Hinds Hollick & Taylor Studios Basil Gabbidon Ronald McQueen The Monte Carlo The Drum Swami Elbow Room BRMB Jeffrey Lynne Traffic The Astonaires The Andicaps The Bobcats Soweto Kinch Mad City Robannas Malcolm Stent The Ben JohnsonAston Uni Student Guild Cedar Club The Pot Of Beer The Triangle Simon White Stephen Duffy The Black Horse Brum Cavern West End BarHawkins Wine Bar Jam HouseAlex’s Pie Stand Actress and Bishop Plastic Factory Harvey Andrews City of Birmingham Choir Q Club The BeatPigeon Park OasisScruffy Murphy’sThe Railway Jamelia VirginTop Rank Hummingbird Second City Sounds Dave SwarbrickSwinging Sporan Reddingtons Rare RecordsTempestHole In The ThrashWall Bang Wallop King Adora Subside Costermongers NIAMagnumHighway 67Swordfish Boots DEP Studios Thimblemill Swimming Baths Fiddle And BoneDuran Duran Town Hall Trocadero Symphony Hall Golden EagleOdeon Roy Wood The Rum Runner Whiskey A Go-GoRotundaSunset Cinema Club Raymond Froggatt Henry’s Blues HouseThe Ship Ashore Tower Ballroom The KaleidoscopeEdwards No8Reddingtons Rare Records The Opposite Lock Club The FoundaryThe Victoria Ian -
Lili Anel Has Been Making Incredible Music for Years, but with Every Second in Between She Has a Recording That Finally Lands Her on the Big‐Time Map
Lili Anel has been making incredible music for years, but with Every Second In Between she has a recording that finally lands her on the Big‐Time map. This is her breakthrough, a brilliant amalgam of jazz and pop vocals, songwriting and production. Anel, a New York singer‐songwriter now Philadelphia‐ based, grew up in Spanish Harlem soaking up the musical roots of her Cuban and African‐American heritage. Professionally, she grew up in the same Greenwich Village singer‐songwriter circle as Suzanne Vega, Shawn Colvin and Lucinda Williams. But unlike those singers who each had a distinct style that was easy to capitalize on, Anel’s approach was more complex and difficult to pinpoint. One set of ears would compare her to Joan Armatrading and Tracy Chapman; another Phoebe Snow. One listener would say Nina Simone; another, Roberta Flack. There were comparisons to Joni Mitchell, Paul Simon and even Pat Benatar. And you know what? They were all correct. But they were all wrong as well. Comparing her to all those greats proved a disservice. She was a fusion of them all, meaning simply, LIli Anel is an original—there is no comparison. With Every Second, Anel’s fifth recording, the singer‐songwriter has secured herself a place as a jazz‐pop artist to be reckoned with on the national scene. Let’s start with that incomparable voice. Alto‐deep, and as smooth as honey, her rich timbre is what makes her so distinctive and drives the deep emotion of her songs (she wrote all but one on this album). -
From the Emerald Lands of Mist and Myth Comes the Music of Celtic Traditions
From the emerald lands of mist and myth comes the music of Celtic traditions. Maestro Wes Kenney and the Fort Collins Symphony invite you to enjoy the virtual on-demand concert Celtic Fantasy. Featuring a variety of traditional and contemporary Celtic music for strings, winds, piano, and percussion this concert will highlight the broad symphonic traditions of Ireland, Scotland, Wales, Cornwall, Brittany, and Galicia. A wealth of Celtic folk songs, jigs, reels, hornpipes, and airs emigrated to Appalachia where this unique genre has influenced American music for more than 300 years. This concert includes: Joan Trimble’sIrish Suite for Strings, Jay Ungar’s Ashokan Farewell (from Ken Burn’s award-winning documentary The Civil War), Gaelic Storm’s An Irish Party in Third Class (from the movie Titanic), Jennifer Barker’s Suilean a’Chloinne (Children’s Eyes), Arthur Duff’s Irish Suite for Strings, Victor Herbert’s Yesterthoughts, and Gwyneth Walker’s Light of Three Mornings. Finally, Herbert’s Punchinello, while not exactly Celtic, is a chipper and cheerful concert bonus (think mischief- making leprechauns!). The Fort Collins Symphony Association is deeply grateful to our Friends of the Symphony whose financial support helped make it possible for us to present the Celtic Fantasy concert. With appreciation, we acknowledge the following FoS donors: Oren & Jennifer Anderson . Karel Applebee . Kathleen Batterton . David & Alison Dennis Fund* . Paul & Katherine Dudzinski Fund* Kay & Larry Edwards . K. Dawn & David Grapes . Howard & Phyllis Hay . Charlene & David Jones in honor of David & Alison Dennis Mary & Paul Kopco . Barbara & Albert Leung . Kathleen McKeown & Gary Betow . Robert C. Michael . Sharyn & Larry Salmen in memory of Jerry Applebee & Leabelle Schwartz . -
Civil War to Civil Rights Commemoration
National Park Service U.S Department of the Interior Washington Support Office: Cultural Resources, Partnerships and Science Interpretation, Education and Volunteers Civil War to Civil Rights Commemoration Summary Report DEDICATION This report honors all those who suffered and died in this nation’s struggles for freedom and equality. It is also dedicated to our colleague, Tim Sinclair, who was taken from us too soon. Timothy D. Sinclair, Sr. (1974-2016) Chief of Interpretation Selma to Montgomery NHT Tuskegee Airmen NHS and Tuskegee Institute NHS You took us on a walk from Selma to Montgomery. To keep your vision and memory alive, “We’re still marching!” Silent sentinels stood watch for 22 hours to commemorate the 22 hours of combat that took place at Spotsylvania’s Bloody Angle. FREDERICKSBURG AND SPOTSYLVANIA NMP Cover Graphic: Courtesy of Chris Barr FOREWORD The Civil War to Civil Rights Commemoration has been quite a journey. Thanks to all of you who helped make it a meaningful and memorable one for our country. We hope our efforts have helped Americans understand the connection between these two epic periods of time as a continuous march toward freedom and equality for all–a march that continues still today. Along the way, perhaps the National Park Service learned something about itself, as well. When we first began planning for this commemorative journey, there were several Civil War parks that had difficultly acknowledging slavery as the cause of the war. Both Civil War sites and civil rights sites questioned whether a combined “Civil War to Civil Rights” Commemoration would water down and weaken each. -
Lucky Break Music Credits
composer Paul Grabowsky The Bands & The Party Singer Fred Cheah Drummer John Perri Guitarists Ross Spinello Pasquale Monea Accordianist (sic) Amanda Testro The Tropical Resort Singers Shelley Scown James Uluave Guitarist Doug DeVries The Wedding Victorian Boys Choir Original Music Performed by Victorian Philharmonic Orchestra Leader Rudi Osadnik Conductor Paul Grabowsky Orchestrations Ric Formosa Paul Grabowsky Soprano Amanda Colliver Solo Violin Susan Pierotti Tenor Xie Kun Bazoukie George Spiro Music Score Co-Ordinator Michael Grabowsky Publishing Warner Bros. Music Australia Pty. Ltd. Music Consultant Diana Manson "Love and Affection" performed by Joan Armatrading, Courtesy of A & M Records through PolyGram Pty Limited written by Joan Armatrading © Rondor Music (London) Ltd. used by permission of Rondor Music Australia Pty. Ltd. "Sweet Dreams are Made of This" performed by the Eurythmics, courtesy of RCA Records written by Annie Lennox and David A. Stewart, published by BMG Music Publishing Limited "Brazil" (Russell/Barrossa) published by Southern Music Publishing, performed by Fred Chia "Absolutely" performed by the Eurogliders, courtesy of Sony Music Australia Limited, written by Bernie Lynch used by permission of Warner Bros. Music Australia Pty. Ltd. "Gloria" performed by the Australian Boys Choir written by Antonio Vivaldi, arranged by Paul Grabowsky "We've Started a Fire" performed by Vika & Linda (Mushroom Records Pty. Ltd.) written by Paul Kelly (Mushroom Music Pty. Ltd.) Digital Recording at Cinesound Music Recording at Allan Eaton Sound Music in the film: Music appears in the film in a number of sequences. There’s an opera in the mall element to the slapstick set piece when Sophie breaks her leg by falling from a great height amongst tenors, and on their holiday junkets and at parties, Sophie and Eddie are entertained by assorted performers.