DOCSLIB.ORG

Fauxchella History of Metal Beatles Arena Rock Registration Fee: $99

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Fauxchella History of Metal Beatles Arena Rock Registration Fee: $99 This season includes The Preview Show on Sunday May 21st 2017 ​ ​ Fauxchella Directed by Daniel Schraer, Assisted by Jordan Graham Rehearses Tuesdays from 5:15-8:15pm Show Date: History of Metal Directed by Tyler Ward, Assisted by Nate Blake Rehearses Saturdays from 11am-2pm Show Date: Beatles Directed by Araby Harrison, Assisted by Adam West Rehearses Saturdays from 2:15-5:15pm Show Date: Arena Rock Directed Josh Smith, Assisted by Adam West Rehearsal Thursdays from 5:15-8:15pm Show Date: Registration Fee: $99 Our venue rental fees, sound engineer, poster and ticket printing, and many other costs are paid for by the ticket sales of the show. Charging a Registration Fee ensures we book great venues for our students to perform. The Registration Fee is $99 and due at the first rehearsal. As the show approaches each student ​ ​ will receive enough tickets to recoup the registration fee if he/she chooses to sell them. For example, if the ticket cost at a show is $10, you’ll receive 10 tickets so you can make at least $99 from the ticket sales. *The registration fee is non-refundable. Season Show Attendance Policy: Each rehearsal missed is a loss of hours of rehearsal time. It's hard enough to finish these complicated songs in 12-14 weeks, but if a show is plagued with absences, there is little anyone can do to make up for the lost time. If you need to miss a rehearsal, please let us know so we can prepare. Of course, since the rest of the band will be rehearsing anyway, we cannot reschedule or prorate your tuition. If a student misses: 1 rehearsal - It's ok. 2 rehearsals - It's annoying, but totally acceptable. 3 rehearsals - They're pushing their luck, but no one's in trouble yet. 4 rehearsals - The show director will reassign 1 or 2 of the student's songs to someone more prepared to complete them in time for the show. 5 rehearsals - The student will be asked to step down from their responsibilities in the season show for the remainder of the season. --------------------------------------------------------------------------------------------------------------------------- We have read and understand the commitment asked of each student who will participate in the 2017 Spring Season of SoR Encinitas’ Performance Program. Student’s Signature:_______________________________________________Date_________________ Parent/Guardian Signature:_______________________________________________________Date_________________ ( Please charge my card on file ) I will bring another form of payment to the 1st rehearsal ​ ​ SPRING SHOWS 2017 School of Rock Encinitas FAUXCHELLA Directed by Daniel Schraer, Assisted by Jordan Graham Rehearses: Tuesdays from 5:15-8:15pm First Rehearsal: January 24th This show will include some of the most famous acts and infamous performances from all the years of Coachella. There are TONS of bands to choose from so this show should be pretty wild. It could include bands like Radiohead, Pixies, The Cure, Bauhaus, Kraftwerk, Gorillaz, Paul McCartney, Roger Waters, MGMT, who knows?? This show is great for all instruments since it'll include so many different bands and styles. ARENA ROCK Directed by Josh Smith, Assisted by Adam West Rehearses: Thursdays from 5:15pm-8:15pm First Rehearsal: January 26th Arena Rock is what we call those HUGE bands from the 70s that got so big they needed sports arenas to hold all their fans. We’re talking Journey, Styx, Boston, Kiss, Peter Frampton, Queen, Genesis, Toto, Foreigner, REO Speedwagon, etc etc etc etc. Big guitar solos and super hits that you all didn’t know you knew! HISTORY OF METAL Directed by Tyler Ward, Assisted by Nate Blake Rehearses: Saturdays from 11am-2pm First Rehearsal: January 28th This will start with the early days of Heavy Metal (Blue Cheer and Black Sabbath), go through the new wave (Priest, Maiden), thrash (Metallica, Megadeth), and even into the many subgenres like Death Metal, Doom, and more. This will be seriously intense and challenging. THE BEATLES Directed by Araby Harrison, Assisted by Jordan Graham Rehearses: Saturdays from 2:15-5:15 First Rehearsal: January 28th What else is there to say about The Beatles? This is one of the most important bands to ever exist. Period. *All shows will perform in June! Details coming very soon! *You must put down a 1st, 2nd AND 3rd choice on the signup sheet. If you only put down one show, we’ll make sure you DON’T get it! Muahahahaha! .
Load more

Recommended publications
  • Adult Contemporary Radio at the End of the Twentieth Century
    University of Kentucky UKnowledge Theses and Dissertations--Music Music 2019 Gender, Politics, Market Segmentation, and Taste: Adult Contemporary Radio at the End of the Twentieth Century Saesha Senger University of Kentucky, [email protected] Digital Object Identifier: https://doi.org/10.13023/etd.2020.011 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Senger, Saesha, "Gender, Politics, Market Segmentation, and Taste: Adult Contemporary Radio at the End of the Twentieth Century" (2019). Theses and Dissertations--Music. 150. https://uknowledge.uky.edu/music_etds/150 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known.
    [Show full text]
  • 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.
    [Show full text]
  • Is Rock Music in Decline? a Business Perspective
    Jose Dailos Cabrera Laasanen Is Rock Music in Decline? A Business Perspective Helsinki Metropolia University of Applied Sciences Bachelor of Business Administration International Business and Logistics 1405484 22nd March 2018 Abstract Author(s) Jose Dailos Cabrera Laasanen Title Is Rock Music in Decline? A Business Perspective Number of Pages 45 Date 22.03.2018 Degree Bachelor of Business Administration Degree Programme International Business and Logistics Instructor(s) Michael Keaney, Senior Lecturer Rock music has great importance in the recent history of human kind, and it is interesting to understand the reasons of its de- cline, if it actually exists. Its legacy will never disappear, and it will always be a great influence for new artists but is important to find out the reasons why it has become what it is in now, and what is the expected future for the genre. This project is going to be focused on the analysis of some im- portant business aspects related with rock music and its de- cline, if exists. The collapse of Gibson guitars will be analyzed, because if rock music is in decline, then the collapse of Gibson is a good evidence of this. Also, the performance of independ- ent and major record labels through history will be analyzed to understand better the health state of the genre. The same with music festivals that today seem to be increasing their popularity at the expense of smaller types of live-music events. Keywords Rock, music, legacy, influence, artists, reasons, expected, fu- ture, genre, analysis, business, collapse,
    [Show full text]
  • Rock Music's Crusade of Authenticity
    ROCK MUSIC’S CRUSADE OF AUTHENTICITY by DANIEL BROMFIELD A THESIS Presented to the Department of Journalism and the Robert D. Clark Honors College in partial fulfillment of the requirements for the degree of Bachelor of Arts June 2016 An Abstract of the Thesis of Daniel Bromfield for the degree of Bachelor of Arts in the School of Journalism and Communications to be taken June 2016 Title: Rock Music's Crusade Of Authenticity Prof. Thomas Wheeler This thesis attempts to define rock music's standards of authenticity and explore their origins. Included are comparison of rock's standards of authenticity to those of other genres and an exploration of how authenticity has been perceived throughout the history of rock music. This study argues that rock's standards of authenticity are unusual among pop music genres in that they entail artists both writing their own songs and playing their own instruments. This is in contrast to genres like hip hop, contemporary pop, and R&B, which have their own quite different standards of authenticity. Quotes from rock fans, critics, and musicians are used to provide insight into rock's standards of authenticity and how they developed over time. ii Acknowledgements I would like to first and foremost thank my father for introducing me to music. If not for his decision to turn me on to the Beatles one sunny day in June 2006, I would surely be pursuing a far more boring career – and thesis topic. And I would like to thank my mother for giving me a great life and being endlessly supportive.
    [Show full text]
  • Hard Rock Rocksino PROJECT PROFILE NORTHFIELD PARK, OHIO RETAIL
    PROJECT PROFILE RETAIL Photography: © Bob Perzel ARCHITECT GLAZING CONTRACTOR Richard L. Bowen + Associates, Carroll Glass Company Hard Rock Cleveland, Ohio, Euclid, Ohio in conjunction with FEATURED PRODUCTS Rocksino SOSH Architects, NORTHFIELD PARK, OHIO Atlantic City, New Jersey 1600 Wall System™1 Curtain Wall New York, New York 1600 Wall System™2 Curtain Wall 190 Narrow Stile Entrance GENERAL CONTRACTOR / Trifab™ VersaGlaze™ 451T Framing System CONSTRUCTION Management Gilbane Building Company Cleveland, Ohio Hard Rock Rocksino PROJECT PROFILE NORTHFIELD PARK, OHIO RETAIL As the first of its kind under the recognized Hard Rock International • Several doors were needed throughout the building – at the north brand, the Northfield Park, Ohio–based Hard Rock Rocksino features and south vestibules as well as the bus entrances – and the architect 187,000 square feet of entertainment space designed by Richard L. had certain parameters for the project and needs for the entrances. Bowen + Associates in conjunction with SOSH Architects. The Rocksino • The timeline of the project was tight, requiring quick turnaround from sits immediately adjacent to Northfield Park’s world-renowned racetrack, all involved. and between the Rock and Roll Hall of Fame in Cleveland and the Pro Football Hall of Fame in Canton, Ohio. SOLUTIONS • To create a specialized feature maximizing the nighttime effects of With a sleek “arena rock” theme and a design that loosely resembles the theatrical exterior lighting, the project’s glazing contractor, Carroll a sound stage, the animated destination provides an exciting gaming Glass Company, custom-manufactured textured glass to form a and entertainment experience for visitors to northeast Ohio. Like other glittering, crystal illusion for the curtain wall system.
    [Show full text]
  • • a Collection of Review Quotes • Music Connection: (9/10) “Tiles up the Ante by Giving the Listener a Double Disc with An
    Version: August 2016 • A Collection of Review Quotes • Music Connection: (9/10) “Tiles up the ante by giving the listener a double disc with an engaging storyline, meticulously arranged string and choral pieces, sweet vocal harmonies and tuneful jam-based hard rock, fusion and world beat sounds.” iO Pages: “Tiles is still at the top of the progressive rock world. ‘Pretending 2 Run’ will finish high in many year-end lists.” The Midlands Rocks (UK): (9/10) “The patient, the inquisitive and the eager will discover an abundance of Progressive Rock riches here. Every track is a pocket prog symphony… (the songs) all soon become sublimely exhilarating. Episodes in a story, compellingly and adroitly told.” Keys and Chords: “…this is by far the best album from Tiles – both the music & the story make lasting impressions…” PROG Magazine: “…the Detroiters really turn up the heat. (Pretending 2 Run) … is more imaginative, expansive, colorful, diverse and – most crucially of all – satisfying than ever.” Musicreviews.de: (14/15) “’Pretending 2 Run’ is a great double album that should properly set the progressive rock scene buzzing.” Progression Magazine: (4/5) “This album clearly sounds as if it took years to make. ‘Shelter in Place’… ranks as one of the strongest, most memorable tunes in the band’s catalog.” Headbanger’s Lifestyle: “Tiles has delivered a real masterpiece extraordinaire. Listening to ‘Pretending 2 Run” is like taking a boat ride on a wild and storming sea - you are thrown all over the place with inventive songs, big choirs, instrumental tracks and long and epic musical battles.
    [Show full text]
  • Detroit Rock & Roll by Ben Edmonds for Our Purposes, The
    "KICK OUT THE JAMS!" Detroit Rock & Roll by Ben Edmonds For our purposes, the story of Detroit rock & roll begins on September 3, 1948, when a little-known local performer named John Lee Hooker entered United Sound Studios for his first recording session. Rock & roll was still an obscure rhythm & blues catchphrase, certainly not yet a musical genre, and Hooker's career trajectory had been that of the standard-issue bluesman. A native of the Mississippi Delta, he had drifted north for the same reason that eastern Europeans and Kentucky hillbillies, Greeks and Poles and Arabs and Asians and Mexicans had all been migrating toward Michigan in waves for the first half of the 20th Century. "The Motor City it was then, with the factories and everything, and the money was flowing," Hooker told biographer Charles Shaar Murray." All the cars were being built there. Detroit was the city then. Work, work, work, work. Plenty work, good wages, good money at that time."1 He worked many of those factories, Ford and General Motors among them, and at night he plied the craft of the bluesman in bars, social clubs and at house parties. But John Lee Hooker was no ordinary bluesman, and the song he cut at the tail of his first session, "Boogie Chillen," was no ordinary blues. Accompanied only by the stomp of his right foot, his acoustic guitar hammered an insistent pattern, partially based on boogie-woogie piano, that Hooker said he learned from his stepfather back in Mississippi as "country boogie." Informed by the urgency and relentless drive of his Detroit assembly line experiences, John Lee's urban guitar boogie would become a signature color on the rock & roll palette, as readily identifiable as Bo Diddley's beat or Chuck Berry's ringing chords.
    [Show full text]
  • 70S Rock ‘N’ Roll Puzzle B
    Name: _______________________________________ ‘70s Rock ‘n’ Roll Puzzle B 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 EclipseCrossword.com Across 2. First successful heavy metal band built on the guitar 1. "Godfather of Soul" pioneered the Funk movement in solos of Jimmy Page and the vocals of Robert Plant; the '70s songs: "Stairway to Heaven" and "Whole Lotta Love" 3. British '70s rock group created powerful arena rock 4. '70s rock sound began with an underground movement sound with songs like "We Are the Champions" and of alienation, simple, driving guitar distortion, explosive "We Will Rock You"; lead singer Freddie Mercury died drums and innane lyrics; The Ramones, Talking Heads of AIDS & The Sex Pistols. 7. Southern Rock group combined traditional country 5. Style built on simple repetative rhythms, gutural vocals, lyrics with multiple electric lead guitars and close vocal horn section riffs, driving beats on every beat, and harmonies; named after high school gym teacher repeated lyrical lines. James Brown & George Clinton 10. Art-rock group expanded simple rock song form into 6. Sister/brother duo of the '70s; Karen (singer/drummer) lengthy artistic works like "Dark Side of the Moon" and and Richard (piano/songwriter-arranger) dominated soft "The Wall" rock charts in the decade. 11. Singer/songwriter/pianist dominated the pop-rock charts 8. Dance music of the late '70s; highly processed quasi- of the '70s with outlandish costumes and songs like orchestral rhythmic sound; Donna Summer, The Village "Goodbye Yellow Brick Road" and "Rocket Man" People & The Bee Gees 13.
    [Show full text]
  • Everyone Loves 80'S Arena Rock!
    A few years ago, a group of seasoned players talked about putting together an exciting new act that highlighted their diverse talents, love for performing, and most importantly, created a tribute show that was centered around the audience…and platinum artists. At that point in time, those players were all involved in other projects that were successful in their own right, so the timing wasn’t quite right. Until now. Introducing: AMERICAN PLATINUM. A band of professionals with thousands of shows under their collective belts. You’ve seen the members on stage with Sonic Circus, Diamond & Steel, The Freezers, Boogie & The Yo-Yo’z and RPM. That means a professional, seamless and energic show that’s a unique balance of great artists. All platinum status. All songs that the audience knows and can sing along to. Handpicked to appeal to wide audiences, with diverse instrumentation to include funk and even some awesome ballads. Memorable songs that bring customers together…with sets structured to provide opportunity to listen and watch…while they buy. Sure, what’s happening on stage is the highlight of the night, but that’s just the tip of the iceberg. Here’s a sample of what makes AMERICAN PLATINUM different: Professional show with full concert-style Here’s a sample of SOME of the great songs in the show… production EVERYONE LOVES 80’S ARENA ROCK! THE SHOW NEVER STOPS – For select shows, Don’t Stop Believin’ Journey Our DJ starts 30 minutes prior to the show and Wanted Dead Or Alive Bon Jovi is also featured during intermission Jukebox Hero
    [Show full text]
  • Countercultures and Popular Music
    COUNTERCULTURES AND POPULAR MUSIC A translated and edited edition of a special issue of Volume! The French Journal of Popular Music Studies (Éditions Mélanie Seteun). Additional articles published in both ‘countercultures’ issues of Volume! can be found at: http://www.cairn.info/revue-volume.htm and http://volume.revues.org. Volume! is the only French peer-reviewed popular music studies journal. Created in 2002 by Marie-Pierre Bonniol, Samuel Étienne and Gérôme Guibert, it is published independently by the Éditions Mélanie Seteun, a publishing association specialising since 1998 in the cultural sociology of popular music. Biannual special issues deal with various topics in popular music studies, in a multidisciplinary perspective. It is also included on the online international academic portals Cairn.info and Revues.org. Volume! is classified by the French AERES and abstracted/indexed on the International Index to Music Periodicals, the Répertoire International de Littérature Musicale and the Music Index. This page has been left blank intentionally Countercultures and Popular Music Edited by SHEILA WHITELEY University of Salford, UK JEDEDIAH SKLOWER Université Sorbonne Nouvelle, Paris 3, France © Sheila Whiteley and Jedediah Sklower and the contributors 2014 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise without the prior permission of the publisher. Sheila Whiteley and Jedediah Sklower have asserted their rights under the Copyright, Designs and Patents Act, 1988, to be identified as the editors of this work. Published by Ashgate Publishing Limited Ashgate Publishing Company Wey Court East 110 Cherry Street Union Road Suite 3-1 Farnham Burlington, VT 05401-3818 Surrey, GU9 7PT USA England www.ashgate.com British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library.
    [Show full text]
  • Antimodernism and Genre from Country-Rock to Alt.Country, 1968-98
    Antimodernism and Genre from Country-Rock to Alt.Country, 1968-98 Jason Bianchi Kirby San Jose, California B.A. Sociology and Literature, University of California—Santa Cruz, 2002 M.A. American Culture Studies, Bowling Green State University, 2006 A dissertation presented to the Graduate Faculty of the University of Virginia in Candidacy for the Degree of Doctor of Philosophy Department of Music University of Virginia August 2016 Abstract This dissertation is a cultural history exploring expressions of and responses to antimodernism within country-rock and “alternative country” music, drawing on reception history, intellectual history of underground and mainstream left-wing American political movements, interview discourse with artists, and close readings of songs. In this dissertation I argue that despite styling itself as a type of purer root or “folk” form of contemporary country music, in terms of its ideologies, studio production techniques, fan and critical discourse, and business practices, alt.country is a type of rock music. It embodies some of rock’s core beliefs, particularly rock’s critique of the more bureaucratic and “rationalized” dimensions of postindustrial capitalism, particularly as this relates to the everyday impact of new technologies. I argue that this anti-modernism, emerging here from the American political left, has been different in different eras, from the back-to-the-land movement of the late 1960s, to late- ‘80s/early-‘90s expressions of left populist punk’s longing for “folk” community. In this project I look beyond contemporary scholarly understandings of alt.country as mostly ironic, as ultimately I suggest that this music illustrates what Keir Keightley calls rock’s aesthetic of “seriousness,” more precisely than it does an understanding of country music ideology.
    [Show full text]
  • Mus 307 History of Rock Music Unique Number
    MUS 307 HISTORY OF ROCK MUSIC UNIQUE NUMBER: 21095 through 21150 INSTRUCTOR: STEPHEN SLAWEK TEACHING ASSISTANTS: Kevin Parme, Carlos Davalos, JaYoung Joo TIME /PLACE: MWF 12 PM in FAC 21; discussion T or Th @ 5, 6, 7 or 8 OFFICE: MBE 3.202 OFFICE HOURS: W @ 2 – 4 PM or by appointment OFFICE PHONE: 471-0671 Rock and Roll is undoubtedly the most popular music ever to have existed. At first thought to be music for only the younger generation, the mixed-generation audiences that exist at rock concerts today and the existence of “classic rock” radio stations have proven its staying power. This course will survey the stylistic development of rock music from its beginnings to the present. It will also be concerned with the music and musicians who have created rock’s history and with the social, political and cultural forces that have been at work in that history, particularly with regard to how these have influenced the sound of rock music. The course will begin with a short overview of the fundamentals of musical style to equip students who are new to the academic study of music with the tools necessary to an understanding of stylistic influences in the development of a musical tradition. The course will include a great deal of LISTENING, and you will be expected to develop the ability to recognize various aspects of musical style such as rhythm, form, timbre, etc. Course Objectives Students who take MUS 307 will: 1. master a basic vocabulary of musical description, enabling them to describe the characteristics of melody, rhythm and instrumentation of the various styles of rock music; 2.
    [Show full text]