Listening Journal University of Minnesota
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R & B /POP /FUNK /BEACH /SOUL /OLDIES /MOTOWN /TOP-40 /RAP /DANCE MUSIC ‘50s/ ‘60s MUSIC ARETHA FRANKLIN: ISLEY BROTHERS: SAM COOK: RESPECT SHOUT TWISTIN THE NIGHT AWAY NATURAL WOMAN JAMES BROWN: YOU SEND ME ARTHUR CONLEY: I FEEL GOOD SMOKEY ROBINSON & THE MIRACLES: SWEET SOUL MUSIC I'T'S A MAN'S MAN'S WORLD OOH BABY BABY DIANA ROSS & THE SUPREMES: PLEASE,PLEASE,PLEASE TAMS: BABY LOVE LLOYD PRICE: BE YOUNG BE FOOLISH BE HAPPY STOP! IN THE NAME OF LOVE STAGGER LEE WHAT KIND OF FOOL YOU CAN’T HURRY LOVE MARY WELLS: TEMPTATIONS: YOU KEEP ME HANGIN ON MY GUY AIN’T TOO PROUD TO BEG DION: MARTHA & THE VANDELLAS: I WISH IT WOULD RAIN RUN AROUND SUE DANCING IN THE STREET MY GIRL DRIFTERS & BEN E. KING: HEATWAVE THE WAY YOU DO THE THINGS YOU DO DANCE WITH ME MARVIN GAYE: THE DOMINOES: I’VE GOT SAND IN MY SHOES AIN’T NOTHING LIKE THE REAL THING SIXTY MINUTE MAN RUBY RUBY HOW SWEET IT IS TO BE LOVED BY YOU TINA TURNER: SATURDAY NIGHT AT THE MOVIES I HEARD IT THROUGH THE GRAPEVINE PROUD MARY STAND BY ME OTIS REDDING: WILSON PICKET: THERE GOES MY BABY DOCK OF THE BAY 634-5789 UNDER THE BOARDWALK THAT’S HOW STRONG MY LOVE IS DON’T LET THE GREEN GRASS FOOL YOU UP ON TH ROOF PLATTERS: IN THE MIDNIGHT HOUR EDDIE FLOYD: WITH THIS RING MUSTANG SALLY KNOCK ON WOOD RAY CHARLES ETTA JAMES: GEORGIA ON MY MIND AT LAST SAM AND DAVE: FOUR TOPS: HOLD ON I'M COMING BABY I NEED YOUR LOVING SOUL MAN CAN'T HELP MYSELF REACH OUT I'LL BE THER R & B /POP /FUNK /BEACH /SOUL /OLDIES /MOTOWN /TOP-40 /RAP /DANCE MUSIC ‘70s MUSIC AL GREEN: I WANT YOU BACK ROD STEWART: LOVE AND HAPPINESS JAMES BROWN: DA YA THINK I’M SEXY? ANITA WARD: GET UP ROLLS ROYCE: RING MY BELL THE PAYBACK CAR WASH BILL WITHERS: JIMMY BUFFETT: SISTER SLEDGE: AIN’T NO SUNSHINE MARGARITAVILLE WE ARE FAMILY BRICK: K.C. -
Crossing Over: from Black Rhythm Blues to White Rock 'N' Roll
PART2 RHYTHM& BUSINESS:THE POLITICAL ECONOMY OF BLACKMUSIC Crossing Over: From Black Rhythm Blues . Publishers (ASCAP), a “performance rights” organization that recovers royalty pay- to WhiteRock ‘n’ Roll ments for the performance of copyrighted music. Until 1939,ASCAP was a closed BY REEBEEGAROFALO society with a virtual monopoly on all copyrighted music. As proprietor of the com- positions of its members, ASCAP could regulate the use of any selection in its cata- logue. The organization exercised considerable power in the shaping of public taste. Membership in the society was generally skewed toward writers of show tunes and The history of popular music in this country-at least, in the twentieth century-can semi-serious works such as Richard Rodgers and Lorenz Hart, Cole Porter, George be described in terms of a pattern of black innovation and white popularization, Gershwin, Irving Berlin, and George M. Cohan. Of the society’s 170 charter mem- which 1 have referred to elsewhere as “black roots, white fruits.’” The pattern is built bers, six were black: Harry Burleigh, Will Marion Cook, J. Rosamond and James not only on the wellspring of creativity that black artists bring to popular music but Weldon Johnson, Cecil Mack, and Will Tyers.’ While other “literate” black writers also on the systematic exclusion of black personnel from positions of power within and composers (W. C. Handy, Duke Ellington) would be able to gain entrance to the industry and on the artificial separation of black and white audiences. Because of ASCAP, the vast majority of “untutored” black artists were routinely excluded from industry and audience racism, black music has been relegated to a separate and the society and thereby systematically denied the full benefits of copyright protection. -
Fact Or Fiction? Name: Below Is a Biography On
Fact or Fiction? Name: _________________________ Below is a biography on Amelia Earhart. On the following page is a chart with ten statements. Indicate whether each statement is fact or fiction. Bad Behavior George Herman "Babe Ruth" was born February 6, 1895, in Baltimore, Maryland. His parents owned a saloon near the current site of Camden Yards in Baltimore. They were of German descent and taught him to speak German fluently. George was actually somewhat of a petty criminal as a young boy. By age seven he was already involved in drinking alcohol and chewing tobacco. Because he was too difficult for his parents to control, George was sent away to a catholic school. It was here, where Brother Matthias taught him baseball. As a teenager, George became the team's catcher and then pitcher. Unusual Talent At the age of 19 Jack Dunn, a scout for the Orioles discovered George's baseball talents. He was promptly signed to pitch for the Orioles. After performing well as a pitcher and a batter for the Orioles during spring training, George made the team. Because he was such a young talent, he earned the nickname "Babe". On April 22, 1914, Babe pitched a shutout against the Buffalo Bisons in his Major-League debut. Because the Orioles were in poor financial shape, Jack Dunn was forced to sell off his best players. Babe was sold to the Boston Red Sox in 1914 for an amount between $20,000 and $35,000. Called up to the Majors After pitching for the Red Sox minor league club in Providence, Rhode Island, Babe was called up to the majors permanently toward the end of the 1914 baseball season. -
Ellicott City, MD 21043 Plaintiff, New York, NY 10167 and 333 W
PATRICIA ANN DOWDELL IN THE CIRCUIT COUR� �OR:7 c:-M 3 ! L i � 7835 Falling Leaves Ct. BALTIMORE CITY �; 0 5 Ellicott City, MD 21043 ·�-·I �· ! .. , // - v j / / .J" r�·0 Plaintiff, Case No. -------- v. OFFICE OF THE COMMISSIONER OF Demanded BASEBALL (d/b/a MAJOR LEAGUE Jury Trial BASEBALL) 245 Park Avenue, 31st Floor New York, NY 10167 and BALTIMORE ORIOLES LIMITED PARTNERSHIP 333 W. Camden Street Baltimore, Maryland 21 201 Serve on: Peter G. Angelos, Esquire 22nd Floor 100 North Charles Street Baltimore, Maryland 21201 Defendants. S:OMPLAINT PlaintiffPatricia Ann Dowdell, by and through her attorneys, Klaproth Law PLLC. demands damages and injunctive relief from Defendants Office of the Commissioner of Baseball (d/b/aM aj or League Baseball) ("MLB1') andthe Baltimore Orioles Limited Partnership, (the ·�orioles") collectively "Defendants,"and in support thereof states: INTRODUCTION 1. Skull and orbital fractures, subarachnoid hemorrhage, brain swelling, permanent traumatic brain injury. These are some of the injuries that PlaintiffPatricia Ann Dowdell sufferedwhen a baseball bat flew out of Chris "Crush" Davis' hands on July 23, 2016 and launched into the stands where Plaintiffwas sitting. 2. No one expects that attending a MLB baseball game will leave them with such horrific and permanent injuries. Catchers wear masks, batters wear helmets and arm guards to protect themselves while playing baseball. The spectators do not wear protective gear or carry gloves, yet over a thousand spectators a year are injured at MLB games by balls batted into the stands. Spectators are engaged in conversation-. using MLB's phone app "At Bat", eating hot dogs, drinking soda, people-watching, or watching video images on the state-of the-art LED scoreboard-while baseballs are launched their way with tremendous velocity. -
Rhythm & Blues Rhythm & Blues S E U L B & M H T Y
64 RHYTHM & BLUES RHYTHM & BLUES ARTHUR ALEXANDER JESSE BELVIN THE MONU MENT YEARS CD CHD 805 € 17.75 GUESS WHO? THE RCA VICTOR (Baby) For You- The Other Woman (In My Life)- Stay By Me- Me And RECORD INGS (2-CD) CD CH2 1020 € 23.25 Mine- Show Me The Road- Turn Around (And Try Me)- Baby This CD-1:- Secret Love- Love Is Here To Stay- Ol’Man River- Now You Baby That- Baby I Love You- In My Sorrow- I Want To Marry You- In Know- Zing! Went The My Baby’s Eyes- Love’s Where Life Begins- Miles And Miles From Strings Of My Heart- Home- You Don’t Love Me (You Don’t Care)- I Need You Baby- Guess Who- Witch craft- We’re Gonna Hate Ourselves In The Morn ing- Spanish Harlem- My Funny Valen tine- Concerte Jungle- Talk ing Care Of A Woman- Set Me Free- Bye Bye Funny- Take Me Back To Love- Another Time, Another Place- Cry Like A Baby- Glory Road- The Island- (I’m Afraid) The Call Me Honey- The Migrant- Lover Please- In The Middle Of It All Masquer ade Is Over- · (1965-72 ‘Monument’) (77:39/28) In den Jahren 1965-72 Alright, Okay, You Win- entstandene Aufnahmen in seinem eigenwilligen Stil, einer Ever Since We Met- Pledg- Mischung aus Soul und Country Music / his songs were covered ing My Love- My Girl Is Just by the Stones and Beatles. Unique country-soul music. Enough Woman For Me- SIL AUSTIN Volare (Nel Blu Dipinto Di SWINGSATION CD 547 876 € 16.75 Blu)- Old MacDonald (The Dogwood Junc tion- Wildwood- Slow Walk- Pink Shade Of Blue- Charg ers)- Dandilyon Walkin’ And Talkin’- Fine (The Charg ers)- CD-2:- Brown Frame- Train Whis- Give Me Love- I’ll Never -
1950S MUSIC TRIVIA QUIZ
1950s MUSIC TRIVIA QUIZ ( www.TriviaChamp.com ) 1> Recorded in 1952, "Auf Wiederseh'n Sweetheart" was a US Number 1 hit for which singer? a. Patti Page b. Kay Starr c. Rosemary Clooney d. Vera Lynn 2> "I Can Dream, Can't I" was at Number 1 hit for 4 weeks in 1950. Name the artist. a. The Andrews Sisters b. The Daniels Sisters c. The Michaels Sisters d. The Davids Sisters 3> Carlos Wilson and Edward Bowers were members of which American doo-wop vocal group? a. The Clovers b. The Cadillacs c. The Platters d. The Dominoes 4> One of the pioneers of rock and roll music, Chuck Berry is most known for playing which instrument? a. Trumpet b. Guitar c. Piano d. Drums 5> Mercury Record's first successful female artist, Clara Ann Fowler is the real name of which of these 1950s stars? a. Peggy Lee b. Patti Page c. June Valli d. Doris Day 6> Complete the title of this major 1950s hit for the Every Brothers - "Wake Up Little…"? a. Annie b. Daisy c. Mary d. Susie 7> "Good Night Irene" was a 1950 Number 1 hit for Gordon Jenkins and….? a. The Weavers b. The Jets c. The Dolls d. The Spinners 8> How old was Sam Cooke when he was fatally shot by Bertha Franklin in Los Angeles, California? a. 33 b. 55 c. 22 d. 44 9> Best known for her two number one hits, "Wheel of Fortune" and "The Rock And Roll Waltz," Katherine Laverne Starks was the real name of which 1950s singer? a. -
Clyde Mcphatter 1987.Pdf
Clyde McPhatter was among thefirst | singers to rhapsodize about romance in gospel’s emotionally charged style. It wasn’t an easy stepfor McP hatter to make; after all, he was only eighteen, a 2m inister’s son born in North Carolina and raised in New Jersey, when vocal arranger and talent manager Billy | Ward decided in 1950 that I McPhatter would be the perfect choice to front his latest concept, a vocal quartet called the Dominoes. At the time, quartets (which, despite the name, often contained more than four members) were popular on the gospel circuit. They also dominated the R&B field, the most popular being decorous ensembles like the Ink Spots and the Orioles. Ward wanted to combine the vocal flamboyance of gospel with the pop orientation o f the R&B quartets. The result was rhythm and gospel, a sound that never really made it across the R &B chart to the mainstream audience o f the time but reached everybody’s ears years later in the form of Sixties soul. As Charlie Gillett wrote in The Sound of the City, the Dominoes began working instinctively - and timidly. McPhatter said, ' ‘We were very frightened in the studio when we were recording. Billy Ward was teaching us the song, and he’d say, ‘Sing it up,’ and I said, 'Well, I don’t feel it that way, ’ and he said, ‘Try it your way. ’ I felt more relaxed if I wasn’t confined to the melody. I would take liberties with it and he’d say, ‘That’s great. -
Beautiful and Damned: Geographies of Interwar Kansas City by Lance
Beautiful and Damned: Geographies of Interwar Kansas City By Lance Russell Owen A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Geography in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Michael Johns, Chair Professor Paul Groth Professor Margaret Crawford Professor Louise Mozingo Fall 2016 Abstract Beautiful and Damned: Geographies of Interwar Kansas City by Lance Russell Owen Doctor of Philosophy in Geography University of California, Berkeley Professor Michael Johns, Chair Between the World Wars, Kansas City, Missouri, achieved what no American city ever had, earning a Janus-faced reputation as America’s most beautiful and most corrupt and crime-ridden city. Delving into politics, architecture, social life, and artistic production, this dissertation explores the geographic realities of this peculiar identity. It illuminates the contours of the city’s two figurative territories: the corrupt and violent urban core presided over by political boss Tom Pendergast, and the pristine suburban world shaped by developer J. C. Nichols. It considers the ways in which these seemingly divergent regimes in fact shaped together the city’s most iconic features—its Country Club District and Plaza, a unique brand of jazz, a seemingly sophisticated aesthetic legacy written in boulevards and fine art, and a landscape of vice whose relative scale was unrivalled by that of any other American city. Finally, it elucidates the reality that, by sustaining these two worlds in one metropolis, America’s heartland city also sowed the seeds of its own destruction; with its cultural economy tied to political corruption and organized crime, its pristine suburban fabric woven from prejudice and exclusion, and its aspirations for urban greatness weighed down by provincial mindsets and mannerisms, Kansas City’s time in the limelight would be short lived. -
THE BIRTH of HARD ROCK 1964-9 Charles Shaar Murray Hard Rock
THE BIRTH OF HARD ROCK 1964-9 Charles Shaar Murray Hard rock was born in spaces too small to contain it, birthed and midwifed by youths simultaneously exhilarated by the prospect of emergent new freedoms and frustrated by the slow pace of their development, and delivered with equipment which had never been designed for the tasks to which it was now applied. Hard rock was the sound of systems under stress, of energies raging against confnement and constriction, of forces which could not be contained, merely harnessed. It was defned only in retrospect, because at the time of its inception it did not even recognise itself. The musicians who played the frst ‘hard rock’ and the audiences who crowded into the small clubs and ballrooms of early 1960s Britain to hear them, thought they were playing something else entirely. In other words, hard rock was – like rock and roll itself – a historical accident. It began as an earnest attempt by British kids in the 1960s, most of whom were born in the 1940s and raised and acculturated in the 1950s, to play American music, drawing on blues, soul, R&B, jazz and frst-generation rock, but forced to reinvent both the music, and its world, in their own image, resulting in something entirely new. However, hard rock was neither an only child, nor born fully formed. It shared its playpen, and many of its toys, with siblings (some named at the time and others only in retrospect) like R&B, psychedelia, progressive rock, art-rock and folk-rock, and it emerged only gradually from the intoxicating stew of myriad infuences that formed the musical equivalent of primordial soup in the uniquely turbulent years of the second (technicolour!) half of the 1960s. -
Ordered by ARTIST 1 SONG NO TITLE ARTIST 5587 - 16 Blackout (Hed) P
Ordered by ARTIST 1 SONG NO TITLE ARTIST 5587 - 16 Blackout (Hed) P. E. 5772 - 15 Caught Up In You .38 Special 5816 - 08 Hold On Loosely .38 Special 5772 - 08 If I'd Been The One .38 Special 5950 - 06 Second Chance .38 Special 4998 - 05 Count Your Rainbows 1 Girl Nation 4998 - 06 While We're Young 1 Girl Nation 5915 - 18 Beautiful 10 Years 5881 - 11 Through The Iris 10 Years 6085 - 15 Wasteland 10 Years 5459 - 07 Because The Night 10,000 Maniacs 5218 - 08 Candy Everybody Wants 10,000 Maniacs 1046A -08 These Are Days 10,000 Maniacs 5246 - 14 I'm Not In Love 10cc 6274 - 20 Things We Do For Love, The 10cc 5541 - 04 Cupid 112 5449 - 10 Dance With Me 112 5865 - 18 Peaches And Cream 112 5883 - 04 Right Here For You 112 6037 - 07 U Already Know 112 5790 - 02 Hot And Wet 112 & Ludacris 5689 - 04 Na Na Na 112 & Super Cat 5431 - 05 We Are One 12 Stones 5210 - 20 Chocolate 1975, The 6386 - 01 If You're Too Shy (Let Me Know) 1975, The 5771 - 18 Love Me 1975, The 6371 - 08 Me And You Together Song (Clean) 1975, The 6070 - 19 TOOTIMETOOTIMETOOTIME 1975, The 5678 - 02 I'm Different (Clean) 2 Chainz 5673 - 05 No Lie (Clean) 2 Chainz & Drake 5663 - 12 Birthday Song (Clean) 2 Chainz & Kanye West 5064 - 20 Feds Watching (Clean) 2 Chainz & Pharrell 5450 - 20 We Own It 2 Chainz & Wiz Khalifa 5293 - 09 I Do It (Clean) 2 Chainz Feat. -
Artist with Title Writer Label Cat Year Genre
Artist With Title Writer Label Cat Year Genre Notes Album Synopsis_c Anonymous Uncle Tom’s Cabin No Label 0 Comedy Anonymous - Uncle Tom’s Cabin, No Label , 78, ???? Anonymous The Secretary No Label 0 Comedy Anonymous - The Secretary, No Label , 78, ???? Anonymous Mr. Speaker No Label 0 Comedy Anonymous - Mr. Speaker, No Label , 78, ???? Anonymous The Deacon No Label 0 Comedy Anonymous - The Deacon, No Label , 78, ???? Anonymous First Swimming Lesson Good-Humor 10 0 Comedy Anonymous - First Swimming Lesson, Good-Humor 10, 78, ???? Anonymous Auto Ride Good-Humor 4 0 Comedy Anonymous - Auto Ride, Good-Humor 4, 78, ???? Anonymous Pioneer XXX, Part 1 No Label 0 Comedy Anonymous - Pioneer XXX, Part 1, No Label , 78, ???? Anonymous Pioneer XXX, Part 2 No Label 0 Comedy Anonymous - Pioneer XXX, Part 2, No Label , 78, ???? Anonymous Instrumental w/ lots of reverb No Label 0 R&B Anonymous - Instrumental w/ lots of reverb, No Label , 78, ???? Coy and Helen Tolbert There’s A Light Guiding Me Chapel Tone 775 0 Gospel with Guitar Coy and Helen Tolbert - There’s A Light Guiding Me, Chapel Tone 775, 78, ???? Coy and Helen Tolbert Old Camp Meeting Days R. E. Winsett Chapel Tone 775 0 Gospel with Guitar Coy and Helen Tolbert - Old Camp Meeting Days (R. E. Winsett), Chapel Tone 775, 78, ???? Donna Lane and Jack Milton Henry Brandon And His Orchestra Love On A Greyhound Bus Blane - Thompson - Stoll Imperial 1001 0 Vocal Donna Lane and Jack Milton - Love On A Greyhound Bus (Blane - Thompson - Stoll), Imperial 1001, 78, ???? G. M. Farley The Works Of The Lord Rural Rhythm 45-EP-551 0 Country G. -
Muziek Voor Volwassenen 2020 Week 33
Muziek voor volwassenen / Johan Derksen Album van de week:Ted Russell Kamp-Down In The Den maandag 10/08/2020 18:00-19:00 ARTIEST TITEL COMPONIST PLATENLABEL CATALOGUSNUMMER CD TITEL 1 Jeff Beck & Joss Stone I put a spell on you Hawkins ATCO 8122-79811-0 Emotion & Commotion 2 Homesick James The sky is crying James SPV SPV 50912 CD From New Orleans To Chicago Via Memphis 3 Jeff Beck & Joss Stone There’s no other me Rebello, Stone ATCO 8122-79811-0 Emotion & Commotion 4 Fats Domino I wanna walk you home Domino SPV SPV 50912 CD From New Orleans To Chicago Via Memphis 5 Jeff Beck & Screaming Lord Sutch Come back baby Sutch Castle Music CMQCD 702 Shapes of Things [60's Groups & Sessions] 6 Guitar Slim The story of my life Slim SPV SPV 50912 CD From New Orleans To Chicago Via Memphis 7 Jeff Beck & The Yardbirds Heart full of soul Gouldman Castle Music CMQCD 702 Shapes of Things [60's Groups & Sessions] 8 Ted Russell Kamp Hold on Quist PoMo Records TRK-012 Down In The Den 9 Jeff Beck & The Yardbirds Evil hearted you Gouldman Castle Music CMQCD 702 Shapes of Things [60's Groups & Sessions] 10 Naomi Shelton What have you done MannGiven Away Free With MOJO April 2008 The New Dictionary Of Blues And Soul 11 Jeff Beck & Paul Jones And the sun will shine Gibb, Gibb, Gibb Castle Music CMQCD 702 Shapes of Things [60's Groups & Sessions] 12 James Hunter No smoke without fire HunterGiven Away Free With MOJO April 2008 The New Dictionary Of Blues And Soul 13 Jeff Beck & Rod Stewart Morning dew Rose, Dobson EMI 7243 8 73749 2 8 Truth 14 Sharon Jones 100