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Finding Aid to the Historymakers ® Video Oral History with Gene Barge
Finding Aid to The HistoryMakers ® Video Oral History with Gene Barge Overview of the Collection Repository: The HistoryMakers®1900 S. Michigan Avenue Chicago, Illinois 60616 [email protected] www.thehistorymakers.com Creator: Barge, Gene Title: The HistoryMakers® Video Oral History Interview with Gene Barge, Dates: January 20, 2012 Bulk Dates: 2012 Physical 6 uncompressed MOV digital video files (2:51:59). Description: Abstract: Saxophonist, songwriter, and music producer Gene Barge (1926 - ) played on Chuck Willis’ pop hit, “C.C. Rider,” co-wrote with Gary U.S. Bonds “Quarter to Three” and received a Grammy Award for co-producing Natalie Cole’s “Sophisticated Lady.” Barge was interviewed by The HistoryMakers® on January 20, 2012, in Chicago, Illinois. This collection is comprised of the original video footage of the interview. Identification: A2012_043 Language: The interview and records are in English. Biographical Note by The HistoryMakers® Saxophonist, music producer and song writer Gene “Daddy G” Barge was born in Norfolk, Virginia on August, 9 1926. He graduated from Booker T. Washington High School and played clarinet in the school band. Barge then attended West Virginia State College where he first majored in architecture, but quickly switched to music because of his interest in the saxophone. After receiving his B.A. degree from West Virginia State College in 1950, Barge returned to Norfolk, Virginia and played with a number of bands and singing groups including the Griffin Brothers and the Five Keys. In 1955, Barge recorded his first saxophone instrumentals entitled “Country” and “Way Down Home” on Chess Records’ Checker Label. He taught music at Suffolk High School while playing and singing in bands and touring with both Ray Charles and the Philadelphia vocal group The Turbans. -
Is Hip Hop Dead?
IS HIP HOP DEAD? IS HIP HOP DEAD? THE PAST,PRESENT, AND FUTURE OF AMERICA’S MOST WANTED MUSIC Mickey Hess Library of Congress Cataloging-in-Publication Data Hess, Mickey, 1975- Is hip hop dead? : the past, present, and future of America’s most wanted music / Mickey Hess. p. cm. Includes bibliographical references and index. ISBN-13: 978-0-275-99461-7 (alk. paper) 1. Rap (Music)—History and criticism. I. Title. ML3531H47 2007 782.421649—dc22 2007020658 British Library Cataloguing in Publication Data is available. Copyright C 2007 by Mickey Hess All rights reserved. No portion of this book may be reproduced, by any process or technique, without the express written consent of the publisher. Library of Congress Catalog Card Number: 2007020658 ISBN-13: 978-0-275-99461-7 ISBN-10: 0-275-99461-9 First published in 2007 Praeger Publishers, 88 Post Road West, Westport, CT 06881 An imprint of Greenwood Publishing Group, Inc. www.praeger.com Printed in the United States of America The paper used in this book complies with the Permanent Paper Standard issued by the National Information Standards Organization (Z39.48–1984). 10987654321 CONTENTS ACKNOWLEDGMENTS vii INTRODUCTION 1 1THE RAP CAREER 13 2THE RAP LIFE 43 3THE RAP PERSONA 69 4SAMPLING AND STEALING 89 5WHITE RAPPERS 109 6HIP HOP,WHITENESS, AND PARODY 135 CONCLUSION 159 NOTES 167 BIBLIOGRAPHY 179 INDEX 187 ACKNOWLEDGMENTS The support of a Rider University Summer Fellowship helped me com- plete this book. I want to thank my colleagues in the Rider University English Department for their support of my work. -
Understanding the Value of Arts & Culture | the AHRC Cultural Value
Understanding the value of arts & culture The AHRC Cultural Value Project Geoffrey Crossick & Patrycja Kaszynska 2 Understanding the value of arts & culture The AHRC Cultural Value Project Geoffrey Crossick & Patrycja Kaszynska THE AHRC CULTURAL VALUE PROJECT CONTENTS Foreword 3 4. The engaged citizen: civic agency 58 & civic engagement Executive summary 6 Preconditions for political engagement 59 Civic space and civic engagement: three case studies 61 Part 1 Introduction Creative challenge: cultural industries, digging 63 and climate change 1. Rethinking the terms of the cultural 12 Culture, conflict and post-conflict: 66 value debate a double-edged sword? The Cultural Value Project 12 Culture and art: a brief intellectual history 14 5. Communities, Regeneration and Space 71 Cultural policy and the many lives of cultural value 16 Place, identity and public art 71 Beyond dichotomies: the view from 19 Urban regeneration 74 Cultural Value Project awards Creative places, creative quarters 77 Prioritising experience and methodological diversity 21 Community arts 81 Coda: arts, culture and rural communities 83 2. Cross-cutting themes 25 Modes of cultural engagement 25 6. Economy: impact, innovation and ecology 86 Arts and culture in an unequal society 29 The economic benefits of what? 87 Digital transformations 34 Ways of counting 89 Wellbeing and capabilities 37 Agglomeration and attractiveness 91 The innovation economy 92 Part 2 Components of Cultural Value Ecologies of culture 95 3. The reflective individual 42 7. Health, ageing and wellbeing 100 Cultural engagement and the self 43 Therapeutic, clinical and environmental 101 Case study: arts, culture and the criminal 47 interventions justice system Community-based arts and health 104 Cultural engagement and the other 49 Longer-term health benefits and subjective 106 Case study: professional and informal carers 51 wellbeing Culture and international influence 54 Ageing and dementia 108 Two cultures? 110 8. -
List of Available Videos
Artist Concert 3 Doors Down Live at the Download Festival 3 Doors Down Live At The Tabernacle 2014 30 Odd Foot Of Grunts Live at Soundstage 30 Seconds To Mars Live At Download Festival 2013 5 Seconds of Summer How Did We End Up Here? 6ft Hick Notes from the Underground A House Live on Stage A Thousand Horses Real Live Performances ABBA Arrival: The Ultimate Critical Review ABBA The Gold Singles Above And Beyond Acoustic AC/DC AC/DC - No Bull AC/DC In Performance AC/DC Live At River Plate\t AC/DC Live at the Circus Krone Acid Angels 101 A Concert - Band in Seattle Acid Angels And Big Sur 101 Episode - Band in Seattle Adam Jensen Live at Kiss FM Boston Adam Lambert Glam Nation Live Aerosmith Rock for the Rising Sun Aerosmith Videobiography After The Fire Live at the Greenbelt Against Me! Live at the Key Club: West Hollywood Aiden From Hell with Love Air Eating Sleeping Waiting and Playing Air Supply Air Supply Live in Toronto Air Supply Live in Hong Kong Akhenaton Live Aux Docks Des Sud Al Green Everything's Going To Be Alright Alabama and Friends Live at the Ryman Alain Souchon J'veux Du Live Part 2 Alanis Morissette Guitar Center Sessions Alanis Morissette Live at Montreux 2012 Alanis Morissette Live at Soundstage Albert Collins Live at Montreux Alberta Cross Live At The ATO Cabin Alejandro Fernández Confidencias Reales Alejandro Sanz El Alma al Aire en Concierto Ali Campbell Live at the Shepherds Bush Empire Alice Cooper AVO Session Alice Cooper Brutally Live Alice Cooper Good To See You Again Alice Cooper Live at Montreux Alice Cooper -
Sonic Necessity-Exarchos
Sonic Necessity and Compositional Invention in #BluesHop: Composing the Blues for Sample-Based Hip Hop Abstract Rap, the musical element of Hip-Hop culture, has depended upon the recorded past to shape its birth, present and, potentially, its future. Founded upon a sample-based methodology, the style’s perceived authenticity and sonic impact are largely attributed to the use of phonographic records, and the unique conditions offered by composition within a sampling context. Yet, while the dependence on pre-existing recordings challenges traditional notions of authorship, it also results in unavoidable legal and financial implications for sampling composers who, increasingly, seek alternative ways to infuse the sample-based method with authentic content. But what are the challenges inherent in attempting to compose new material—inspired by traditional forms—while adhering to Rap’s unique sonic rationale, aesthetics and methodology? How does composing within a stylistic frame rooted in the past (i.e. the Blues) differ under the pursuit of contemporary sonics and methodological preferences (i.e. Hip-Hop’s sample-based process)? And what are the dynamics of this inter-stylistic synthesis? The article argues that in pursuing specific, stylistically determined sonic objectives, sample-based production facilitates an interactive typology of unique conditions for the composition, appropriation, and divergence of traditional musical forms, incubating era-defying genres that leverage the dynamics of this interaction. The musicological inquiry utilizes (auto)ethnography reflecting on professional creative practice, in order to investigate compositional problematics specific to the applied Blues-Hop context, theorize on the nature of inter- stylistic composition, and consider the effects of electronic mediation on genre transformation and stylistic morphing. -
When James Ford and Jas Shaw Met at Manchester University in the Late 1990S, They Never Imagined They'd End up Creating a Human Synthesiser
When James Ford and Jas Shaw met at Manchester University in the late 1990s, they never imagined they'd end up creating a human synthesiser. But in their very earliest musical experiments together, something was set in motion which would lead to one of the most unusual careers in British music: one which has seen their creative mission transform again and again, inventing entirely new formats for music-making along the way. So perhaps the weaving of rich layers of human vocal tonalities sung by The Deep Throat Choir into the techno framework of their fifth studio album Murmurations isn't quite such an unexpected turn of events. In fact, they've been connecting the human voice with electronic sound since they first founded the band Simian with Simon Lord and Alex McNaughten. Simian was, in Jas's words, about “trying to show you could make band music with songs and harmonies but be into Autechre too". Named after "Simeon", the home-made early synth rig of early electronic experimentalists The Silver Apples, the band combined Crosby, Stills & Nash harmonies with hypnotic Krautrock rhythms, cosmic analogue synthesiser swooshes and an unmistakeable clubber's sense of groove - and somehow in the middle of all that managed to find something extraordinarily accessible. They were signed to a major label subsidiary in 2000, and made two albums that stand up in their own right now. But, Jas continues, it was "just at the moment the world was into the Strokes and White Stripes and straight-ahead rock music," and their rich, baroque tapestries of song and sound didn't reach the audience their ambition and beauty deserved. -
Hip-Hop Pedagogy As Production Practice: Reverse-Engineering the Sample-Based Aesthetic
Journal of Popular Music Education Special issue on Hip-hop Hip-Hop Pedagogy as Production Practice: Reverse-Engineering the Sample-Based Aesthetic Mike Exarchos (a.k.a. Stereo Mike) | London College of Music (University of West London) Introduction Hip-hop1 production practice contains a rich matrix of creative methods within its paradigm, which have the potential to inform and inspire music production pedagogy in higher education. The techno-artistic trajectory of rap production consists of numerous phases that may involve live performance, recording, sampling, synthesis, programming, mixing and mastering. Furthermore, it is not rare for self-contained processes—such as interpolation2 and the creation of content for sampling—to be actualized as developmental phases within the larger production trajectory. The well-documented issues affecting phonographic sampling have given rise to alternative practices, inviting live instrumental musicianship within hip-hop music-making, but also a dependence on synthesized sonics (often as signifiers of geographical and stylistic divergence). As a consequence, contemporary hip-hop production—arguably more than any other commercial music-making form—can provide a dynamic, applied context for the exploration, implementation, interplay and interaction of most phonographic stages conceived of and practiced within popular music production. This is not to say that other musics do not deploy multiple methods within their production processes, or that Hip-Hop exemplifies a sole case of multi-layered—or bricolage—production. After all, many popular musics have borrowed from hip-hop practices, and the rap production paradigm can be traced outside of strict stylistic barriers 1 The terms ‘Hip-Hop’ and ‘Rap’ will be used interchangeably throughout the paper, referring to the musical genre, outputs and practices associated with hip-hop culture and art. -
Hillman Hits a Home Run at the Daddy Of
AUGUST 1, 2017 Volume 11: Issue 31 In this issue... • BRN4D Championship Finals, pg 16 • Dash And Dance Futurity, pg 23 • Barrel Bash, pg 26 • NBHA Youth World Finals, pg 31 fast horses, fast news • Leather N Lace, pg 37 Published Weekly Online at www.BarrelRacingReport.com - Since 2007 Hillman Hits a Home Run at the Daddy Of ‘Em All By Hope Sickler WPRA #2 ranked barrel racer in the World Standings, Stevi Hill- SUN FROST man, was the queen of the biggest show on dirt, Cheyenne Frontier FRENCHMANS GUY Days. She dazzled the crowd with her smile and incredible jockeying skills, all while she crossed a major goal off her bucket list: Hillman FRENCHMAN’S LADY jockeyed barrel horse prodigy MCM Imasharpguy, owned by Matt A SHARP FRENCHMAN and Bendi Dunn of Dunn Ranch, to the win at the Daddy Of ‘Em HIMITO DANCER All. IMA SHARP DANCER SI 103 The perfect-looking grey gelding, better known as “Sharpie”, is by Frenchmans Guy son A Sharp Frenchman and out of one of THIS CHICKS SHARP the greatest mares to ever grace the barrel pattern, Mulberry Can- MCM IMASHARPGUY SI 91 yon Moon. Mulberry Canyon Moon was trained by Troy Crumrine, 2012 GRAY GELDING and Crumrine saw a lot of success aboard the talented athlete dur- SIX FOLS ing her futurity and derby years. Angie Meadors was then handed SI 90 the reins to give the MARTHAS SIX MOONS rodeo trail a try, and SI 99 LADY BUGS MARTHA SI 89 after 2 NFR appear- 2017 WORLD STANDINGS MULBERRY CANYON MOON ances and 3-go- As of July 31, 2017 - Courtesy of www.wpra.com OSAGE STREAKER round wins, it is not 1 Tiany Schuster $230,658 65 DE STREAKER TB a surprise that the 2 Stevi Hillman $154,141 66 GO STUff TOO great “Mulberry’s” 3 Kassie Mowry $115,201 22 son “Sharpie” will SI 88 4 Nellie Miller $112,500 35 RIDER: STEVI HILLMAN; OWNER/BREEDER: MATT & BENDI DUNN be making his very 5 Amberleigh Moore $106,743 39 first NFR appear- 6 Kathy Grimes $99,804 29 portunity to succeed and be the best that he could be. -
“Amarillo by Morning” the Life and Songs of Terry Stafford 1
In the early months of 1964, on their inaugural tour of North America, the Beatles seemed to be everywhere: appearing on The Ed Sullivan Show, making the front cover of Newsweek, and playing for fanatical crowds at sold out concerts in Washington, D.C. and New York City. On Billboard magazine’s April 4, 1964, Hot 100 2 list, the “Fab Four” held the top five positions. 28 One notch down at Number 6 was “Suspicion,” 29 by a virtually unknown singer from Amarillo, Texas, named Terry Stafford. The following week “Suspicion” – a song that sounded suspiciously like Elvis Presley using an alias – moved up to Number 3, wedged in between the Beatles’ “Twist and Shout” and “She Loves You.”3 The saga of how a Texas boy met the British Invasion head-on, achieving almost overnight success and a Top-10 hit, is one of triumph and “Amarillo By Morning” disappointment, a reminder of the vagaries The Life and Songs of Terry Stafford 1 that are a fact of life when pursuing a career in Joe W. Specht music. It is also the story of Stafford’s continuing development as a gifted songwriter, a fact too often overlooked when assessing his career. Terry Stafford publicity photo circa 1964. Courtesy Joe W. Specht. In the early months of 1964, on their inaugural tour of North America, the Beatles seemed to be everywhere: appearing on The Ed Sullivan Show, making the front cover of Newsweek, and playing for fanatical crowds at sold out concerts in Washington, D.C. and New York City. -
Princes Theatre Town Hall, Clacton-On-Sea
PRINCES THEATRE TOWN HALL, CLACTON-ON-SEA WHAT’S ON GUIDE SPRING 2015 This Spring at the Princes Theatre Joe Longthorne - page 3 LDN Wrestling - page 5 Joseph - page 5 The Fureys - page 13 Vienna Festival Ballet Michael Jackson Tribute Essence of Ireland - page 14 Champions of Magic - page 13 - page 14 - page 17 Welcome and Happy New Year to you all… 2015 looks set to be a fantastic year with an array of shows to the musical theatre workshop held in the Spring Half Term. 2015 suit all ages and tastes. We start the year off with the UK’s No.1 presents two superbly popular musicals that you will not want to Swing Band Jive Aces who were the first band to reach the final miss “Joseph & The Technicolor Dream Coat” performed by the Youth round of Britain’s Got Talent. We are pleased to announce that Joe Theatre Performerz and the Wizard of Oz from the producers of Jack Longthorne will be returning in January and hope he has made a & The Beanstalk, Polka Dot Pantomimes. full recovery. This will be followed by a dazzling performance with The season will finish with the UK’s largest touring magic show beautiful gowns and soulful voices from 60s group The Three Degrees. “The Champions of Magic” which features 5 of the world’s finest The spectacular Rigoletto Russian State Opera & Ballet, Essence magicians and world class tricksters that will leave you speechless of Ireland and the very popular Vienna Festival Ballet who will be with stunning illusions and Colin Fry the world’s most recognised celebrating their 35th anniversary will once again be returning to spiritualist medium and healer. -
GS Nlwebmaraprmay08.Qxd (Page 1)
MARCH, APRIL, MAY 2008 VOL. 26 NO. 1 “Troubadour” Sets A New Standard For Strait CDs Each time a new George Strait CD arrives that are instant classics as well. Satcher. on the desk to be listened to, we do so with “Troubadour” is packed with 12 sensa- Long time contributor Dean Dillon con- great excitement, but at the same time, that tional songs produced by Strait and his tributed his writing talents on a duet with little thought in the back of the mind long-time co-producer Tony Brown. In Strait on the song “West Texas Town” that always asks the question, “How can this addition to Strait’s incredible vocals, he has he wrote with Texas tunesmith Robert Earl CD live up to the one Keen. before it”. The good news The other songs on the is that each CD has always album include managed to take that next “Troubadour” by Monty leap to greatness. George Holmes and Leslie Satcher, Strait’s new CD “It Was Me” by Buddy “Troubadour” has not only Cannon and Randy surpassed our expectations Hardison, “Brothers of the but may very well have Highway” by Doug raised the bar a couple of Johnson, Nicole Witt and notches more than normal. Kim Williams, “River of It is simply the greatest Love” by Shawn Camp, George Strait CD we have Billy Burnette and Dennis ever heard and we have Morgan, “Give Me More heard them all. We also Time” by Dean Dillon, realize that we are a little Scotty Emerick and Al prejudiced toward his music Anderson, “When You’re In but we are also usually Love” by Dean Dillon and guarded in our praise so as Kerry Phillips, “Make Her not to seem like cheerlead- Fall In Love With Me ers. -
Multi-Platinum Grammy Winner Tobymac Announces ‘Eye on It’ Tour Featuring Special Guests Chris August and Jamie Grace
FOR IMMEDIATE RELEASE CONTACT: MULTI-PLATINUM GRAMMY WINNER TOBYMAC ANNOUNCES ‘EYE ON IT’ TOUR FEATURING SPECIAL GUESTS CHRIS AUGUST AND JAMIE GRACE 10-City Major-Market Tour Kicks Off October 4th, Supports New Album Release EYE ON IT NASHVILLE, TN – August 28, 2012–Five-time GRAMMY® winner anD multi-platinum selling artist TobyMac is following up the release of his brand new stuDio album, EYE ON IT, with a major-market tour of the same name. HeaDliner TobyMac will be joineD by fellow artists Chris August anD Jamie Grace on the EYE ON IT Tour, slateD to kick off Oct. 4, in Dallas. The tour will hit 10 major markets throughout miD-America during the month of October incluDing Dallas, Houston (Cypress), Minneapolis, Columbus (Grove City), Louisville (KY) anD St. Louis, among others. Two of the tour’s largest markets – Houston anD Minneapolis – have alreaDy sold out. The EYE ON IT Tour comes on the heels of TobyMac’s fifth solo stuDio album release, EYE ON IT, which features his latest No. 1 single, “Me Without You.” On its Aug. 28 release Day, EYE ON IT simultaneously claimeD two of the Top 10 positions on iTunes’ Top Albums, with the Deluxe EDition lanDing at No. 1 anD the album’s regular version at No. 10. To celebrate the album’s release, TobyMac recently made his national television Debut performance of “Me Without You,” SaturDay, Aug. 25, on the hit cable morning show “Fox & FrienDs,” anD followeD that with a special guest appearance MonDay, Aug. 27, on ABC’s “Good Morning America,” performing with fellow Grammy nominee ManDisa.