All I Want Is You Lyrics U2
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
“Until That Song Is Born”: an Ethnographic Investigation of Teaching and Learning Among Collaborative Songwriters in Nashville
“UNTIL THAT SONG IS BORN”: AN ETHNOGRAPHIC INVESTIGATION OF TEACHING AND LEARNING AMONG COLLABORATIVE SONGWRITERS IN NASHVILLE By Stuart Chapman Hill A DISSERTATION Submitted to Michigan State University in partial fulfillment of the requirements for the degree of Music Education—Doctor of Philosophy 2016 ABSTRACT “UNTIL THAT SONG IS BORN”: AN ETHNOGRAPHIC INVESTIGATION OF TEACHING AND LEARNING AMONG COLLABORATIVE SONGWRITERS IN NASHVILLE By Stuart Chapman Hill With the intent of informing the practice of music educators who teach songwriting in K– 12 and college/university classrooms, the purpose of this research is to examine how professional songwriters in Nashville, Tennessee—one of songwriting’s professional “hubs”—teach and learn from one another in the process of engaging in collaborative songwriting. This study viewed songwriting as a form of “situated learning” (Lave & Wenger, 1991) and “situated practice” (Folkestad, 2012) whose investigation requires consideration of the professional culture that surrounds creative activity in a specific context (i.e., Nashville). The following research questions guided this study: (1) How do collaborative songwriters describe the process of being inducted to, and learning within, the practice of professional songwriting in Nashville, (2) What teaching and learning behaviors can be identified in the collaborative songwriting processes of Nashville songwriters, and (3) Who are the important actors in the process of learning to be a collaborative songwriter in Nashville, and what roles do they play (e.g., gatekeeper, mentor, role model)? This study combined elements of case study and ethnography. Data sources included observation of co-writing sessions, interviews with songwriters, and participation in and observation of open mic and writers’ nights. -
Martin Cloonan Introduction an Attack on the Idea of America
MUSICAL RESPONSES TO SEPTEMBER 11TH: FROM CONSERVATIVE PATRIOTISM TO RADICALISM Martin Cloonan Introduction I want to propose something very simple in this paper: that the attacks which took place on 11 September 2001 were attacks on the very idea of America. This is not a new idea. It was cited by the New York Times soon after the attack and subsequently by the cultural critic Greil Marcus (2002). But what I want to add is that as time went on it became clear that the mu- sical responses which were made were defences of America. However, there were not uniform responses, but diverse ones and that is partly be- cause the idea of America is not settled, but is open to contestation. So what I want to do in the rest of this paper is to first examine notion that the attacks on 11 September were an attack on the idea of America, look briefly at the importance of identity within popular music, chart initial musical reactions to the events and then look at longer term reactions. An attack on the idea of America The attacks on 11 September were strategically chosen to hit the symbols of America as well as the reality of it. The Twin Towers symbolised American economic power, the Pentagon its military might. This was an attack on the psyche of America as well as its buildings and people. Both the targets were attacked for propaganda purposes as much as military ones. What more devastating way could have been found to show rejection of America and all it stands for? But the point I want to note here is that America itself is a contested notion. -
Chris Brown: out of Control Mess Or Grossly Misunderstood Artist?
The Review: A Journal of Undergraduate Student Research Volume 18 Article 6 2017 Chris Brown: Out of control mess or grossly misunderstood Artist? Christopher C. Fritch St. John Fisher College, [email protected] Follow this and additional works at: https://fisherpub.sjfc.edu/ur Part of the Leisure Studies Commons, and the Other Social and Behavioral Sciences Commons How has open access to Fisher Digital Publications benefited ou?y Recommended Citation Fritch, Christopher C.. "Chris Brown: Out of control mess or grossly misunderstood Artist?." The Review: A Journal of Undergraduate Student Research 18 (2017): -. Web. [date of access]. <https://fisherpub.sjfc.edu/ur/vol18/iss1/6>. This document is posted at https://fisherpub.sjfc.edu/ur/vol18/iss1/6 and is brought to you for free and open access by Fisher Digital Publications at St. John Fisher College. For more information, please contact [email protected]. Chris Brown: Out of control mess or grossly misunderstood Artist? Abstract In today’s pop culture world, celebrities are seen as perfect individuals with grand houses, cars, and entourages. When Chris Brown came on the scene in the mid-2000s, he was a teenage heartthrob who could do no wrong. That all changed when he brutally beat fellow music superstar and then girlfriend Rihanna in 2009. Brown’s media persona came crashing down, along with seemingly everything else in his life. However, in a situation where many artists would normally descend and never return, Brown has surged back almost to the heights he reached prior to 2009. How did this happen? What does the role of the music industry play in this? The norms and tendencies of the popular music industry are examined to determine the external factors that both hindered and helped Brown’s changes in reputation (and by extension, record sales) over time. -
Paul Mccartney, 1980-1999
Paul McCartney from Wings through the 90's McCartney II Columbia FC‐36511 May 21, 1980 About ten years after recording McCartney by himself, Paul got several songs together and recorded them‐‐again alone‐‐on somewhat of a lark. Then Paul embarked on his ill‐fated 1980 tour of Japan (which resulted in his being jailed for drug possession). After returning to the safety of his own home, he was urged to release the album, and he did. The album contrasts well with McCartney, for this second production contains numerous instruments and electronic tricks that were not present on the 1970 release. Side One is particularly interesting. The solo version of "Coming Up" is followed by the fun track, "Temporary Secretary" (released as a single in England). The almost‐lament, "On the Way," is then succeeded by "Waterfalls," Paul's second (US) single from the album. "Bogey Music," from Side Two, is also a standout. John Lennon heard a song from McCartney II and thought that Paul sounded sad. When the album was released in the US, a bonus one‐sided single ‐‐ the hit version of "Coming Up"‐‐was included with the LP. This hit was enough to propel the album to the #3 position on the charts, during a time when disco was now on the wane. "Waterfalls" Columbia 1‐11335 Jul. 22, 1980 The lovely ballad about protectiveness was one of the standouts from McCartney II. After "Coming Up," it received the most airplay and the most positive response from Paul's friends. As a single, though, the song fared poorly, only reaching #83...one of Paul's worst showings to date. -
Bill Harry. "The Paul Mccartney Encyclopedia"The Beatles 1963-1970
Bill Harry. "The Paul McCartney Encyclopedia"The Beatles 1963-1970 BILL HARRY. THE PAUL MCCARTNEY ENCYCLOPEDIA Tadpoles A single by the Bonzo Dog Doo-Dah Band, produced by Paul and issued in Britain on Friday 1 August 1969 on Liberty LBS 83257, with 'I'm The Urban Spaceman' on the flip. Take It Away (promotional film) The filming of the promotional video for 'Take It Away' took place at EMI's Elstree Studios in Boreham Wood and was directed by John MacKenzie. Six hundred members of the Wings Fun Club were invited along as a live audience to the filming, which took place on Wednesday 23 June 1982. The band comprised Paul on bass, Eric Stewart on lead, George Martin on electric piano, Ringo and Steve Gadd on drums, Linda on tambourine and the horn section from the Q Tips. In between the various takes of 'Take It Away' Paul and his band played several numbers to entertain the audience, including 'Lucille', 'Bo Diddley', 'Peggy Sue', 'Send Me Some Lovin", 'Twenty Flight Rock', 'Cut Across Shorty', 'Reeling And Rocking', 'Searching' and 'Hallelujah I Love Her So'. The promotional film made its debut on Top Of The Pops on Thursday 15 July 1982. Take It Away (single) A single by Paul which was issued in Britain on Parlophone 6056 on Monday 21 June 1982 where it reached No. 14 in the charts and in America on Columbia 18-02018 on Saturday 3 July 1982 where it reached No. 10 in the charts. 'I'll Give You A Ring' was on the flip. -
Suing the Beatles and Others: Perils and Precedents of Celebrity Lawsuits Presented to the Sxsw Conference Cle Program March
1 SUING THE BEATLES AND OTHERS: PERILS AND PRECEDENTS OF CELEBRITY LAWSUITS PRESENTED TO THE SXSW CONFERENCE CLE PROGRAM MARCH 2016 BY STAN SOOCHER, ESQ. Denver, Colorado Editor-in-Chief, Entertainment Law & Finance Author, Baby You’re a Rich Man: Suing The Beatles for Fun & Profit Associate Professor, Music & Entertainment Industry Studies University of Colorado Denver Campus Box 162, P.O. Box 173364 Denver, CO 80217-3364 303-556-4066 [email protected] www.stansoocher.com Celebrities, with deep pockets and media spotlights, are natural lightning rods for litigation. The Beatles were a prime example of artists suing and being sued. The band’s most important legacy, of course, was their music, and influence on cultural and sociological changes. But few celebrities encountered as many legal disputes as did the Beatles. Many of the legal issues the Beatles faced were forerunners for today’s music industry. From early issues with crowd control as Beatlemania took hold in the United Kingdom in 1963 and the United States in 1964, to disputes over merchandising, management, intra-band rights, sound recordings, music publishing, copyright infringement, immigration, taxes and more, the Beatles faced—and continued to face long after they broke up—an array of issues that reflected where the music industry was headed. My recent book Baby You’re a Rich Man: Suing The Beatles for Fun & Profit (ForeEdge/University Press of New England) takes a close-up, investigative look at some of these concerns, as did a chapter from a prior book I wrote, They Fought the Law: Rock Music Goes to Court, that focused on the Beatles’ long-running music royalty battle with Capitol-EMI Records. -
Behind the Songs with Lynn Ahrens and Stephen Flaherty
Behind the Songs with Lynn Ahrens and Stephen Flaherty [00:00:05] Welcome to The Seattle Public Library’s podcasts of author readings and library events. Library podcasts are brought to you by The Seattle Public Library and Foundation. To learn more about our programs and podcasts, visit our web site at w w w dot SPL dot org. To learn how you can help the library foundation support The Seattle Public Library go to foundation dot SPL dot org [00:00:38] Thank you so much. We are so excited over at the Fifth Avenue to be partnering with The Seattle Public Library and these community conversations and we're so thankful that you all decided to come here on this beautiful Monday sunny night in Seattle. I don't know what you're doing inside it's gorgeous out there. Well we're going to wow you with some songs tonight and a wonderful conversation at the Fifth. We're currently presenting "Marie - Dancing Still", a new musical based on the life of and the world of the young ballet student who inspired the masterpiece by Dagmar. The little dancer. And tonight we have two very special guests with us the writers of Lynn Ahrens who wrote the book and lyrics and Stephen Flaherty who composed the music. Ahrens similarity we're gonna embarrass you a little bit. You are considered the foremost theatrical songwriting team of their generation and that's true. They are. They of course wrote the Tony Award winning score for the musical masterpiece ragtime and began their Broadway career with the irresistible. -
BWTB July 30Th 2016
1 Playlist July 31st, 2016 2 9AM The Beatles - All I’ve Got to Do – With The Beatles (Lennon-McCartney) Lead vocal: John Written entirely by John Lennon and introduced to the other Beatles at the session at which it was recorded, The Beatles never played the song again. Lennon has said this soulful ballad was his attempt at making a Smokey Robinson song. Recorded on September 11, 1963 in 14 takes with an overdub (presumably George’s introductory guitar chord) becoming “take 15” and the finished version. “All I’ve Got to Do” marked a rare instance in which John’s lead vocal was not double-tracked. On U.S. album: Meet The Beatles! - Capitol LP The Beatles - Money (That’s What I Want) – With The Beatles (Bradford-Gordy) Lead vocal: John Originally recorded by Barrett Strong and released as a single on Motown’s Tamla and Anna labels in 1959 and 1960 respectively, peaking at #23 in 1960. It was a part of The Beatles’ live repertoire from 1960 to 1964. On July 18, 1963, the group, with George Martin on piano, performed the song live in the studio -- vocals and all -- for six full takes, the final take being deemed the best. Although The Beatles involvement with the 3 recorded track lasted this one day, George Martin continued to add overdubs and tinker with his piano part until the song was completed to his satisfaction on September 30, 1963. On U.S. album: The Beatles’ Second Album - Capitol LP The Beatles - I Should Have Known Better - A Hard Day’s Night (Lennon-McCartney) Lead vocal: John Following their triumphant visit to America The Beatles were thrust back to work. -
{PDF} Radiohead: the Stories Behind Every Song
RADIOHEAD: THE STORIES BEHIND EVERY SONG PDF, EPUB, EBOOK James Doheny | 224 pages | 13 Sep 2012 | Carlton Books Ltd | 9781847329943 | English | London, United Kingdom Radiohead: The Stories Behind Every Song PDF Book Whoa, awesome. Allie rated it it was amazing Dec 22, Introduction Preschoolers generally adore making up new words, creating funny sentences, repeating rhymes, and singing silly songs. I can't say where it is but I know I'm going home. Submit Content. Philitsa rated it really liked it Jul 26, Where the Streets Have No Name Want to Read saving…. Elevation By the editors of Child magazine October 05, Saw them in l. Three-year- olds also tend to enjoy stories about everyday things, animals, and kids, as well as books that discuss issues like learning to share, making friends, going to school, and using the potty. Or perhaps it's about somebody caught in an abusive relationship. Adrian Vargas Obando rated it really liked it Dec 03, Ryan rated it it was ok Jun 28, All rights reserved. April rated it really liked it Feb 18, Poems, Songs, and Stories. Fans love it, but it hasn't been played on tour since It does put a new layer of meaning to the song. Dylan rated it liked it Aug 12, Harrison rated it liked it Dec 24, The Saints Are Coming But the meanings of most U2 songs are subject to interpretation. September A year-old drummer posts a notice at school that he's looking to start a band. Rating details. This energetic and mighty rocker reached number one in Australia, Canada, and all over Europe, but didn't receive much airplay in the States. -
Inside the Father's House. NARRATOR
Ease by Ryan Del Rosario Persons Narrator THE FATHER THE SON Scene 1.1: Inside the Father’s house. NARRATOR: All of the doors in the house have matching doorknobs except this one. A man walks to the end of the hallway, past a few bedrooms, and reaches for his keys. He only has three keys, one for his car, one for the house, and this one. Behind him, is a young boy – “young man” as he prefers it. The man inserts a key, into the old brass knob, rattling it a few times till it opens. FATHER: [He peers into a room lit only by what’s left of the day’s light.] Gosh has it really been that long? [He sees his guitars exactly where he last left them. The strings once pulled tight, like the spine that keeps his mother standing, has since slackened. His drum kit remains untouched since the last time he was in the room – one stick on the floor underneath the snare and the other driven straight through the head of a tom-tom, stuck in place.] SON: [Taking in his surroundings.] Dad did you not get this room painted with the rest of the house a few years ago? FATHER: [He looks around, noticing cobwebs in the corners of the room.] Ah, no son. I uh…this room has been locked…anyways, son, I wanted to show you something. [He searches through a dusty old shelf. He pulls out an old cardboard sleeve that reads “Shake/A Change is Gonna Come.”] FATHER: [Hesitantly.] These…these are the records I played for your mom when we were dating. -
U2 All Along the Watchtower U2 All Because of You U2 All I Want Is You U2 Angel of Harlem U2 Bad U2 Beautiful Day U2 Desire U2 D
U/z U2 All Along The Watchtower U2 All Because of You U2 All I Want Is You U2 Angel Of Harlem U2 Bad U2 Beautiful Day U2 Desire U2 Discotheque U2 Electrical Storm U2 Elevation U2 Even Better Than The Real Thing U2 Fly U2 Ground Beneath Her Feet U2 Hands That Built America U2 Haven't Found What I'm Looking For U2 Helter Skelter U2 Hold Me, Thrill Me, Kiss Me, Kill Me U2 I Still Haven't Found What I'm Looking For U2 I Will Follow U2 In A Little While U2 In Gods Country U2 Last Night On Earth U2 Lemon U2 Mothers Of The Disappeared U2 Mysterious Ways U2 New Year's Day U2 One U2 Please U2 Pride U2 Pride In The Name Of Love U2 Sometimes You Can't Make it on Your Own U2 Staring At The Sun U2 Stay U2 Stay Forever Close U2 Stuck In A Moment U2 Sunday Bloody Sunday U2 Sweetest Thing U2 Unforgettable Fire U2 Vertigo U2 Walk On U2 When Love Comes To Town U2 Where The Streets Have No Name U2 Who's Gonna Ride Your Wild Horses U2 Wild Honey U2 With Or Without You UB40 Breakfast In Bed UB40 Can't Help Falling In Love UB40 Cherry Oh Baby UB40 Cherry Oh Baby UB40 Come Back Darling UB40 Don't Break My Heart UB40 Don't Break My Heart UB40 Earth Dies Screaming UB40 Food For Thought UB40 Here I Am (Come And Take Me) UB40 Higher Ground UB40 Homely Girl UB40 I Got You Babe UB40 If It Happens Again UB40 I'll Be Yours Tonight UB40 King UB40 Kingston Town UB40 Light My Fire UB40 Many Rivers To Cross UB40 One In Ten UB40 Rat In Mi Kitchen UB40 Red Red Wine UB40 Sing Our Own Song UB40 Swing Low Sweet Chariot UB40 Tell Me Is It True UB40 Train Is Coming UB40 Until -
Songwriter-Music Publisher Agreements and Disagreements, 18 Hastings Comm
Hastings Communications and Entertainment Law Journal Volume 18 | Number 1 Article 3 1-1-1995 Everything That Glitters Is Not Gold: Songwriter- Music Publisher Agreements and Disagreements Don E. Tomlinson Follow this and additional works at: https://repository.uchastings.edu/ hastings_comm_ent_law_journal Part of the Communications Law Commons, Entertainment, Arts, and Sports Law Commons, and the Intellectual Property Law Commons Recommended Citation Don E. Tomlinson, Everything That Glitters Is Not Gold: Songwriter-Music Publisher Agreements and Disagreements, 18 Hastings Comm. & Ent. L.J. 85 (1995). Available at: https://repository.uchastings.edu/hastings_comm_ent_law_journal/vol18/iss1/3 This Article is brought to you for free and open access by the Law Journals at UC Hastings Scholarship Repository. It has been accepted for inclusion in Hastings Communications and Entertainment Law Journal by an authorized editor of UC Hastings Scholarship Repository. For more information, please contact [email protected]. Everything That Glitters Is Not Gold:* Songwriter-Music Publisher Agreements and Disagreements by DON E. TOMLINSON** Table of Contents I. Introduction ............................................ 87 A. The Fundamental Songwriting-Music Publishing Quid Pro Quo ...................................... 88 1. Advances Against Royalties .................... 88 2. Demonstration Recordings ..................... 89 3. Exploitation .................................... 90 4. "H it" Songs ..................................... 90 B. The