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Our Lady of the River
Our Lady of the River C A T H O L I C C H U R C H www.ourladyoftheriver.com 28200 226th Street Place Le Claire, Iowa 52753 563-289-5736 L e C l a i r e ● P r i n c e t o n 6th Sunday in Ordinary Time February 15-16, 2020 Pastor: Father Joseph Wolf RELIGIOUS EDUCATION: [email protected] Sunday 9:00-10:15 a.m. Deacon: Matt Levy Classes for 3 year olds—9th grade students. Parish Secretary/Bookkeeper: Lori Rallie [email protected] ALTAR AND ROSARY SOCIETY: Director of Faith Formation: Roberta Pegorick Second Wednesday of the month at 12:00 p.m. (May, August, [email protected] Director of Music Ministry: Ladonna Czachowski and November only) Parish Maintenance: Jerry Roling Parish Nurse: Jennifer Hildebrand KNIGHTS OF COLUMBUS: [email protected], 563-370-4412 First Wednesday of every month at 7:00 p.m. Rosary or Mass before the meeting. Vigil on Saturday: 5:30 p.m. Sunday: 8:00 a.m. PARISH COUNCIL: Weekday: See daily schedule inside Third Thursday of January, March, May, July, September, and Holy Day: See schedule inside November at 7:00 p.m. BAPTISM: Contact the Pastor TUESDAY MORNING BIBLE STUDY: RECONCILIATION: Immediately following the 5:30 9:30 -11:00 a.m. p.m. Mass on Saturday or anytime by appointment; MARRIAGES: Arrangements are to be made at least PARISH MAILING ADDRESS: nine months before the wedding. Our Lady of the River Church P.O. Box 32 SICK CALLS: Anyone who cannot attend Mass or Le Claire, IA 52753 receive the sacraments in Church because of illness or CHURCH OFFICE: 563-289-5736 age please contact the Pastor. -
To Students Is Revealed
r . - - MSC Choir Slates Candlelight Concert THE # APER . Vol.. 44 Millersville State College , Millersville , Pa.#. December 8 , 1971 No.. 15 -- Financial Aid Available . To Students Is Revealed - In the past few issues of cerned with each of these pro 499 ; 28 students $7,500$ , to $8-$ ,- ' - - students SNAPPERSNAPPER , several articles have grams may aid in gaining a bet 999, and 10 students $9,000$ , to tIIIV VIII students- . - g been printed about the various ter perspective about the types $10,000.$ , One hundred twenty- , I P II II' , ¬ . ' types of aid available to stustu-- of available aid. ifiveve students are receiving this ' l ! I' ; dents.. Types of aid discussed In the fall , 1971 semester , 1-,- type of aid this fall including ' ' ' II ill I ' i I'I , dV have included the PHEAA state 297 MSC students 38 . i received black students. scholarships , National De-¬ I the De- PHEAA scholarships.. These In the College Work Study fense Student Loan , the College scholarships amounted to $292-$ ,- program , the figures are as folfol--¬ Work Study Program and the 660 in aid.. In addition , 496 peo- lows : ( number of students rere--¬ Educational Opportunities Grant ple were denied scholarships for ceiving aid is listed followed by Program.. not meeting eligibility guide- family income ) , 14 students , - - Some facts and figures con lines set by the PHEAA.. $$0 to $2,999$ , ; 36 students $3,000$ , ll IiII - ¬ students The of , ; , Ipl number people receiv- to $5,999$ 30 students -$6,000$ III students ! ; tI ing aid and the family income to $7,499$ , 27 students $$7,500, II lll I - I I Operations Board students - ; Il of each are as follows : 54 stu to $8,999$ , 45 students $9,000$ , to l i students- dents-$0$ to 2,999, ; 166 students $11,999$ , , and 30 students-over Sponsors ; - Contest -$3,000$ , to $5,999$ , 153 students $12,000.$ , . -
NOTE: STILL OPEN More Details from Petition Creator
Petition 06 NOTE: STILL OPEN Petition to: install a commemorative plaque at 1a Hounslow High Street to mark the location of the Attic Club/Zambezi Club/Ricky Tick Club We the undersigned petition Hounslow Council to install a commemorative plaque at 1a Hounslow High Street to mark the location of the Attic Club/Zambezi Club/Ricky Tick Club. More details Submitted by Daniel Jon Morris – Deadline to sign up by: 06 January 2017 – Signatures: 32 More details from petition creator We the undersigned would like to ask for the council to install a commemorative plaque at the site of an old music venue at 1a Hounslow High Street, Hounslow. (This sits opposite Hounslow Bus Garage) ***The Attic Club***The Zambezi Club***The Ricky Tick Club*** Perhaps the most famous of all performers to play here was the late Jimi Hendrix !!! (It is believed his first ever UK gig was just across the road at the Duke Of Cambridge Pub in Kingsley Road, the day he landed at Heathrow). The first time he played here at The Ricky Tick ... He put the head of his guitar through the ceiling!!! It is also the place where Steve Marriott first met organist Ian McLagan (a local Hounslow Lad). They later joined forces with Kenney Jones and Ronnie Lane to form The Small Faces. The club, which now hosts an employment agency based above a Nandos Restaurant, is the stuff of legend ... The list speaks for itself! ***The Attic Club*** The Moments (feat. Steve Marriott) Alex Harvey Soul Band Spencer Davis Group The Yardbirds (feat. -
RONNIE WOOD a New Book Illuminates the Guitarist’S Life Before the Rolling Stones
ISSUE #41 MMUSICMAG.COM Q&A John Abbott RONNIE WOOD A new book illuminates the guitarist’s life before the Rolling Stones AS A MEMBER OF THE ROLLING years, we’d put two guitars and vocals in the night. I could see he had his eye on Stones for 40 years, Ronnie Wood’s legacy through one amp, and the bass player had me. I just knew in the back of my mind that is assured. But a recently discovered journal his own. That’s why we let him join the band. some day it would come around, and sure he kept in 1965—before his tenures with (laughs) But as soon as I could afford my enough, it did. the Jeff Beck Group, Small Faces and the own I started to go to Jim Marshall’s [gear] Stones—offers unique insight into the then- shop. I’d run across people like Pete You traded your guitar to play bass 18-year-old’s mindset and ambitions. The Townshend in there and we’d have a hilarious for the Jeff Beck Group? diary—which includes illustrations by Wood, friendly rivalry going to see who could get I’d reached the saturation point on guitar now a noted visual artist—is being released the biggest stack. with the Birds, so when Jeff Beck asked as a limited-edition book, How Can It Be? if I wouldn’t mind playing bass, I welcomed A Rock & Roll Diary. It chronicles Wood’s Was there camaraderie among the the idea. Playing bass gave me a new, exploits on the London club scene while he competing bands? revitalized energy to go back to guitar was with the Birds, and his interactions with The Birds never really had any hit records, later. -
The Bands and Their Tracks*
Pass it on… vol.I A Double Album compilation CD of tracks donated by various bands playing a cover of music Pete Quaife co- founder of the KinKs played on, the bands also donated one of their own tracks,33 amazing tracks. All profits go towards The Pete Quaife Foundation* who in turn support children on dialysis. All tracks copyright reg no. 300335105 owned by PQFMusic*© 2013 All trade marks and logo’s are protected. Warning: All rights reserved. Unauthorised duplication is a violation of applicable laws. The bands and their tracks* CD A Band CD B 17 Sitting on my sofa* The Mynd Set 3 Kaleidoscope 14 Come on Now* The Get-Go 8 No Love inside 3 Gotta Move The Most 1 Scooter Girl 10 Waterloo Sunset* Chris Gray 10 She loves the morning 12 David Watts* The Lemon tops 5 Feeling bad love 11 Autumn Almanac* The Universal 13 The worshippers 13 I’m not like everybody else* Heavy Mod 15 Back out in the street 6 Rosie won’t you please come home* The Loop 14 There’s a fire 16 Tired of waiting* Electric Stars 2 I want you 2 Sunny afternoon* Rant 9 Identity 4 You Really Got Me* Steve Marriott 8 I need you* Create! 7 Love and hope 5 Dead end street* Michael Julin 6 Song to say hello 1 Where have all the good times gone* The Q 11 Diamond July 7 Picture Book* The Vals 4 Mail Box 15 Sunny Afternoon* The Grenadiers 16 Pale white Lilly 9 See my friends* The Spivs Penny for the 12 Not my revolution workhouse *Written and composed by R Davies Published by PQFMusic © 2014 All tracks mastered by Pete Maher Pete Maher is a successful mastering engineer working with the worlds leading artists, producers and labels. -
Bourdieu and the Music Field
Bourdieu and the Music Field Professor Michael Grenfell This work as an example of the: Problem of Aesthetics A Reflective and Relational Methodology ‘to construct systems of intelligible relations capable of making sense of sentient data’. Rules of Art: p.xvi A reflexive understanding of the expressive impulse in trans-historical fields and the necessity of human creativity immanent in them. (ibid). A Bourdieusian Methodology for the Sub-Field of Musical Production • The process is always iterative … so this paper presents a ‘work in progress’ … • The presentation represents the state of play in a third cycle through data collection and analysis …so findings are contingent and diagrams used are the current working diagrams! • The process begins with the most prominent agents in the field since these are the ones with the most capital and the best configuration. A Bourdieusian Approach to the Music Field ……..involves……… Structure Structuring and Structured Structures Externalisation of Internality and the Internalisation of Externality => ‘A science of dialectical relations between objective structures…and the subjective dispositions within which these structures are actualised and which tend to reproduce them’. Bourdieu’s Thinking Tools “Habitus and Field designate bundles of relations. A field consists of a set of objective, historical relations between positions anchored in certain forms of power (or capital); habitus consists of a set of historical relations ‘deposited’ within individual bodies in the forms of mental and corporeal -
In BLACK CLOCK, Alaska Quarterly Review, the Rattling Wall and Trop, and She Is Co-Organizer of the Griffith Park Storytelling Series
BLACK CLOCK no. 20 SPRING/SUMMER 2015 2 EDITOR Steve Erickson SENIOR EDITOR Bruce Bauman MANAGING EDITOR Orli Low ASSISTANT MANAGING EDITOR Joe Milazzo PRODUCTION EDITOR Anne-Marie Kinney POETRY EDITOR Arielle Greenberg SENIOR ASSOCIATE EDITOR Emma Kemp ASSOCIATE EDITORS Lauren Artiles • Anna Cruze • Regine Darius • Mychal Schillaci • T.M. Semrad EDITORIAL ASSISTANTS Quinn Gancedo • Jonathan Goodnick • Lauren Schmidt Jasmine Stein • Daniel Warren • Jacqueline Young COMMUNICATIONS EDITOR Chrysanthe Tan SUBMISSIONS COORDINATOR Adriana Widdoes ROVING GENIUSES AND EDITORS-AT-LARGE Anthony Miller • Dwayne Moser • David L. Ulin ART DIRECTOR Ophelia Chong COVER PHOTO Tom Martinelli AD DIRECTOR Patrick Benjamin GUIDING LIGHT AND VISIONARY Gail Swanlund FOUNDING FATHER Jon Wagner Black Clock © 2015 California Institute of the Arts Black Clock: ISBN: 978-0-9836625-8-7 Black Clock is published semi-annually under cover of night by the MFA Creative Writing Program at the California Institute of the Arts, 24700 McBean Parkway, Valencia CA 91355 THANK YOU TO THE ROSENTHAL FAMILY FOUNDATION FOR ITS GENEROUS SUPPORT Issues can be purchased at blackclock.org Editorial email: [email protected] Distributed through Ingram, Ingram International, Bertrams, Gardners and Trust Media. Printed by Lightning Source 3 Norman Dubie The Doorbell as Fiction Howard Hampton Field Trips to Mars (Psychedelic Flashbacks, With Scones and Jam) Jon Savage The Third Eye Jerry Burgan with Alan Rifkin Wounds to Bind Kyra Simone Photo Album Ann Powers The Sound of Free Love Claire -
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. -
16-17 Master Pages 11/17/11 8:13 PM Page 16
16-17_Master Pages 11/17/11 8:13 PM Page 16 Interviewed by phone from his home-based Cedar Crest Studio in Henderson, Ark., overlooking Lake Norfolk, Ketchum's conversation is full of humor and humility. He Bob Ketchum’s multimedia bio was speaking with Entertainment Fort Smith on the eve of a shared birthday: Ketchum turned 65 and his son Robert W. Ketchum III was 14. brings back ’70s Rock memories Ketchum's marriage to his wife, Jane; the birth of their son, a close relationship with his older by Lynn Wasson daughter, Missy, and his grandchildren are the joy he calls “a gift of a second chance at life.” Face the Music includes Ketchum's career after his Fort Smith radio years, establishing an audio/video recording business near Mountain Home in the house his parents built at Lake Norfolk. His personal life and career have been a bumpy but enthusiastic ride, pitting his unflagging passion for music with the tough realities of “the music business.” Local music fans will recognize bands and artists Paperkid, Joe Hamilton, Judge Parker, the Cate Brothers and many more who were recorded by Ketchum. Cedar Crest Studio also recorded pre-production tracks for the Swedish metal band Krokus. The book's highlight for Fort Smith readers, however, will be Ketchum's retelling of memories they share with him. Besides “Album Review,” radio listeners from 1969-75 may remember the station's truck with a Plexiglas window revealing Ketchum inside spinning 45s at live remote events and “battles of bands.” Ketchum at the board at KWHN/KMAG, which broadcast his show “Album Review.” “The vehicle was a converted bread truck, an Inset: Whizz performs at a KISR Frisbee Festival in 1974. -
To Download a PDF Copy of Catalog 18
1 LYSERGIC SOUND DISTRIBUTORS RARE RECORD CATALOG – 2016 GRADING – Cover/disc. We use a slight variation of The Goldmine System with similar abbreviations. If you don’t understand, just ask. Most albums are play graded. One in a while, a problem may occur. If there is a problem, contact us at once and we will work it out. All records are 1st press stereo U.S. unless noted otherwise. Factory sealed records are guaranteed only if they are returned in a still-sealed condition. PAYMENT – We accept most forms of payment including checks drawn on U.S. banks. Checks may be held for a period of time for clearance. All prices are in U.S. dollars. POSTAGE – One album, media rate, is $4. Multiple media rate albums, priority postage & foreign postage will be calculated at actual rates. TRADES – Always looking for trades but usually not until this catalog has been out for about a month. LYSERGIC SOUND DISTRIBUTORS 8751 Old Spanish Trail Tucson, AZ. 85710 1-877-353-1775 Toll Free WWW.LSDSOUNDS.COM Like us on Facebook 2 7001 RECORD COLLECTORS DREAMS - HANS POKORA'S NEWEST HARDCOVER BOOK The cream of Folk, Psychedelic, Progressive, Garage and Beat music. Over 1000 professional colour photographs of the rarest 60s and 70s album covers from around the world. The rarest releases from AUSTRIA to NEW ZEALAND. A kaleidoscopic overview of the rarest and most expensive collectible albums from all over the world. An indispensable book for all serious collectors of 60's and 70's rare records, compiled from the collector Hans Pokora Includes accurate description of: Origin, Label, Value and Rarity. -
Official Electronic Press Kit Official Electronic Press Kit
AA TributeTribute to the music of Paul Rodgers & Mick Ralphs Official Electronic Press Kit “Johnny was a schoolboy when he heard his first Beatles song…” -Shooting Star Bad Company, the English hard rock band from London, were mega-stars throughout the 1970s. Their first three albums, Bad Company (1974), Straight Shooter (1975), and Run with the Pack (1976), charted in the top 5 in both the UK and US. Formed by Singer Paul Rodgers and guitarist, Mick Ralphs along with drummer Simon Kirke and bassist Boz Burrell, Bad Company’s music and Iconic sound is timeless and listened to and loved by fans around the globe. Roc Steady is excited to share the iconic music made popular by Paul Rodgers and Mick Ralphs with fans young and old! Tribute bands like Roc Steady differ from cover bands. Tribute bands re-create the experience of attending the original band’s concerts. When we take the stage, Dale Prince, Nic Cocco, Scott Biggs, David Gregory and Larry James transform and become Paul Rodgers, Mick Ralphs, Simon Kirke, Boz Burrell and Howard Leese. Roc Steady not only deliver’s the live music adlib for adlib, but also studies the mannerisms, stage presence, movements and facial expressions of the original band members. The bands outfits, backdrops, lighting and sound are designed to give the fan the experience of attending an actual Bad Company concert! ©2020 CoccoMusic, LLC All Rights Reserved Diamond Dale Prince Singing the part of Paul Rodgers Born: Flint, MI Hobbies: Harleys, Hot rods and Rock n’ Roll Top 5 Musical Influences: Steve Marriott, Paul Rodgers, Sammy Hagar, Steven Tyler and Chris Cornell Top 5 favorite Albums: Humble Pie- Smokin’, Bad Company- Bad Co, Montrose- Montrose, Aerosmith- Get Your Wings, Guns and Roses- Appetite for Destruction. -
Download This Document
Brown, A.R. (2015) ‘Explaining the naming of heavy metal from rock’s “Back Pages”: a dialogue with Deena Weinstein’. Metal Music Studies, 1 (2): 233-261. Online at: http://dx.doi.org/10.1386/mms.1.2.233_1 ResearchSPAce http://researchspace.bathspa.ac.uk/ This version is made available in accordance with publisher policies. Please cite only the published version using the reference above. Your access and use of this document is based on your acceptance of the ResearchSPAce Metadata and Data Policies, as well as applicable law:- https://researchspace.bathspa.ac.uk/policies.html Unless you accept the terms of these Policies in full, you do not have permission to download this document. This cover sheet may not be removed from the document. Please scroll down to view the document. Author’s note: This is the final draft version of the article accepted for publication by Metal Music Studies on the 2nd December 2014. The final copy-edited article is due to be published as: Brown, A.R. (2015) ‘Explaining the Naming of Heavy Metal from Rock’s “Back Pages”: A dialogue with Deena Weinstein’, Metal Music Studies, I (2): 233-261 (April). Explaining the Naming of Heavy Metal From Rock’s “Back Pages”: A Dialogue with Deena Weinstein The origins of the term heavy metal or when the genre was first named is a perennial topic of debate and conjecture among fans, popular music historians, academic-fans and fan-academics. Such debates and refutations can also be found across the web, on metal-blogs, net-cyclopedias, discographies and fan forums.