Read Book the Mayor of Macdougal Street [2013 Edition]: A
Total Page:16
File Type:pdf, Size:1020Kb

Load more
Recommended publications
-
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. -
American Folk Music As Tactical Media
‘Svec in this powerfully revisionist book shows how the HENRY ADAM SVEC folk revival’s communications milieus, metaphors, and, in a brilliant reading of Bob Dylan, its songs, had already discovered that “the folk and the machine are often one and the same”. From Lomax‘s computer-generated Global American Jukebox and Dylan’s Telecaster to today’s music apps and YouTube, from the Hootenanny to the Peoples’ Mic, the folk process, then as now, Svec argues, reclaims our humanity, reinventing media technologies to become both instruments Media as Tactical Music American Folk of resistance and fields for imagining new societies, new Folk Music selves, and new futures.‘ – Robert Cantwell, author of When We Were Good: The Folk Revival ‘Svec’s analysis of the American folk revival begins from the premise that acoustic guitars, banjos, and voices have as Tactical much to teach us about technological communication and ends, beautifully, with an uncovering of “the folk” within our contemporary media environments. What takes center stage, however, is the Hootenanny, both as it informs the author’s own folk-archaeological laboratory of imaginary media and as it continues to instantiate political community – at a Media time when the need for protest, dissent, and collectivity is particularly acute.‘ – Rita Raley, Associate Professor of English at the University of California, Santa Barbara HENRY ADAM SVEC is Assistant Professor of Communica- tion Studies at Millsaps College in Jackson, Mississippi. ISBN 978-94-629-8494-3 HENRY ADAM SVEC Amsterdam AUP.nl University 9 789462 984943 Press AUP_recursions.reeks_SVEC_rug11.7mm_v03.indd 1 09-11-17 14:04 American Folk Music as Tactical Media The book series Recursions: Theories of Media, Materiality, and Cultural Techniques provides a platform for cuttingedge research in the field of media culture studies with a particular focus on the cultural impact of media technology and the materialities of communication. -
Actress Carey Mulligan to Receive the Artistic Achievement Award During the Centerpiece Presentation of Wildlife Costume Desi
Media Contact: Nick Harkin / Matthew Bryant Carol Fox and Associates 773.969.5033 / 773.969.5034 [email protected] [email protected] For Immediate Release: Sept. 12, 2018 ACTRESS CAREY MULLIGAN TO RECEIVE THE ARTISTIC ACHIEVEMENT AWARD DURING THE CENTERPIECE PRESENTATION OF WILDLIFE COSTUME DESIGNER RUTH CARTER (BLACK PANTHER, SELMA) TO BE HONORED WITH A CAREER ACHIEVEMENT AWARD AT THIS YEAR’S BLACK PERSPECTIVES TRIBUTE The Festival will also pay tribute to the legacy of actress and Festival co-founder Colleen Moore and Chicago graphic artist Art Paul th CHICAGO – The 54 Chicago International Film Festival, presented by Cinema/Chicago, today announced Tributes to actress Carey Mulligan in conjunction with this year’s Centerpiece film Wildlife, and costume designer Ruth Carter as part of the Festival’s annual Black Perspectives Program. The Festival will also celebrate posthumously two artists special to Chicago, graphic designer Art Paul in conjunction with a screening of Jennifer Kwong’s Art Paul of Playboy: The Man Behind the Bunny, and actress and Chicago International Film Festival co-founder Colleen Moore, with a screening of The Power and the Glory (1933). The tributes will take place over the course of the Festival’s 12-day run at AMC River East 21 (322 E. Illinois St.) in Chicago, October 10-21, 2018. British actress Carey Mulligan is one of the paramount talents of her generation. Nominated for an Oscar®, a Golden Globe, and a SAG award for her radiant portrayal of the innocent teenage Jenny in An Education, Mulligan has delivered captivating performances across stage and screen, including Shame, The Great Gatsby, Inside Llewyn Davis, Mudbound, and this year’s Festival selection, Wildlife. -
To Elektra EKL-264 Mono / EKS-7264 Stereo "The BLUES Project"
DAVE RAY: Dave "Snaker" Ray, whose ambition is to be a doctor, started playing guitar while a sophomore in high school. He origin ally began with blues (Leadbelly) to keep his fingers nimble fo r what he thought would be a classical-flamenco guitarist career. "After an adagio by Sor and a hacked-up Farruca, I began playing Led better's stuff exclusively, " Dave reports. He began playing the 12-string guitar when a senior in high school, and lists as early influences, Elvis' Sun label recordings, Bo Diddley, Muddy Waters, early Chicago, and, of course, Leadbelly. " I sing the blues because it's a medium not as demanding as literatu re or serious music, and free enough to permit a total statement of personality and. self, " Dave states. "I play blues because 1 feel it's important to me to express myself and because I feel it's a significant form of music which hasn't had enough dispersement. As far as white men playing blues, that's all who do play blues. the new Negroes are too busy (doing other things). " Discography: Blues, Rags and Hollers (Elektra EKL 240). Dave Ray may soon be heard, with John Koerner and Tony Glover, on Elektra EKL 267. ERIC VON SCHMIDT: E ric w rites: "B orn 1931; began singing in 1948; first influences were Leadbelly, Josh White and Jelly Roll Morton — then Library of Congress material and field recordings. Worked as magazine illustrator, then painter until 1952... two years in the army, and then to Florida, where I worked as a frame-maker and built a 27-foot ketch which was almost called the 'John Hurt'. -
William B. Kaplan CAS
Career Achievement Award Recipient William B. Kaplan CAS CAS Filmmaker Award Recipient George SPRING Clooney 2021 Overcoming Atmos Anxiety • Playing Well with Other Departments • RF in the 21st Century Remote Mixing in the Time of COVID • Return to the Golden Age of Booming Sound Ergonomics for a Long Career • The Evolution of Noise Reduction FOR YOUR CONSIDERATION CINEMA AUDIO SOCIETY AWARDS NOMINEE MOTION PICTURE LIVE ACTION PRODUCTION MIXER DREW KUNIN RERECORDING MIXERS REN KLYCE, DAVID PARKER, NATHAN NANCE SCORING MIXER ALAN MEYERSON, CAS ADR MIXER CHARLEEN RICHARDSSTEEVES FOLEY MIXER SCOTT CURTIS “★★★★★. THE FILM LOOKS AND SOUNDS GORGEOUS.” THE GUARDIAN “A WORK OF DAZZLING CRAFTSMANSHIP.” THE HOLLYWOOD REPORTER “A stunning and technically marvelous portrait of Golden Era Hollywood that boasts MASTERFUL SOUND DESIGN.” MIRROR CAS QUARTERLY, COVER 2 REVISION 1 NETFLIX: MANK PUB DATE: 03/15/21 BLEED: 8.625” X 11.125” TRIM: 8.375” X 10.875” INSIDE THIS ISSUE SPRING 2021 CAREER ACHIEVEMENT AWARD RECIPIENT WILLIAM B. KAPLAN CAS | 20 DEPARTMENTS The President’s Letter | 4 From the Editor | 6 Collaborators | 8 Learn about the authors of your stories 26 34 Announcements | 10 In Remembrance | 58 Been There Done That |59 CAS members check in The Lighter Side | 61 See what your colleagues are up to 38 52 FEATURES A Brief History of Noise Reduction | 15 Remote Mixing in the Time of COVID: User Experiences | 38 RF in the Twenty-First Century |18 When mix teams and clients are apart Filmmaker Award: George Clooney | 26 Overcoming Atmos Anxiety | 42 Insight to get you on your way The 57th Annual CAS Awards Nominees for Outstanding Achievement Playing Well with Other Production in Sound Mixing for 2020 | 28 Departments | 48 The collaborative art of entertainment Outstanding Product Award Nominees| 32 Sound Ergonomics for a Long Career| 52 Return to the Golden Age Staying physically sound on the job Cover: Career Achievement Award of Booming | 34 recipient William B. -
Of ABBA 1 ABBA 1
Music the best of ABBA 1 ABBA 1. Waterloo (2:45) 7. Knowing Me, Knowing You (4:04) 2. S.O.S. (3:24) 8. The Name Of The Game (4:01) 3. I Do, I Do, I Do, I Do, I Do (3:17) 9. Take A Chance On Me (4:06) 4. Mamma Mia (3:34) 10. Chiquitita (5:29) 5. Fernando (4:15) 11. The Winner Takes It All (4:54) 6. Dancing Queen (3:53) Ad Vielle Que Pourra 2 Ad Vielle Que Pourra 1. Schottische du Stoc… (4:22) 7. Suite de Gavottes E… (4:38) 13. La Malfaissante (4:29) 2. Malloz ar Barz Koz … (3:12) 8. Bourrée Dans le Jar… (5:38) 3. Chupad Melen / Ha… (3:16) 9. Polkas Ratées (3:14) 4. L'Agacante / Valse … (5:03) 10. Valse des Coquelic… (1:44) 5. La Pucelle d'Ussel (2:42) 11. Fillettes des Campa… (2:37) 6. Les Filles de France (5:58) 12. An Dro Pitaouer / A… (5:22) Saint Hubert 3 The Agnostic Mountain Gospel Choir 1. Saint Hubert (2:39) 7. They Can Make It Rain Bombs (4:36) 2. Cool Drink Of Water (4:59) 8. Heart’s Not In It (4:09) 3. Motherless Child (2:56) 9. One Sin (2:25) 4. Don’t We All (3:54) 10. Fourteen Faces (2:45) 5. Stop And Listen (3:28) 11. Rolling Home (3:13) 6. Neighbourhood Butcher (3:22) Onze Danses Pour Combattre La Migraine. 4 Aksak Maboul 1. Mecredi Matin (0:22) 7. -
2009–Senior Seminar, Ives, Blues, Porter
James Hepokoski Spring 2009 Music 458: Ives, Blues, Porter Visions of America: Competing concepts of musical style and purpose in the United States in the first half of the twentieth century. We examine some stylistic and cultural bases of both “art” and “popular” music and their often uneasy interrelationships. This is neither a survey course nor one concerned with mastering a body of facts. Nor is it preoccupied with coming to aesthetic value judgments. Instead, it is a course in applying critical thinking and analysis to some familiar musical styles basic to the American experience: asking hard questions of differing early- and mid-twentieth-century repertories. Areas to be examined include: 1) Ives (selected songs, Concord Sonata, Second Symphony); 2) early blues (Bessie Smith, Charley Patton, Robert Johnson, and others), including samples of African-American recorded precedents and related genres; 3) Broadway and popular song—including a brief look at Jerome Kern (selected numbers from Show Boat) followed by a closer study of Cole Porter (Anything Goes). Some main questions to be faced are: What aesthetic/contextual/analytical tools do we need to think more deeply about differing pieces of music that spring from or respond to markedly differing/diverse American subcultures? What are our presuppositions in listening to any of these musics, and to what extent might we profit by examining these presuppositions critically? The course will also make use of resources in Yale’s music collection—most notably the Charles Ives Papers and The Cole Porter Collection. We shall also be concerned with original recordings from the 1920s and 1930s. -
Mastery and Masquerade in the Transatlantic Blues Revival
Journal of the Royal Musical Association, 2018 Vol. 143, No. 1, 173–210, https://doi.org/10.1080/02690403.2018.1434352 Mastery and Masquerade in the Transatlantic Blues Revival ROSS COLE We wear the mask that grins and lies, It hides our cheeks and shades our eyes, — his debt we pay to human guile; With torn and bleeding hearts we smile, And mouth with myriad subtleties. (Paul Laurence Dunbar)1 When Dunbar, the most celebrated African American poet of the Reconstruction era, published his terse commentary on the trauma of racism ‘We Wear the Mask’, he distilled an abiding facet of the relationship of black to white: whether slave or free, African Americans had been forced to perform a veneer of mirth veiling an inner self torn asunder. Indebted to and necessitated by artful deception and the tactics of trickery, this igurative disguise – manifest in expressive culture as well as the ‘myriad subtleties’ of vernacular language – is the mask of racial alterity. What Dunbar is implying is that black voices of both acquiescence and resistance were mediated by this process of masquerade. he meanings and histories of black music, in consequence, are complex and polysemous. As Charles Keil airmed in 1966, black music functions as a ‘projective test’ through which ‘white liberals, black militants, and others of varying pigmentation and persuasion hear in the blues essentially what they want to hear, ind in the blues ethos what they expect to ind’.2 Such insights serve as a perennial warning for scholars caught up in what Ronald Radano and Philip Bohlman have called the ‘racial imagination’ – a network of unexamined assumptions that lead us to view music Email: [email protected] I wish to thank Sam Barrett, Philip V. -
Inside Llewyn Davis Blog
DOES LLEWYN SAVE THE CAT? STC Analysis of Inside Llewyn Davis by Tom Reed The latest Coen Brothers movie has divided audiences and critics. Some call it a poetic and profound masterpiece; others find it dull, off-putting and depressing. Considering the paltry box office it’s clear mainstream moviegoers have ignored it. Along with the Academy. Why? What’s the explanation? Is this greater or lesser Coen Brothers? When I found out that a cat figured prominently in the action, I was immediately intrigued by the prospect of applying the BS2. Given the narrative prominence of a feline (an orange tabby, no less), this was a must-do. Not that I ever thought the Coens consciously applied it themselves – they’re too iconoclastic for that. They go their own way. On the other hand, they are master craftsmen at the height of their powers, which is why I was irresistibly drawn to see where and how the worlds of Blake Snyder and Joel and Ethan Coen intersected, if at all, and if that exploration could shed light on the movie and its performance. I think it can. Inside Llewyn Davis is a small, somber film, especially by mainstream standards. It feels like a character study, as Oscar Isaac, the actor portraying Llewyn, occupies virtually every frame, and doesn’t do much more than bounce around NYC looking for a place to sleep and a few bucks, playing some tunes along the way while alienating family and friends wherever he goes. Though unmistakably character-driven, it is far more than a mere character study. -
E S349s Bob Dylan
E s349S l Bob Dylan Instructor: Doherty, Brian Areas: Roman Numeral I–VI Unique #: 83748 Flags: Flag Name(s) Semester: Summer 2013 Restrictions: Honors, Longhorn Scholars, etc. Cross-lists: XXX ### Computer Instruction: Y/N Prerequisites: Six semester hours of upper-division coursework in English. Description: The New Criticism in literary studies propounded that it is the text alone which needs to be explored by the critic— biography, history, geography, anything outside of the text is irrelevant to criticism. While we will do quite a bit of close reading of Dylan’s songs (poems) this will not be a course fueled by the New Criticism. Dylan is emblematic of his times, of the folk tradition, of the era of rock music, of the legions of singer-songwriters who followed. He is influential to scores of artists, and was influenced by scores of artists. We will take much of this into consideration as we explore Bob Dylan, the artist, Bob Dylan, the Mythic Figure of American culture. Bob Dylan the musician. Texts: Dylan, Bob. Chronicles, Volume One. Marcus, Griel. Like a Rolling Stone Other Readings will be made available in a course reader, posted as links to online articles, or as pdf files. Requirements & Grading: Quizzes. Best 5 of 7 for grade. 10% Test on Dylan, his Times and Influences 20% Book Report on assigned Book 10% Portfolio on your assigned song. 15% Participation in discussion on blog or blackboard. 15% Formal Analytical Paper on Dylan and his work, or Analytical Reading/observation journal on your Dylan class life 30% Attendance in Class is required. -
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. -
“Statesboro Blues”—Blind Willie Mctell (1928) Added to the National Registry: 2015 Essay by Brian Bader
“Statesboro Blues”—Blind Willie McTell (1928) Added to the National Registry: 2015 Essay by Brian Bader Blind Willie McTell Blind Willie McTell was born May 5, 1901 in Thomson, Georgia. Though there is some uncertainty about his birth year, his comparatively long life (he died on Aug. 19, 1959, in Milledgeville, Georgia), his prolific recording career, the memories of numerous acquaintances, and McTell’s own recorded reminiscences, allow for a full picture of his life. His skillful fingerpicking guitar style ranks high with the playing of other acoustic blues artists, both blind (Blind Boy Fuller, Blind Blake, Reverend Gary Davis) and sighted (Josh White, Brownie McGhee). Hard to categorize, McTell embodied Piedmont blues, as well as ragtime, and gospel/spiritual/religious music, and may best be described as a mid-twentieth century American songster. One of his tunes--“covered,” or more accurately freely adapted, in a powerful electric blues rendition by the Allman Brothers Band-- is his legacy. This number most familiar to modern blues and rock fans: “Statesboro Blues.” Recorded by McTell and self-accompanied on twelve- string guitar in 1928 for Victor records, it showcases his distinctive voice and his talented guitar playing. The Allman Brothers later credited their cover of the song to “Will McTell” on their live two-record album “At Filmore East” released in 1971 on Capricorn Records. Guitarists Duane Allman (using a slide) and Dickey Betts cut loose with their trademark twin lead guitar line up in a memorable reading as a jumping blues shuffle. In an analysis of the history of “Statesboro Blues,” however, it is important to note that between the McTell recording and the Allman Brothers, there is a version from 1968 by Taj Mahal on his debut album.