DOCSLIB.ORG

Check on Your Venues!: Struggling Spots Can Use Your Help,Summer

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Emo Pop Band Hello, Atlantic Sets Cynical Thoughts to Bright Melodies with “Aroma”: This musical duo is challenging listeners to change their tune about existential frustrations The breathy and clear techno chords opening this track definitely surprised me, given that the premise of this song is lyrically a bit depressing without the musical context. But the paradoxical mix of the bright with the dark, and joy with despair, brings a unique flair to this duo’s newest release. Fronted by vocalist and guitarist Ian Dillon and supported by bassist Eric Sparfven, Hello, Atlantic is one of Rhode Island’s most inventive bands to hit the local sound waves. With a discography sounding similar to that of acts like Panic! At The Disco, My Chemical Romance, and Grayscale in energy and tone, “Aroma” is a step away from those vibes with a much greater emphasis on techno beats and vocal effects over the guitars and the more typical pop punk sonic tropes previously emphasized. Toeing the line between alternative rock and third-wave disco, “Aroma” boasts an emphasis on Motown- inspired rhythms, beats and styles. Sonically, it’s very rich and upbeat, building a tense contrast with the overall message of the song, which, according to the band, is “a cynical take on life and existence. Nothing matters in the grand scheme of things. We’re all gonna explode in outer space, so do what you’d like.” That message comes through very clearly in the chorus, during which Ian sings: “It’s anarchy, and blasphemy, cleanse it with gasoline.” Functioning as a commentary about the world as a whole and the state of uncertainty that is so prevalent these days, I find this song to be a powerfully accurate portrayal of the human condition. I especially enjoyed the poeticism of taking something destructive (gasoline) and transforming it into a sort of anointing oil in the lyrical narrative. Additionally, I found the opening verse to be especially relatable: “Do you wanna be happy / ‘cause you don’t know who you wanna be / and you don’t remember anything.” Everyone feels like they don’t belong at least one time or another, and if you’re anything like me still trying to find your place in the world, these lyrics are super relatable. From the musical side of things, I definitely appreciated the ambient build of the drone-like shadowy riffs floating in and out of the background. It’s an immersive experience that makes the listener feel instantly heard and understood. The vocal melody is also extremely catchy with easy-to-replicate phrasing that will stick in anyone’s head for days on end. There are also many layers hiding in between the dynamic mix of the song, some of which are very subtle but no less important – very much like the layered styles of techno-pop music as heard in the full Waterparks discography, or the most recent Paramore album. Coincidentally, all these acts have taken a similar contextual stance on bringing about that provocative mix of happy-sounding musicality with the darker lyrics and ideas. It is that tension that makes listeners feel heard, understood and validated. It’s an interesting vibe for sure, but given the way it still undeniably fits with the band’s back catalogue of songs (which definitely still has these elements present albeit in smaller doses), I have no doubt that the forthcoming releases after this single will be just as captivating. Hello, Atlantic is probing the deepest insecurities and discomforts of their fans through their music, bringing everyone together in their shared struggles – a truly beautiful thing. You can listen to “Aroma” on September 11, and to stay up-to-date on new music and connect with Ian and Eric, follow their social media profiles @helloatlanticri and their YouTube channel HERE: youtube.com/channel/UCjHEcIhANPJiZjma1Of1bmA/featured Enter the Flange Factory: Math the Band releases a multi-concept project Troubled times call for audacious measures. Math the Band is back, this time with a whirlwind of multimedia the likes of which has never been attempted. Their latest project, Flange Factory Five, is an immersive experience that includes a novel, record, game boy cartridge, energy drink and boutique guitar pedal. MTB, sometimes billed as “Math The Band The Band,” is the project of frontman Kevin Steinhauser and a rotating cast of characters, which currently features guitarist Max Holbrook, bassist Adam Waz and drummer Matt Zappa. The band has been operational for 20 years, and based in Providence for 12. A characteristically joyous effort, the Flange Factory Five features the band’s signature combination of glitchy, 8-bit keyboards over distorted guitars. A project like this requires the boundless energy they put forward in their ecstatic live shows, and it totally comes through on the recording. The uptempo “Dual of the Deer” features guitars and synth lines in roaring triumphiant harmony. “DKWIC” has a great Brian May-style guitar solo, and “Coach Says” is a hard-edged tune at the circle pit end of the spectrum. Stenhouser, who started the project in high school, puts every ounce of himself into the vocals. Along with great playing throughout, this album brings us the best of grit and nerddom, like a skater punk version of the music from Crash Bandicoot. But the video game sounds can belie the smart composition and clever lyrics. “Wet Cement” is ultra-catchy montage fodder about starting a new chapter: “The fear is exciting and I can’t wait to be born.” An additional treat is a suite of “Flange Factory Five” instrumental interludes that could be the jingle for the cartoon television show of the same name. I spoke with Kevin about the origins of this unique project. Jake Bissaro (Motif): How did the multi-format concept come about? What made you want to release your own energy drink? Kevin Steinhauser: I don’t really recall a moment of inspiration. Each piece was something I had kicking around in my head for a while. It’s basically the culmination of years of saying ‘wouldn’t it be funny if…’ and then we just decided to go all in and do it for real. JB: What is the book about? KS: It’s a choose-your-own adventure fantasy novel that plays off the ones marketed toward young adults, but very tongue-in-cheek with a lot of crass, dark humor. It revolves around a kid who meets a wizard and ends up needing to save the wizarding world. It ended up being a big universe of stuff; the novel mentions the pedal and energy drink heavily, and the Game Boy game is based on the novel. JB: I have never heard of an album released on a piece of gear. How did that come about? KS: The Flange Factory Five is a collaboration with our friend Frank, who makes small runs of handmade pedals under the moniker Frayed Knot. The pedal is a matrix of five flangers and five ring modulators, and also has the album stored on it, with a playback mode that lets you mess with the sounds. We’re trying to make as many as 55, but they are large and expensive, at $250. To keep things more accessible, we’re making the “Flange Factory Zero” a slimmed-down version that’s more of a collectible. JB: Is there a particular fascination with the flange effect? Does gear play a big part in your inspiration? KS: Not really. Personally, synths are really what I’m into. To be honest, we chose flange simply because “flange factory five” sounded funny. But I found a connection after the fact: The story goes that the effect was made for the Beatles as a way to mimic stereo. Apparently Paul, in an interview, was asked what the effect is called, and just said, ‘Oh it’s the flangelator,’ making up a nonsense funny word. JB: How has the band been handling pandemic life? KS: To be honest, we’ve probably never been more productive. This whole project has been like 90% of the way there for about a year, so it was the opportunity we needed. We all have our own home studios and have been passing files back and forth, and recorded basically the whole album that way. JB: What’s next for the band? KS: We’re hoping in December to throw a big performance in the black box theater at AS220, playing the album front to back and adding in some theatrics. Math the Band (the Band)’s Flange Factory Five Universe is available for purchase at flangefactoryfive.com. To coincide with Bandcamp Fridays, MTE will release a limited-run FFF product every first Friday for the rest of the year. The current schedule for releases is as follows: September 4 — Energy Drink; October 2 — FFF record release; November 6 — Guitar pedal; December 4 — Game Boy game The Brother Kite — Make it Real I think it’s appropriate at this point to refer to The Brother Kite as a Rhode Island rock institution on which we can still depend for polished, top-shelf indie rock. With five full-lengths now under their belt, Make it Real is the band’s first release since 2013’s Model Rocket. Fronted by Patrick Boutwell and Jon Downs, TBK’s specialty is a vintage jangle mixed with a deeply emotional frequency, like Teenage Fanclub mixed with Something Corporate. “Don’t Ask Why” blends the elements pretty well, where a moody verse gives way to a vigorous, full-throated chorus. The smart instrumentation and production “Afraid To Even Try” uses the sleigh bells to add to the chime, with bang-on harmonies throughout.
Recommended publications
  • Conor Mcpherson's Girl from the North Country

    Conor Mcpherson's Girl from the North Country

    Xavier University Exhibit Faculty Scholarship English Winter 2018 The aM rriage of Heaven and Hell: Conor McPherson’s Girl from the North Country Graley Herren Xavier University Follow this and additional works at: https://www.exhibit.xavier.edu/english_faculty Part of the English Language and Literature Commons, Music Commons, and the Theatre and Performance Studies Commons Recommended Citation Herren, Graley, "The aM rriage of Heaven and Hell: Conor McPherson’s Girl from the North Country" (2018). Faculty Scholarship. 584. https://www.exhibit.xavier.edu/english_faculty/584 This Article is brought to you for free and open access by the English at Exhibit. It has been accepted for inclusion in Faculty Scholarship by an authorized administrator of Exhibit. For more information, please contact [email protected]. Graley Herren • The Marriage of Heaven and Hell: Death and Rebirth in Conor McPherson’s Girl from the North Country In February 2015, the Irish American playwright John Patrick Shanley con- ducted a revealing interview with his Dublin counterpart Conor McPherson for American Theatre magazine. Asked about his preoccupation with the supernat- ural, McPherson intimated, “I remember when I was a little kid, I was always interested in ghosts and scary things. If I want to rationalize it, it’s probably a search for God.” This quest led him to theater. “There’s something so religious about the theatre,” he stated. We’re all sitting there in the dark, and there’s some- thing about how the stage glows in the darkness, which is such a beautiful pic- ture of human existence. What’s really interesting is the darkness that surrounds the picture.
  • Bob Dylan and the Reimagining of Woody Guthrie (January 1968)

    Bob Dylan and the Reimagining of Woody Guthrie (January 1968)

    Woody Guthrie Annual, 4 (2018): Carney, “With Electric Breath” “With Electric Breath”: Bob Dylan and the Reimagining of Woody Guthrie (January 1968) Court Carney In 1956, police in New Jersey apprehended Woody Guthrie on the presumption of vagrancy. Then in his mid-40s, Guthrie would spend the next (and last) eleven years of his life in various hospitals: Greystone Park in New Jersey, Brooklyn State Hospital, and, finally, the Creedmoor Psychiatric Center, where he died. Woody suffered since the late 1940s when the symptoms of Huntington’s disease first appeared—symptoms that were often confused with alcoholism or mental instability. As Guthrie disappeared from public view in the late 1950s, 1,300 miles away, Bob Dylan was in Hibbing, Minnesota, learning to play doo-wop and Little Richard covers. 1 Young Dylan was about to have his career path illuminated after attending one of Buddy Holly’s final shows. By the time Dylan reached New York in 1961, heavily under the influence of Woody’s music, Guthrie had been hospitalized for almost five years and with his motor skills greatly deteriorated. This meeting between the still stylistically unformed Dylan and Woody—far removed from his 1940s heyday—had the makings of myth, regardless of the blurred details. Whatever transpired between them, the pilgrimage to Woody transfixed Dylan, and the young Minnesotan would go on to model his early career on the elder songwriter’s legacy. More than any other of Woody’s acolytes, Dylan grasped the totality of Guthrie’s vision. Beyond mimicry (and Dylan carefully emulated Woody’s accent, mannerisms, and poses), Dylan almost preternaturally understood the larger implication of Guthrie in ways that eluded other singers and writers at the time.2 As his career took off, however, Dylan began to slough off the more obvious Guthrieisms as he moved towards his electric-charged poetry of 1965-1966.
  • Bob Dylan Performs “It's Alright, Ma (I'm Only Bleeding),” 1964–2009

    Bob Dylan Performs “It's Alright, Ma (I'm Only Bleeding),” 1964–2009

    Volume 19, Number 4, December 2013 Copyright © 2013 Society for Music Theory A Foreign Sound to Your Ear: Bob Dylan Performs “It’s Alright, Ma (I’m Only Bleeding),” 1964–2009 * Steven Rings NOTE: The examples for the (text-only) PDF version of this item are available online at: http://www.mtosmt.org/issues/mto.13.19.4/mto.13.19.4.rings.php KEYWORDS: Bob Dylan, performance, analysis, genre, improvisation, voice, schema, code ABSTRACT: This article presents a “longitudinal” study of Bob Dylan’s performances of the song “It’s Alright, Ma (I’m Only Bleeding)” over a 45-year period, from 1964 until 2009. The song makes for a vivid case study in Dylanesque reinvention: over nearly 800 performances, Dylan has played it solo and with a band (acoustic and electric); in five different keys; in diverse meters and tempos; and in arrangements that index a dizzying array of genres (folk, blues, country, rockabilly, soul, arena rock, etc.). This is to say nothing of the countless performative inflections in each evening’s rendering, especially in Dylan’s singing, which varies widely as regards phrasing, rhythm, pitch, articulation, and timbre. How can music theorists engage analytically with such a moving target, and what insights into Dylan’s music and its meanings might such a study reveal? The present article proposes one set of answers to these questions. First, by deploying a range of analytical techniques—from spectrographic analysis to schema theory—it demonstrates that the analytical challenges raised by Dylan’s performances are not as insurmountable as they might at first appear, especially when approached with a strategic and flexible methodological pluralism.
  • BROKEN PROMISES: Continuing Federal Funding Shortfall for Native Americans

    BROKEN PROMISES: Continuing Federal Funding Shortfall for Native Americans

    U.S. COMMISSION ON CIVIL RIGHTS BROKEN PROMISES: Continuing Federal Funding Shortfall for Native Americans BRIEFING REPORT U.S. COMMISSION ON CIVIL RIGHTS Washington, DC 20425 Official Business DECEMBER 2018 Penalty for Private Use $300 Visit us on the Web: www.usccr.gov U.S. COMMISSION ON CIVIL RIGHTS MEMBERS OF THE COMMISSION The U.S. Commission on Civil Rights is an independent, Catherine E. Lhamon, Chairperson bipartisan agency established by Congress in 1957. It is Patricia Timmons-Goodson, Vice Chairperson directed to: Debo P. Adegbile Gail L. Heriot • Investigate complaints alleging that citizens are Peter N. Kirsanow being deprived of their right to vote by reason of their David Kladney race, color, religion, sex, age, disability, or national Karen Narasaki origin, or by reason of fraudulent practices. Michael Yaki • Study and collect information relating to discrimination or a denial of equal protection of the laws under the Constitution Mauro Morales, Staff Director because of race, color, religion, sex, age, disability, or national origin, or in the administration of justice. • Appraise federal laws and policies with respect to U.S. Commission on Civil Rights discrimination or denial of equal protection of the laws 1331 Pennsylvania Avenue, NW because of race, color, religion, sex, age, disability, or Washington, DC 20425 national origin, or in the administration of justice. (202) 376-8128 voice • Serve as a national clearinghouse for information TTY Relay: 711 in respect to discrimination or denial of equal protection of the laws because of race, color, www.usccr.gov religion, sex, age, disability, or national origin. • Submit reports, findings, and recommendations to the President and Congress.
  • Quando Il Pensare È Violento Nuove Cure Per Il Diabete Sannio

    Quando Il Pensare È Violento Nuove Cure Per Il Diabete Sannio

    Realizzato con il contributo degli studenti del Liceo Scientifico “G. Rummo” L’informazione e le opinioni degli studenti del Liceo Scientifico “G. Rummo” - Benevento Anno VI - Numero 11 Maggio 2018 - Distribuzione gratuita editoriale Quando il pensare è violento Nuove cure per il diabete Sannio ProgRock Sappiamoancora conversaretra noi, o qualcosasta irrimediabil- Teresa Mezza è una giovane Si in titola Viaggi inVersi Fanatismo o crimine? mente compromettendo i nostri ricercatrice originaria di Meliz- l’ultimo lavoro della band san- rapporti, al punto che una zano. Detentrice del Future Lea- nita La Bottega del Tempo a di CAMILLA FALLARINO banale diversità di opinioni, una ders Mentorship Programme for Vapore. È un atteso progetto volta ritenuta alla base di com- Clinical Diabetologists, ricono- discografico, anticipato da «La politica dovrebbe occuparsi di portamenti democratici,può sca- sciutole dall’EFSD, è impegnata un interessante singolo, più dei terroristi che fanno base in tenare risse e pestaggi? Cosa in un complessa serie di studi sul che riaccende l’atten- Italia invece del dibattito surreale accade ai ragazzi di oggi? Per- diabete. Ne parla con la nostra zione sulla scena Pro- del ritorno del fascismo. Quanto ché non siamo capaci di gestire caporedattriceGenny Pastore. gressive Rock. Arianna accaduto aMacerataè operadi uno laviolenza? Navarra ha intervistato per noi squilibrato violento: punto! Se poi pag. 4 pag. 7 Alessandro Zeoli, chitarra della fra le sue letture c'è ilMeinKampf , band. affari suoi. Ma non è il fascismo pag. 10 che torna!» Si esprime così la leader di FDI, il fatto Giorgia Meloni, su quanto acca- duto a Macerata nel febbraio scor- so.
  • 2008 Europe Summer Tour

    2008 Europe Summer Tour

    STILL ON THE ROAD 2008 EUROPE SUMMER TOUR MAY 26 Reykjavik, Iceland Laugardalshöll 28 Odense, Denmark Arena Fyn 30 Stavanger, Norway Viking Stadion JUNE 1 Helsinki, Finland Hartwall Areena 3 St. Petersburg, Russia Ice Palace 4 Tallinn, Estonia Saku Arena 5 Vilnius, Lithuania Siemens Arena 7 Warsaw, Poland Stodola 9 Ostrava, Czech Republic CEZ Arena 10 Vienna, Austria Stadthalle 11 Salzburg, Austria Salzburg Arena 13 Varazdin, Croatia Gradski Stadium 15 Trento, Italy Palazzo delle Albere 16 Bergamo, Italy Lazzaretto 18 Chatillon, Italy Parco Castello Baron Gamba 19 Grenoble, France Palais des Sports 20 Toulouse, France Le Zénith 22 Encamp, Andorra Camp de Fútbol de Prada de Moles 23 Zaragoza, Spain Feria de Muestras 24 Pamplona, Spain Plaza de Toros 27 Vigo, Spain Recinto Ferial 28 Hoyos del Espino, Spain Finca de Mesegosillo JULY 1 Cuenca, Spain La Fuensanta 2 Alicante, Spain Centro de Technificacion 4 Lorca, Spain Plaza de Toros 5 Jaén, Spain Recinto Ferial 6 Arganda del Rey, Spain Ciudad del Rock 8 Jérez de la Frontera, Spain Estadio Municipal Chapín de Jerez 10 Mérida, Spain Plaza de Toros 11 Oeiras, Portugal Passeio Marítimo of Algés Bob Dylan: Still On The Road – 2008 Europe Summer Tour Bob Dylan: Still On The Road – 2008 Europe Summer Tour 30160 Laugardalshöll Reykjavik, Iceland 26 May 2008 1. Stuck Inside Of Mobile With The Memphis Blues Again 2. Don't Think Twice, It's All Right 3. The Levee's Gonna Break 4. Tryin' To Get To Heaven 5. Rollin' And Tumblin' 6. Nettie Moore 7. I'll Be Your Baby Tonight 8.
  • GRAM PARSONS LYRICS Compiled by Robin Dunn & Chrissie Van Varik

    GRAM PARSONS LYRICS Compiled by Robin Dunn & Chrissie Van Varik

    GRAM PARSONS LYRICS Compiled by Robin Dunn & Chrissie van Varik. As performed in principal recordings (or demos) by or with Gram Parsons or, in the case of Gram Parsons compositions, performed by others. Gram often varied, adapted or altered the lyrics to non-Parsons compositions; those listed here are as sung by him. Gram’s birth name was Ingram Cecil Connor III. However, ‘Gram Parsons’ is used throughout this document. Following his father’s suicide, Gram’s mother Avis subsequently married Robert Parsons, whose surname Gram adopted. Born Ingram Cecil Connor III, 5th November 1946 - 19th September 1973 and credited as being the founder of modern ‘country-rock’, Gram Parsons was hugely influenced by The Everly Brothers and included a number of their songs in his live and recorded repertoire – most famously ‘Love Hurts’, a truly wonderful rendition with a young Emmylou Harris. He also recorded ‘Brand New Heartache’ and ‘Sleepless Nights’ – also the title of a posthumous album – and very early, in 1967, ‘When Will I Be Loved’. Many would attest that ‘country-rock’ kicked off with The Everly Brothers, and in the late sixties the album Roots was a key and acknowledged influence, but that is not to deny Parsons huge role in developing it. Gram Parsons is best known for his work within the country genre but he also mixed blues, folk, and rock to create what he called “Cosmic American Music”. While he was alive, Gram Parsons was a cult figure that never sold many records but influenced countless fellow musicians, from the Rolling Stones to The Byrds.
  • Bob Dylan Musician, Keith Negus. This File Contains the Pre-Proof

    Bob Dylan Musician, Keith Negus. This File Contains the Pre-Proof

    Bob Dylan Musician, Keith Negus. This file contains the pre-proof versions of Chapter One and Chapter Five from Bob Dylan, presented here in this format with the permission of Equinox Publishing. I have called this text Bob Dylan Musician because this was the original agreed title of the book right up to the moment just before publication when pressure from the US publisher resulted in the term ‘musician’ being reluctantly (from my perspective) expunged from the title. That word – musician – was there to concisely signal how my approach differs from most other books on Bob Dylan. I am interested in his work and practice as a musician, rather than his lyrics as poetry or the relationship between his biography and musical art. The book contains five chapters, so these two chapters introduce and conclude the study. If anyone would like electronic copies of additional chapters I am happy to provide these, as long as they are used only for research and teaching. Keith Negus June 2013 CHAPTER ONE Surroundings On 31 October 1964 Bob Dylan performed at the Philharmonic Hall in New York City, just two years after signing a recording contract and with four albums already released. Having quickly gained recognition as a folk ‘protest singer’ he was rapidly moving away from songs of social commentary and ‘finger pointing’. Dylan was beginning to use the popular song in a new and radical manner to explore more internal or subjective experiences, whilst experimenting with the sound, meaning and rhythm of words. Within three months, when recording his fifth album, no longer performing alone with acoustic guitar and harmonica, he was beginning to create an abrasive yet ethereal sonority, mixing the acoustic and electric textures of folk, electric blues, rock’n’roll, gospel, country and pop.
  • 1994 Far East Tour

    1994 Far East Tour

    p 1994 FAR EAST TOUR FEBRUARY 5 Sendai, Japan Sendai Sunplaza 7 Yokohama, Japan Yokohama Bunka Taiikukan 8 Tokyo, Japan Nippon Budokan 9 Tokyo, Japan Nippon Budokan 11 Nagoya, Japan Century Hall 12 Osaka, Japan Osaka-jo Hall 14 Kokura, Japan Kyushu Koseinenkin Kaikan 15 Kokura, Japan Kyushu Koseinenkin Kaikan 16 Hiroshima, Japan Hiroshima Koseinenkin Kaikan 18 Urawa, Japan Urawa-shi Bunka Center 20 Tokyo, Japan Nippon Housou Kyoukai Hall 22 Kuala Lumpur, Malaysia Putra World Trade Center 24 Singapore, Singapore Singapore Indoor Stadium 25 Victoria, Hong Kong Hong Kong Coliseum Still On The Road – Bob Dylan 1994: Far East Tour 14650 Sendai Sunplaza Sendai, Japan 5 February 1994 1. Jokerman 2. If You See Her, Say Hello 3. All Along The Watchtower 4. Just Like A Woman 5. Tangled Up In Blue 6. Under The Red Sky 7. Tomorrow Night (Sam Coslow/Will Grosz) 8. It's All Over Now, Baby Blue 9. Mr. Tambourine Man 10. Don't Think Twice, It's All Right 11. God Knows 12. In The Garden 13. Maggie's Farm — 14. Ballad Of A Thin Man 15. It Ain't Me, Babe Concert # 537 of The Never-Ending Tour. First concert of the 1994 Far East Tour. First 1994 concert. Concert # 81 with the 9th Never-Ending Tour Band: Bob Dylan (vocal & guitar), Bucky Baxter (pedal steel guitar & electric slide guitar), John Jackson (guitar), Tony Garnier (bass), Winston Watson (drums & percussion). 7-10, 15 acoustic with the band. 4-6, 8, 10, 15 Bob Dylan harmonica. Notes. First live Jokerman since the concert in Slane, Ireland, 8 July 1984.
  • The U.S. Capitol Visitor Center—Ten Years of Serving Congress and the American People

    The U.S. Capitol Visitor Center—Ten Years of Serving Congress and the American People

    THE U.S. CAPITOL VISITOR CENTER—TEN YEARS OF SERVING CONGRESS AND THE AMERICAN PEOPLE HEARING BEFORE THE COMMITTEE ON HOUSE ADMINISTRATION HOUSE OF REPRESENTATIVES ONE HUNDRED FIFTEENTH CONGRESS SECOND SESSION MAY 16, 2018 Printed for the use of the Committee on House Administration ( Available on the Internet: http://www.govinfo.gov U.S. GOVERNMENT PUBLISHING OFFICE 32–666 WASHINGTON : 2018 VerDate Sep 11 2014 02:24 Nov 14, 2018 Jkt 032666 PO 00000 Frm 00001 Fmt 5011 Sfmt 5011 E:\HR\OC\A666.XXX A666 COMMITTEE ON HOUSE ADMINISTRATION GREGG HARPER, Mississippi, Chairman RODNEY DAVIS, Illinois, Vice Chairman ROBERT A. BRADY, Pennsylvania, BARBARA COMSTOCK, Virginia Ranking Member MARK WALKER, North Carolina ZOE LOFGREN, California ADRIAN SMITH, Nebraska JAMIE RASKIN, Maryland BARRY LOUDERMILK, Georgia (II) VerDate Sep 11 2014 02:24 Nov 14, 2018 Jkt 032666 PO 00000 Frm 00002 Fmt 5904 Sfmt 5904 E:\HR\OC\A666.XXX A666 THE U.S. CAPITOL VISITOR CENTER—TEN YEARS OF SERVING CONGRESS AND THE AMERICAN PEOPLE WEDNESDAY, MAY 16, 2018 HOUSE OF REPRESENTATIVES, COMMITTEE ON HOUSE ADMINISTRATION, Washington, DC. The Committee met, pursuant to call, at 11:00 a.m., in Room 1310, Longworth House Office Building, Hon. Gregg Harper [Chair- man of the Committee] presiding. Present: Representatives Harper, Davis, Walker, Brady, and Raskin. Staff Present: Sean Moran, Staff Director; Kim Betz, Deputy Staff Director/Policy and Oversight; Dan Jarrell, Legislative Clerk; Matt Field, Director of Oversight; Ed Puccerella, Professional Staff; Erin McCracken, Communications Director; Khalil Abboud, Minor- ity Deputy Staff Director; Kristie Muchnok, Minority Professional Staff. The CHAIRMAN. I now call to order the Committee on House Ad- ministration for purpose of today’s hearing, examining the United States Capitol Visitor Center as it approaches its tenth anniver- sary.
  • 1 Bob Dylan's American Journey, 1956-1966 September 29, 2006, Through January 6, 2007 Exhibition Labels Exhibit Introductory P

    1 Bob Dylan's American Journey, 1956-1966 September 29, 2006, Through January 6, 2007 Exhibition Labels Exhibit Introductory P

    Bob Dylan’s American Journey, 1956-1966 September 29, 2006, through January 6, 2007 Exhibition Labels Exhibit Introductory Panel I Think I’ll Call It America Born into changing times, Bob Dylan shaped history in song. “Life’s a voyage that’s homeward bound.” So wrote Herman Melville, author of the great tall tale Moby Dick and one of the American mythmakers whose legacy Bob Dylan furthers. Like other great artists this democracy has produced, Dylan has come to represent the very historical moment that formed him. Though he calls himself a humble song and dance man, Dylan has done more to define American creative expression than anyone else in the past half-century, forming a new poetics from his emblematic journey. A small town boy with a wandering soul, Dylan was born into a post-war landscape of possibility and dread, a culture ripe for a new mythology. Learning his craft, he traveled a road that connected the civil rights movement to the 1960s counterculture and the revival of American folk music to the creation of the iconic rock star. His songs reflected these developments and, resonating, also affected change. Bob Dylan, 1962 Photo courtesy of John Cohen Section 1: Hibbing Red Iron Town Bobby Zimmerman was a typical 1950’s kid, growing up on Elvis and television. Northern Minnesota seems an unlikely place to produce an icon of popular music—it’s leagues away from music birthplaces like Memphis and New Orleans, and seems as cold and characterless as the South seems mysterious. Yet growing up in the small town of Hibbing, Bob Dylan discovered his musical heritage through radio stations transmitting blues and country from all over, and formed his own bands to practice the newfound religion of rock ‘n’ roll.
  • Still on the Road 2005 Europe Fall Tour

    Still on the Road 2005 Europe Fall Tour

    STILL ON THE ROAD 2005 EUROPE FALL TOUR OCTOBER 17 Stockholm, Sweden Globe Arena 18 Oslo, Norway Spektrum 20 Karlstad, Sweden Lofsberg Lila 21 Gothenburg, Sweden Scandinavium 22 Aalborg, Denmark Gigantium 24 Hamburg, Germany Saal 1, Congress Center Hamburg 25 Berlin, Germany Arena Treptow 26 Hannover, Germany AWD Hall 28 Rotterdam, The Netherlands Ahoy 29 Oberhausen, Germany Arena 30 Wetzlar, Germany Mittelhessen Arena NOVEMBER 1 Brussels, Belgium Vorst Nationaal 3 Paris, France Le Zenith 4 Amnéville, France Metz 6 Erfurt, Germany Messehalle 7 Prague, Czech Republic Sazka Arena 8 Munich, Germany Zenith 10 Bologne, Italy Palamalaguti 12 Milan, Italy Forum di Assago 13 Zurich, Switzerland Hallenstadion 15 Nottingham, England Nottingham Arena 16 Manchester, England Manchester Arena 17 Glasgow, Scotland Scottish Exhibition And Conference Center 18 Birmingham, England NEC 20 London, England Brixton Academy 21 London, England Brixton Academy 22 London, England Brixton Academy 23 London, England Brixton Academy 24 London, England Brixton Academy 26 Dublin, Ireland The Point Theatre 27 Dublin, Ireland The Point Theatre 28-29 Dublin, Ireland Westland Studios Bob Dylan: Still On The Road – 2005 Europe Fall Tour Bob Dylan: Still On The Road – 2005 Europe Fall Tour 27650 Globe Arena Stockholm, Sweden 17 October 2005 1. To Be Alone With You 2. If You See Her, Say Hello 3. Tweedle Dee & Tweedle Dum 4. Under The Red Sky 5. It's Alright, Ma (I'm Only Bleeding) acoustic with the band. 6. To Ramona 7. Cat's In The Well 8. The Man In Me 9. Stuck Inside Of Mobile With The Memphis Blues Again 10.