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The History of Rock, a Monthly Magazine That Reaps the Benefits of Their Extraordinary Journalism for the Reader Decades Later, One Year at a Time
L 1 A MONTHLY TRIP THROUGH MUSIC'S GOLDEN YEARS THIS ISSUE:1969 STARRING... THE ROLLING STONES "It's going to blow your mind!" CROSBY, STILLS & NASH SIMON & GARFUNKEL THE BEATLES LED ZEPPELIN FRANK ZAPPA DAVID BOWIE THE WHO BOB DYLAN eo.ft - ink L, PLUS! LEE PERRY I B H CREE CE BEEFHE RT+NINA SIMONE 1969 No H NgWOMI WI PIK IM Melody Maker S BLAST ..'.7...,=1SUPUNIAN ION JONES ;. , ter_ Bard PUN FIRS1tintFaBil FROM 111111 TY SNOW Welcome to i AWORD MUCH in use this year is "heavy". It might apply to the weight of your take on the blues, as with Fleetwood Mac or Led Zeppelin. It might mean the originality of Jethro Tull or King Crimson. It might equally apply to an individual- to Eric Clapton, for example, The Beatles are the saints of the 1960s, and George Harrison an especially "heavy person". This year, heavy people flock together. Clapton and Steve Winwood join up in Blind Faith. Steve Marriott and Pete Frampton meet in Humble Pie. Crosby, Stills and Nash admit a new member, Neil Young. Supergroups, or more informal supersessions, serve as musical summit meetings for those who are reluctant to have theirwork tied down by the now antiquated notion of the "group". Trouble of one kind or another this year awaits the leading examples of this classic formation. Our cover stars The Rolling Stones this year part company with founder member Brian Jones. The Beatles, too, are changing - how, John Lennon wonders, can the group hope to contain three contributing writers? The Beatles diversification has become problematic. -
Unobtainium-Vol-1.Pdf
Unobtainium [noun] - that which cannot be obtained through the usual channels of commerce Boo-Hooray is proud to present Unobtainium, Vol. 1. For over a decade, we have been committed to the organization, stabilization, and preservation of cultural narratives through archival placement. Today, we continue and expand our mission through the sale of individual items and smaller collections. We invite you to our space in Manhattan’s Chinatown, where we encourage visitors to browse our extensive inventory of rare books, ephemera, archives and collections by appointment or chance. Please direct all inquiries to Daylon ([email protected]). Terms: Usual. Not onerous. All items subject to prior sale. Payment may be made via check, credit card, wire transfer or PayPal. Institutions may be billed accordingly. Shipping is additional and will be billed at cost. Returns will be accepted for any reason within a week of receipt. Please provide advance notice of the return. Please contact us for complete inventories for any and all collections. The Flash, 5 Issues Charles Gatewood, ed. New York and Woodstock: The Flash, 1976-1979. Sizes vary slightly, all at or under 11 ¼ x 16 in. folio. Unpaginated. Each issue in very good condition, minor edgewear. Issues include Vol. 1 no. 1 [not numbered], Vol. 1 no. 4 [not numbered], Vol. 1 Issue 5, Vol. 2 no. 1. and Vol. 2 no. 2. Five issues of underground photographer and artist Charles Gatewood’s irregularly published photography paper. Issues feature work by the Lower East Side counterculture crowd Gatewood associated with, including George W. Gardner, Elaine Mayes, Ramon Muxter, Marcia Resnick, Toby Old, tattooist Spider Webb, author Marco Vassi, and more. -
Shirley Collins and the Lodestar Band Live from the Barbican
Shirley Collins and the Lodestar Band Live from the Barbican Start time: 8pm Approximate running time: 60 minutes, no interval Please note all timings are approximate and subject to change. This performance is subject to government guidelines Shirley Collins looks back over her distinguished career as an icon of English folk with Martin Aston , ahead of this special performance to celebrate Heart’s Ease. ‘Time is a bit of a nonsense at the moment,’ ventures Shirley Collins MBE, referring to the stop-start nature of life under COVID-19, before the UK’s third tranche of lockdown ensured that her streamed Live At The Barbican show in February had to be postponed. But as Collins points out, she has experienced worse. In her teens, the country faced the polio outbreak, ‘and you couldn’t go to school or visit anyone,’ she recalls. And there was the small matter of WWII. Collins’ family were evacuated, bombed out of their house, and Shirley and sister Dolly were machine- gunned by a German plane. ‘Mum said, if we saw one to dive under a hedge, so we did,’ she recalls. ‘But the dreadful thing about the pandemic is that you can’t see or feel it coming.’ One wonders if anyone will be writing songs about the pandemic in the same way that people did about the dramas of everyday life in centuries past – love, death, lust, betrayal, pressganging, witchcraft, worker’s rights, murder, and beyond. Even after WWII, Collins’ own life has seen more than its fair share of drama, as detailed in her two memoirs: America Over the Water, about her trip to the American South in 1959 with the song collector Alan Lomax; and the self-explanatory All in the Downs: Reflections on Life, Landscape, and Song, plus one documentary, The Ballad Of Shirley Collins, which told the story of how a young Sussex girl emerged to become the undisputed grand dame of traditional English folk, only to effectively disappear, abandoning recording and performing for 34 years - from 1980 to 2014. -
FW May-June 03.Qxd
IRISH COMICS • KLEZMER • NEW CHILDREN’S COLUMN FREE Volume 3 Number 5 September-October 2003 THE BI-MONTHLY NEWSPAPER ABOUT THE HAPPENINGS IN & AROUND THE GREATER LOS ANGELES FOLK COMMUNITY Tradition“Don’t you know that Folk Music is Disguisedillegal in Los Angeles?” — WARREN C ASEY of the Wicked Tinkers THE FOLK ART OF MASKS BY BROOKE ALBERTS hy do people all over the world end of the mourning period pro- make masks? Poke two eye-holes vided a cut-off for excessive sor- in a piece of paper, hold it up to row and allowed for the resump- your face, and let your voice tion of daily life. growl, “Who wants to know?” The small mask near the cen- The mask is already working its ter at the top of the wall is appar- W transformation, taking you out of ently a rendition of a Javanese yourself, whether assisting you in channeling this Wayang Topeng theater mask. It “other voice,” granting you a new persona to dram- portrays Panji, one of the most atize, or merely disguising you. In any case, the act famous characters in the dance of masking brings the participants and the audience theater of Java. The Panji story is told in a five Alban in Oaxaca. It represents Murcielago, a god (who are indeed the other participants) into an arena part dance cycle that takes Prince Panji through of night and death, also known as the bat god. where all concerned are willing to join in the mys- innocence and adolescence up through old age. -
A Folkrocker's Guide
A FOLKROCKER’S GUIDE – FOLKROCKENS FRAMVEKST 1965–1975 «The eletricifcation of all this stuf was A FOLKROCKER’S GUIDE some thing that was waiting to happen» TO THE UNIVERSE •1965–1975 – Martin Carthy «Folkrock» ble først brukt i 1965 som betegnelse på på Framveksten av folkrock i USA I Storbritania, i motsetning til i USA, kom «folkrock» til amerikanske musikere som The Byrds, den elektrifserte Bob og UK i tiåret 65–75 skapte Dylan, Simon & Garfunkel og – pussig nok – Sonny & Cher. mye av inspirasjonen for den å betegne elektrisk musikk basert på tradisjonell folke- Likevel er det i større grad møtet mellom rock og folkemusikk moderne visebølgen i Norden. musikk. i Storbritannia ca 1969–70 som ble bestemmende for hva vi Vi har bedt Morten Bing om å skrive om dette. Han er kon- på 1970-tallet kom til å legge i begrepet her hjemme. servator ved Norsk Folkemu- som hadde bakgrunn i folkrevivalen, en sanger og en felespiller – Sandy seum og var initiativtaker til men som allerede hadde forlatt Denny og Dave Swarbrick – som MORTEN BING Norges første folkrock gruppe tradisjonell folkemusikk til fordel for begge hadde bakgrunn i den Folque i 1973. egenskrevne låter. britiske folkrevivalen. Det var denne rdet «folke-rock» kombinasjonen, og resultatet, LP’n ble brukt første gang Dylan og Byrds Gruppa har sin kanskje siste På mange måter kan en si at den konsert på Rockefeller i Oslo Liege & Lief (1969), som var begyn- i Billboard 12.06.1965, engelske utviklingen gikk mot- nelsen på den britiske folkrocken. i en artikkel om Bob En viktig katalysator for framveksten 18. -
Boo-Hooray Catalog #8: Music Boo-Hooray Catalog #8
Boo-Hooray Catalog #8: Music Boo-Hooray Catalog #8 Music Boo-Hooray is proud to present our eighth antiquarian catalog, dedicated to music artifacts and ephemera. Included in the catalog is unique artwork by Tomata Du Plenty of The Screamers, several incredible items documenting music fan culture including handmade sleeves for jazz 45s, and rare paste-ups from reggae’s entrance into North America. Readers will also find the handmade press kit for the early Björk band, KUKL, several incredible hip-hop posters, and much more. For over a decade, we have been committed to the organization, stabilization, and preservation of cultural narratives through archival placement. Today, we continue and expand our mission through the sale of individual items and smaller collections. We encourage visitors to browse our extensive inventory of rare books, ephemera, archives and collections and look forward to inviting you back to our gallery in Manhattan’s Chinatown. Catalog prepared by Evan Neuhausen, Archivist & Rare Book Cataloger and Daylon Orr, Executive Director & Rare Book Specialist; with Beth Rudig, Director of Archives. Photography by Ben Papaleo, Evan, and Daylon. Layout by Evan. Please direct all inquiries to Daylon ([email protected]). Terms: Usual. Not onerous. All items subject to prior sale. Payment may be made via check, credit card, wire transfer or PayPal. Institutions may be billed accordingly. Shipping is additional and will be billed at cost. Returns will be accepted for any reason within a week of receipt. Please provide advance notice of the return. Table of Contents 31. [Patti Smith] Hey Joe (Version) b/w Piss Factory .................. -
Barry Dransfield
De eigenzinnigheid van BARRY DRANSFIELD Barry Dransfield is een van de iconen uit de Britse folkmuziek. Op zestienjarige leeftijd nam hij met broer Robin het gedenkwaardige album Rout of the blues op. Later speelde hij in de Albion Band met Shirley Collins en op de onver- getelijke Morris on plaat. The Fiddler’s Dream is een van de allerbeste akoestische folkrock albums ooit. Hij speelde filmrollen in SOS Titanic en Mutiny on the bounty. In dit portret van een eigenzinnige artiest die niet van compromis- sen houdt, vertelt hij ook over de diepe dalen en doet zijn opmerkelijke visie over (Britse) volksmuziek uit de doeken. Tekst: Marius Roeting me soms een amateur bij. Aan de andere kant Hardwerkende gasten heb ik het idee dat het nu ieder voor zich is. Rout of the blues, het debuut album dat Barry Tegenwoordig woont Barry Dransfield in de Toen ik net begon kreeg je van collega’s Dransfield samen met zijn broer Robin opnam, buurt van Hastings. Sinds 1986 heeft hij er adressen toegewezen of werden optredens is een van de peilers van de Britse folkmuziek. een atelier voor reparatie van violen en cel- doorgeschoven. Dat lijkt voorbij. En ik ben Wat was er zo bijzonder aan dat album? lo’s. Acht jaar eerder was hij in London soloartiest. Ik heb een chauffeur nodig. Niet “Robin en ik waren twee jonge gasten die erg gestart. Zijn toenmalige klanten, vooral uit de uit luxe. Een paar jaar geleden ben ik ernstig hard werkten. Ik speelde in 1965 al profes- Joodse muziekbusiness, zijn hem nog steeds ziek geweest. -
Newsletter 332, November/December 1985
INTERNATIONAL CONCERTINA ASSOCIATION Membership Secretary Events Secretary Martin Williams Marian Janes 3 Frinton House 15 Crescent Road Rushcroft Road London N8 8AL London SW2 01 348 5563 01 737 7987 President Rev Kenneth Loveless VRD FSA FSA Scot Hon RNR Treasurer Editor John Entract Colin Turner 16 Mandeville Rd 309 Uggmere Court Rd Saffron Walden Ramsey Heights Essex Huntingdon Cambs PE17 1RJ ***************************************************************************************** No 332 November/December 1985 NEWSLETTER A CHRISTMASS MESSAGE FROM THS PRESIDENT Christmass once again - it all began almost 2000 years ago - at the hour appointed by the laws of the human nature he had assumed, the Word of God, now made man, issues from the holy shrine, the immaculate womb of Mary. He makes his first appearance in this world in a manger: the cattle are there, chewing their hay, and all around are silence, poverty, simplicity, and innocence. Angels' voices are heard in the sky, announcing peace, that peace which the new baby has brought to us. His first worshippers are Mary, his Mother, and Joseph, thought to be his father, and, after these, some humble shepherds, who have come down from the hills, led by angels' voices. Later on comes a caravan of distinguished persons, guided from far, far, away, by a star. They offer precious gifts, full of a mysterious meaning. Everything that night, at Bethlehem, spoke a language that the whole world. could understand. Thinking about this mystery, every knee will bow in adoration before the crib. Everyone will look into the eyes of the divine Infant, which gaze far away, almost as if he were reviewing then all as they pass before him, recognizing and identifying them all, and greeting then with a smile: Jews, Romans, Greeks, Chinese, Japanese, Indians, the peoples of Africa, and of every region of the world, of every age of history, the most desolate, deserted lands, and the most remote, secret, and unexplored; past, present, and future ages. -
Shirley Collins and the Lodestar Band Live from the Barbican
Shirley Collins and the Lodestar Band Live from the Barbican Start time: 8pm Approximate running time: 60 minutes, no interval Please note all timings are approximate and subject to change. This performance is subject to government guidelines Shirley Collins looks back over her distinguished career as an icon of English folk with Martin Aston , ahead of this special performance to celebrate Heart’s Ease. ‘Time is a bit of a nonsense at the moment,’ ventures Shirley Collins MBE, referring to the stop-start nature of life under COVID-19, before the UK’s third tranche of lockdown ensured that her streamed Live At The Barbican show in February had to be postponed. But as Collins points out, she has experienced worse. In her teens, the country faced the polio outbreak, ‘and you couldn’t go to school or visit anyone,’ she recalls. And there was the small matter of WWII. Collins’ family were evacuated, bombed out of their house, and Shirley and sister Dolly were machine- gunned by a German plane. ‘Mum said, if we saw one to dive under a hedge, so we did,’ she recalls. ‘But the dreadful thing about the pandemic is that you can’t see or feel it coming.’ One wonders if anyone will be writing songs about the pandemic in the same way that people did about the dramas of everyday life in centuries past – love, death, lust, betrayal, pressganging, witchcraft, worker’s rights, murder, and beyond. Even after WWII, Collins’ own life has seen more than its fair share of drama, as detailed in her two memoirs: America Over the Water, about her trip to the American South in 1959 with the song collector Alan Lomax; and the self-explanatory All in the Downs: Reflections on Life, Landscape, and Song, plus one documentary, The Ballad Of Shirley Collins, which told the story of how a young Sussex girl emerged to become the undisputed grand dame of traditional English folk, only to effectively disappear, abandoning recording and performing for 34 years - from 1980 to 2014. -
Shirley Collins No Roses Mp3, Flac, Wma
Shirley Collins No Roses mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock Album: No Roses Country: US Released: 1976 Style: Folk Rock MP3 version RAR size: 1203 mb FLAC version RAR size: 1753 mb WMA version RAR size: 1570 mb Rating: 4.4 Votes: 118 Other Formats: MPC VOX MP1 DTS FLAC AIFF WMA Tracklist Hide Credits Claudy Banks 1 Alto Saxophone – Lol CoxhillBassoon – Alan Cave Piano – Ian Whitman*Written-By – Bob 4:34 Copper, Ron Copper The Little Gypsy Girl 2 2:13 Dulcimer [Hammer] – Dave BlandMelodeon – Tony Hall Percussion – Dave Mattacks Banks Of The Bann 3 3:36 Accordion – John KirkpatrickPiano – Dolly CollinsTwelve-String Guitar – Richard Thompson Murder Of Maria Marten 4 Drums – Dave MattacksElectric Guitar – Tim RenwickFiddle – Barry DransfieldHurdy Gurdy 7:23 – Francis BainesVocals, Fiddle – Nic Jones Van Dieman's Land 5 Bagpipes [Northumbrian Small Pipes] – Colin RossOphicleide – Alan LumsdenPiano – Ian 4:57 Whiteman Just As The Tide Was A 'Flowing 6 2:09 Harmony Vocals – Maddy Prior The White Hare 7 Fiddle – Nic JonesFrench Horn – Steve MigdenPercussion – Ashley HutchingsTwelve-String 2:42 Guitar – Tim RenwickVocals – Lal Waterson, Mike Waterson, Royston Wood Hal-An-Tow 8 Dulcimer [Hammer] – Dave BlandJew's Harp – Trevor CrozierMelodeon – Tony Hall Serpent 2:51 – Gregg ButlerVocals – Barry Dransfield, Royston Wood, Simon Nicol Poor Murdered Woman 9 4:19 Drums – Dave MattacksPiano – Dolly Collins Companies, etc. Recorded At – Sound Techniques, London Recorded At – Morgan Studios Recorded At – Air Studios Phonographic Copyright -
Shirley Collins Mp3 Free Downloads Shirley Collins Mp3 Free Downloads
shirley collins mp3 free downloads Shirley collins mp3 free downloads. Completing the CAPTCHA proves you are a human and gives you temporary access to the web property. What can I do to prevent this in the future? If you are on a personal connection, like at home, you can run an anti-virus scan on your device to make sure it is not infected with malware. If you are at an office or shared network, you can ask the network administrator to run a scan across the network looking for misconfigured or infected devices. Another way to prevent getting this page in the future is to use Privacy Pass. You may need to download version 2.0 now from the Chrome Web Store. Cloudflare Ray ID: 66cdfac69d611628 • Your IP : 188.246.226.140 • Performance & security by Cloudflare. Shirley collins mp3 free downloads. Completing the CAPTCHA proves you are a human and gives you temporary access to the web property. What can I do to prevent this in the future? If you are on a personal connection, like at home, you can run an anti-virus scan on your device to make sure it is not infected with malware. If you are at an office or shared network, you can ask the network administrator to run a scan across the network looking for misconfigured or infected devices. Another way to prevent getting this page in the future is to use Privacy Pass. You may need to download version 2.0 now from the Chrome Web Store. Cloudflare Ray ID: 66cdfac698b175b3 • Your IP : 188.246.226.140 • Performance & security by Cloudflare. -
RED DAYS Popular Music and the English Counterculture 1965-1975
Minor Compositions Open Access Statement – Please Read This book is open access. This work is not simply an electronic book; it is the open access version of a work that exists in a number of forms, the traditional printed form being one of them. All Minor Compositions publications are placed for free, in their entirety, on the web. This is because the free and autonomous sharing of knowledges and experiences is important, especially at a time when the restructuring and increased centralization of book distribution makes it difficult (and expensive) to distribute radical texts effectively. The free posting of these texts does not mean that the necessary energy and labor to produce them is no longer there. One can think of buying physical copies not as the purchase of commodities, but as a form of support or solidarity for an approach to knowledge production and engaged research (particularly when purchasing directly from the publisher). The open access nature of this publication means that you can: • read and store this document free of charge • distribute it for personal use free of charge • print sections of the work for personal use • read or perform parts of the work in a context where no financial transactions take place However, it is against the purposes of Minor Compositions open access approach to: • gain financially from the work • sell the work or seek monies in relation to the distribution of the work • use the work in any commercial activity of any kind • profit a third party indirectly via use or distribution of the work • distribute in or through a commercial body (with the exception of academic usage within educational institutions) The intent of Minor Compositions as a project is that any surpluses generated from the use of collectively produced literature are intended to return to further the development and production of further publications and writing: that which comes from the commons will be used to keep cultivating those commons.