DOCSLIB.ORG

Perusal Pack

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Perusal Pack - PERUSAL PACK - Music and Lyrics by QUEEN Story and Script by BEN ELTON Original Vocal Score by MIKE DIXON, BRIAN MAY, & ROGER TAYLOR Original Orchestrations by STEVE SIDWELL School Edition Prepared by STUART MORLEY 11/16/18 WE WILL ROCK YOU - SCHOOL EDITION Copyright © 2002 by Queen and Ben Elton. All rights reserved. Greetings, directors of WE WILL ROCK YOU: School Edition, Congratulations on choosing such a great show. It offers many creative possibilities and unique performance opportunities. Whether with a large cast or small, WE WILL ROCK YOU: School Edition offers great roles for men and really great roles for women. I had a wonderful experience directing and designing the show and I would like to share some of our experiences, especially with the production elements. There is no definitive way to design the show. However, evoking the environment of a rock concert is a good place to start. We rented four floor trusses and used them, two on each side of the stage, for lighting. A unit set of scaffolding or platforms is a helpful solution to consider. Our set was a variation on that and several platform pieces were movable. Lighting is really the key to the show, and moving lights, if available, are a big help, especially for the “Flash” and “Seven Seas of Rhye” scene as well as for the attack that kills Brit. We only rented two because of budget constraints, but more would be great. Projections were a big part of our production (and several others I’ve seen), but they are an enhancement, not a necessity. The only projections that I highly recommend is the slide show at the very beginning during the intro of “Innuendo”. The flashing forward of the history of rock music really sets up the world of the show for the audience. We also used projections for “Radio Ga Ga” and the GlobalSoft scenes. I created our projections, but BMD now offers professional projections for WE WILL ROCK YOU (broadwaymediadistribution.com/we-will-rock-you- scenic-projections/). Our screens were on either side of the proscenium, and we mounted a third on our first electric projecting on the cyc. Rear projection can be quite effective if you have the space and proper projectors. For other scenery, I built a large ‘ruined’ Hard Rock Café TRWguitar sign to setPerusal the scene for the Bohemians. The other important piece of scenery is the gates of Graceland. Since it was a ruin, we made only one of the Elvis figured gates but kept the two gateposts. One gatepost was rigged with the hidden guitar and some LED lights inside. We also had a GlobalSoft sign on our Notturning unit forset, but itProduction could also be flown or projected. It also helped to have the upper level for Khashoggi and Killer Queen to lord over the “Yuppies”. We had a field day with props using light sabers for canes for the Yuppies, and all manner of flashing lights for use on the helmets of pain and flashing light ray guns for the Doctors. For costumes, we made white oversized tee shirts with Ga Ga Logos that were worn with white pants, shorts or skirts. We also spent money on platinum wigs for the Ga Ga Kids to further create a generic society that stood in stark contrast to the Bohemians. Each Yuppie was put in a black jump suit with silver trim and wore safety goggles and a black wig cap with a silver “K” painted on it, and a few wore gaming headphones with microphones. The last two and most import necessities are how you choose to deal with (1) the videotape that has the Bohemian Rhapsody video on it (that is to be played in a VCR under an old tube TV) and (2) the famous statue of Freddie Mercury. For the VCR, we had the Bohemians gather around the TV set and played the video on the side screens, but you could also just play the music as they crowd in front of the TV. You could also try to use a hidden DVD to be played when the tape is inserted. I will say that seeing the video was important because one of the jokes might be lost without the visual. The Freddie statue was fairly easy. It could be another projection, but we edited an image of the statue in Photoshop and then put it into a Page Layout Program that let us tile the image and print it into a 6-foot size. We then put the puzzle pieces together, mounted the image to a board and cut out the figure. In effect we made a light weight and movable, near life size, Freddie standee cut out. We also used the tracks versus an orchestra and it made our rehearsals go much faster. In the end, the most important advice is to have the actors study Queen songs and Freddie’s style and phrasings and just have fun. I loved working on this show. It was a memorable and rewarding experience for my staff, my students, myself and especially our audiences. I know it will be for you as well. Good luck, Sal Salerno TRWDirector of District Perusal Drama Program Calhoun H.S. On Tour Company Merrick, NY Not for Production ACT ONE PROLOGUE ............................................... 1 #1 INNUENDO .......................................... 1 SCENE 1 ................................................ 3 SCENE 2 ................................................ 4 #2 RADIO GA GA ....................................... 4 #3 I WANT TO BREAK FREE .............................. 7 #4 SOMEBODY TO LOVE ................................. 11 #4a THE COLONNADES .................................. 14 SCENE 3 ............................................... 15 #5 KILLER QUEEN ..................................... 15 #6 NOW I’M HERE ..................................... 18 SCENE 4 ............................................... 21 #7 UNDER PRESSURE ................................... 22 SCENE 5 ............................................... 26 #8 A KIND OF MAGIC .................................. 27 SCENE 6 ............................................... 30 #9 I WANT IT ALL .................................... 32 #10 YOU’RE MY BEST FRIEND ........................... 38 #11 HEADLONG ........................................ 43 SCENE 7 ............................................... 44 SCENE 8 ............................................... 48 #12 NOW ONE BUT PerusalYOU .................................. 55 #13 CRAZY LITTLE THING CALLED LOVE .................. 60 #14 THE FIGHT (OGRE BATTLE) ......................... 64 TR ACT TWO SCENE 1 ............................................... 65 #15 FLASHNot ........................................... for Production 65 #16 SEVEN SEAS OF RHYE .............................. 66 SCENE 2 ............................................... 69 #17 WHO WANTS TO LIVE FOREVER ....................... 71 SCENE 3 ............................................... 74 SCENE 4 ............................................... 78 #18 ANOTHER ONE BITES THE DUST ...................... 79 SCENE 5 ............................................... 81 #19 HAMMER TO FALL .................................. 82 SCENE 6 ............................................... 85 #20 THESE ARE THE DAYS OF OUR LIVES ................. 85 #21 WE ARE THE CHAMPIONS (UNDERSCORE) ............... 89 #21a BICYCLE RACE ................................... 90 #21b HEADLONG--REPRISE .............................. 91 SCENE 7 ............................................... 93 #21c LOVE OF MY LIFE (UNDERSCORE) ................... 95 #22 WE WILL ROCK YOU ................................ 96 #22a KILLER QUEEN FINAL ENTRANCE (DEATH ON ONE LEG) . 99 #22b KILLER QUEEN EXIT (TIE YOUR MOTHER DOWN--SHORT) 99 #22c WE WILL ROCK YOU (CONTINUED) .................. 100 #23 WE ARE THE CHAMPIONS ........................... 101 #24 BOWS ........................................... 102 #25 BOHEMIAN RHAPSODY .............................. 103 TRW Perusal Not for Production WE WILL ROCK YOU School Edition CAST OF CHARACTERS GALILEO FIGARO (Male) A misfit, who keeps hearing voices and songs in his head delivering messages he doesn’t understand. Galileo refuses to dress like a Ga Ga kid and has been caught trying to make music. He is confused and unaware that he is the one the Bohemians have been waiting for. SCARAMOUCHE (Female) Another misfit, who also gets into trouble with the Secret Police, Scaramouche meets Galileo in a hospital and they run away together. Her sharp wit keeps Galileo on his toes, and gradually they fall for each other. KILLER QUEEN (Female) Killer Queen is a ruthless businesswoman in charge of Globalsoft, the worldwide corporation which is responsible for the suppression of all live music. Once a character in a Globalsoft computer game, she uploaded herself into her programmer. She’s half human, half pixelated, and all bad. KHASHOGGI (Male) He works for Killer Queen, going after the Bohemians to eradicate all original or creative musical thoughts from the iPlanet. SECRET POLICE (Male and/or Female) These semi-automated characters carry out the bidding of the Killer Queen and Khashoggi. GA GA KIDS/TEEN QUEENS (Male and Female) Living in a world of consumerism and downloadable music, the Ga Ga kids don’t notice their own soulless-ness. TRWBUDDY (Male) Buddy Perusal is a librarian and a hippy who has studied the sacred musical texts to the extent that even Globalsoft cannot entirely erase them from his mind. He’s a comic character who acts as a foil to Galileo and Scaramouche. Not for Production THE BOHEMIANS (Male and Female) A group of rebels, determined to fight against Globalsoft and its downloadable music. Their base is the Hard-Rock Cafe and they have taken the names of musical heroes from the past. The following Bohemians have speaking lines: PAUL MC CARTNEY (Male) MADONNA (Female)
Load more

Recommended publications
  • Killer Queen
    MELODY HARMONY The word setting is mainlysyllabic throughout TONALITY Queen liked to use adventurous chord sequences The melody has a wide range (goes very high and very low!) The song uses several altered or extended chords (such as 7ths and The main tonality for the piece is Eb Major (this is unusual The guitar solo borrows ideas from the chorus and verse sections of the song 11ths) because it’s a hard key to play in on the guitar!) The backing vocals use words and vocalisations (like oohs and aahs!) The key changes (modulates) during the song. Most of the chords are in root position, but there are some chord The melody is often conjunct, but with some wide angular leaps, including inversions. intervals of 6ths and octaves. The chorus is in Bb major There is a circle of 5ths chord progression in the chorus In the chorus the melody is harder to spot on it’s own because of the backing There are points where the tonality is not clear (“tonal The modulations to different keys are shown by perfect cadences vocal harmonies ambiguity”) - like in the first verse which starts with a C minor The song starts with a C minor chord—(you can’t tell that the piece is in The vocal part sometimes uses falsetto. chord, making the key signature unclear. Eb major until the chord is played half way through the verse—this is The vocal part also includes spoken text The vocal part contains a slide upwards (on the word “queen”) The chord sequences move quickly through different key Some parts of the chord sequence contain a faster harmonic rhythm The length of the melodic phrases are often uneven (like when the extra 6/8 bar signatures—for example in the first half of the chorus the (like one chord every beat on “guaranteed to blow your mind”) is added) chord sequence moves quickly through D minor and C major.
    [Show full text]
  • Excesss Karaoke Master by Artist
    XS Master by ARTIST Artist Song Title Artist Song Title (hed) Planet Earth Bartender TOOTIMETOOTIMETOOTIM ? & The Mysterians 96 Tears E 10 Years Beautiful UGH! Wasteland 1999 Man United Squad Lift It High (All About 10,000 Maniacs Candy Everybody Wants Belief) More Than This 2 Chainz Bigger Than You (feat. Drake & Quavo) [clean] Trouble Me I'm Different 100 Proof Aged In Soul Somebody's Been Sleeping I'm Different (explicit) 10cc Donna 2 Chainz & Chris Brown Countdown Dreadlock Holiday 2 Chainz & Kendrick Fuckin' Problems I'm Mandy Fly Me Lamar I'm Not In Love 2 Chainz & Pharrell Feds Watching (explicit) Rubber Bullets 2 Chainz feat Drake No Lie (explicit) Things We Do For Love, 2 Chainz feat Kanye West Birthday Song (explicit) The 2 Evisa Oh La La La Wall Street Shuffle 2 Live Crew Do Wah Diddy Diddy 112 Dance With Me Me So Horny It's Over Now We Want Some Pussy Peaches & Cream 2 Pac California Love U Already Know Changes 112 feat Mase Puff Daddy Only You & Notorious B.I.G. Dear Mama 12 Gauge Dunkie Butt I Get Around 12 Stones We Are One Thugz Mansion 1910 Fruitgum Co. Simon Says Until The End Of Time 1975, The Chocolate 2 Pistols & Ray J You Know Me City, The 2 Pistols & T-Pain & Tay She Got It Dizm Girls (clean) 2 Unlimited No Limits If You're Too Shy (Let Me Know) 20 Fingers Short Dick Man If You're Too Shy (Let Me 21 Savage & Offset &Metro Ghostface Killers Know) Boomin & Travis Scott It's Not Living (If It's Not 21st Century Girls 21st Century Girls With You 2am Club Too Fucked Up To Call It's Not Living (If It's Not 2AM Club Not
    [Show full text]
  • Songs by Artist
    Reil Entertainment Songs by Artist Karaoke by Artist Title Title &, Caitlin Will 12 Gauge Address In The Stars Dunkie Butt 10 Cc 12 Stones Donna We Are One Dreadlock Holiday 19 Somethin' Im Mandy Fly Me Mark Wills I'm Not In Love 1910 Fruitgum Co Rubber Bullets 1, 2, 3 Redlight Things We Do For Love Simon Says Wall Street Shuffle 1910 Fruitgum Co. 10 Years 1,2,3 Redlight Through The Iris Simon Says Wasteland 1975 10, 000 Maniacs Chocolate These Are The Days City 10,000 Maniacs Love Me Because Of The Night Sex... Because The Night Sex.... More Than This Sound These Are The Days The Sound Trouble Me UGH! 10,000 Maniacs Wvocal 1975, The Because The Night Chocolate 100 Proof Aged In Soul Sex Somebody's Been Sleeping The City 10Cc 1Barenaked Ladies Dreadlock Holiday Be My Yoko Ono I'm Not In Love Brian Wilson (2000 Version) We Do For Love Call And Answer 11) Enid OS Get In Line (Duet Version) 112 Get In Line (Solo Version) Come See Me It's All Been Done Cupid Jane Dance With Me Never Is Enough It's Over Now Old Apartment, The Only You One Week Peaches & Cream Shoe Box Peaches And Cream Straw Hat U Already Know What A Good Boy Song List Generator® Printed 11/21/2017 Page 1 of 486 Licensed to Greg Reil Reil Entertainment Songs by Artist Karaoke by Artist Title Title 1Barenaked Ladies 20 Fingers When I Fall Short Dick Man 1Beatles, The 2AM Club Come Together Not Your Boyfriend Day Tripper 2Pac Good Day Sunshine California Love (Original Version) Help! 3 Degrees I Saw Her Standing There When Will I See You Again Love Me Do Woman In Love Nowhere Man 3 Dog Night P.S.
    [Show full text]
  • Ke$Ha - Warrior - *** the HEADLINE Needs to Be Creative and Have by Rob Sheffield Rolling( Stone Magazine, Dec
    Ke$ha - Warrior - *** The HEADLINE needs to be creative and have By Rob Sheffield (Rolling Stone magazine, Dec. 4, 2012) your opinion. This doesn’t have one. Yours must. Ke$ha was born to be a rock star. She's a disco queen who dresses like Axl Rose and overdoses on personality like the New York Dolls. She rules pop radio with her megasleaze boombox beats, junk-shop rags and bleached-Sabbath hair. We all know glitter girls who dress like Ke$ha, talk like Ke$ha, party like INTRODUCTION - There are opinions Ke$ha and slap the world around like Ke$ha. But it's insanely here, but not about her album. Lots of rare to see one of these parking-lot queens roll with the big- background, with some writer’s ‘voice’ league pop stars. When she's on, Ke$ha can make everyone else on the charts seem like a church lady. (Lady K has stuck her dollar sign...), Over the past three years, Lady K has stuck her dollar sign on about Ke$ha’s colorful, musical past. a half-dozen or so of this century's most brilliant radio hits, all Great details here (megasleze boombox of them sounding more or less the same, and all of them endors- beats and junk shop rags) and clearly, ing the Ke$ha Philo$ophy of Life to the point where you bitterly the author did some great research. regret all the non-Ke$ha parts of your existence. From "Tik Tok" to "Blow" to "We R Who We R," she makes each of her hits into another installment of her cartoon glam-disco telenovela, an in- credibly broad and inclusive vision of pop trash.
    [Show full text]
  • STREET DATE: April 17, 2012 5% DISCOUNT on New Release Items Through April 24
    APRIL NEW RELEASE GUIDE STREET DATE: April 17, 2012 5% DISCOUNT on New Release Items through April 24 Burnside Distribution Corp, 6635 N. Baltimore Ave, Suite 285, Portland, OR, 97203 phone (503) 231-0876 / fax (503) 231-0420 / www.bdcdistribution.com BDC New Releases April 2012 BONGO BEAT RECORDS! THE DIODES. ACTION/REACTION. 1980 PUNK HARD ROCK LP FINALLY AVAILABLE ON CD 6 BONUS TRACKS Cat: BB 1977-2 REMASTERED BY JOHN WILSON Label: Bongo Beat Records UPC: 777000197725 (MEAT BEAT MANIFESTO) Price: $8.15 EXTENSIVE LINER NOTES xhHHAAAy19772pz INCLUDES “CATWALKER” 7 7700-01977-2 5 (503) 231-0876 / www.bdcdistribution.com 2 BDC New Releases April 2012 Welcome!! Welcome!! Caspar Babypants who has spawned his fifth album, HOT DOG! Kids music that parents will like also (what a concept!). This one has soon-to-be-mama Rachel Flotard from First we hope you’ve all recovered from SXSW - good to see so many of you there - we all Visqueen as a guest. experienced great music and some great food along the way; always a delight! Frank Black has a world beyond The Pixies; several of them actually. In addition to having Marvin the Mandolin Man - you know, that guy from Lone Justice, Marvin Etzioni - brand a happy homelife, he has managed to have outlets under the Black Francis moniker, with new double CD and LP on Nine Mile Records with guests Richard Thompson, LJ bandmate his band The Catholics and in a duo album with his wife Violet Clark under the name of Maria McKee, John Doe, Lucinda Williams, Steve Earle and more: great songs - a labor of .Grand Duchy We have cool vinyl this month from all three aggregations..
    [Show full text]
  • DRAMATURGY GUIDE School of Rock: the Musical the National Theatre January 16-27, 2019
    DRAMATURGY GUIDE School of Rock: The Musical The National Theatre January 16-27, 2019 Music by Andrew Lloyd Webber Book by Julian Fellowes Lyrics by Glenn Slater Based on the Paramount Film Written by Mike White Featuring 14 new songs from Andrew Lloyd Webber and all the original songs from the movie Packet prepared by Dramaturg Linda Lombardi Sources: School of Rock: The Musical, The Washington Post ABOUT THE SHOW Based on the hit film, this hilarious new musical follows Dewey Finn, a failed, wannabe rock star who poses as a substitute teacher at a prestigious prep school to earn a few extra bucks. To live out his dream of winning the Battle of the Bands, he turns a class of straight-A students into a guitar-shredding, bass-slapping, mind-blowing rock band. While teaching the students what it means to truly rock, something happens Dewey didn’t expect... they teach him what it means to care about something other than yourself. For almost 200 years, The National Theatre has occupied a prominent position on Pennsylvania Avenue – “America’s Main Street” – and played a central role in the cultural and civic life of Washington, DC. Located a stone’s throw from the White House and having the Pennsylvania Avenue National Historic Site as it’s “front yard,” The National Theatre is a historic, cultural presence in our Nation’s Capital and the oldest continuously operating enterprise on Pennsylvania Avenue. The non-profit National Theatre Corporation oversees the historic theatre and serves the DC community through three free outreach programs, Saturday Morning at The National, Community Stage Connections, and the High School Ticket Program.
    [Show full text]
  • We Will Rock You”
    “We Will Rock You” By Queen and Ben Elton At the Hippodrome Theatre through October 20 By Princess Appau WE ARE THE CHAMPIONS When one walks into the Hippodrome Theatre to view “We Will Rock You,” the common expectation is a compilation of classic rock and roll music held together by a simple plot. This jukebox musical, however, surpasses those expectations by entwining a powerful plot with clever updating of the original 2002 musical by Queen and Ben Elton. The playwright Elton has surrounded Queen’s songs with a plot that highlights the familiar conflict of our era: youths being sycophants to technology. This comic method is not only the key to the show’s success but also the antidote to any fear that the future could become this. The futuristic storyline is connected to many of Queen’s lyrics that foreshadow the youthful infatuation with technology and the monotonous lifestyle that results. This approach is emphasized by the use of a projector displaying programmed visuals of a futuristic setting throughout the show. The opening scene transitions into the Queen song “Radio Gaga,” which further affirms this theme. The scene includes a large projection of hundreds of youth, clones to the cast performing on stage. The human cast and virtual cast are clothed alike in identical white tops and shorts or skirts; they sing and dance in sublime unison, defining the setting of the show and foreshadowing the plot. Unlike most jukebox musicals the plot is not a biographical story of the performers whose music is featured. “We Will Rock You” is set 300 years in the future on the iPlanet when individuality and creativity are shunned and conformity reigns.
    [Show full text]
  • Song & Music in the Movement
    Transcript: Song & Music in the Movement A Conversation with Candie Carawan, Charles Cobb, Bettie Mae Fikes, Worth Long, Charles Neblett, and Hollis Watkins, September 19 – 20, 2017. Tuesday, September 19, 2017 Song_2017.09.19_01TASCAM Charlie Cobb: [00:41] So the recorders are on and the levels are okay. Okay. This is a fairly simple process here and informal. What I want to get, as you all know, is conversation about music and the Movement. And what I'm going to do—I'm not giving elaborate introductions. I'm going to go around the table and name who's here for the record, for the recorded record. Beyond that, I will depend on each one of you in your first, in this first round of comments to introduce yourselves however you wish. To the extent that I feel it necessary, I will prod you if I feel you've left something out that I think is important, which is one of the prerogatives of the moderator. [Laughs] Other than that, it's pretty loose going around the table—and this will be the order in which we'll also speak—Chuck Neblett, Hollis Watkins, Worth Long, Candie Carawan, Bettie Mae Fikes. I could say things like, from Carbondale, Illinois and Mississippi and Worth Long: Atlanta. Cobb: Durham, North Carolina. Tennessee and Alabama, I'm not gonna do all of that. You all can give whatever geographical description of yourself within the context of discussing the music. What I do want in this first round is, since all of you are important voices in terms of music and culture in the Movement—to talk about how you made your way to the Freedom Singers and freedom singing.
    [Show full text]
  • Karaoke Book
    10 YEARS 3 DOORS DOWN 3OH!3 Beautiful Be Like That Follow Me Down (Duet w. Neon Hitch) Wasteland Behind Those Eyes My First Kiss (Solo w. Ke$ha) 10,000 MANIACS Better Life StarStrukk (Solo & Duet w. Katy Perry) Because The Night Citizen Soldier 3RD STRIKE Candy Everybody Wants Dangerous Game No Light These Are Days Duck & Run Redemption Trouble Me Every Time You Go 3RD TYME OUT 100 PROOF AGED IN SOUL Going Down In Flames Raining In LA Somebody's Been Sleeping Here By Me 3T 10CC Here Without You Anything Donna It's Not My Time Tease Me Dreadlock Holiday Kryptonite Why (w. Michael Jackson) I'm Mandy Fly Me Landing In London (w. Bob Seger) 4 NON BLONDES I'm Not In Love Let Me Be Myself What's Up Rubber Bullets Let Me Go What's Up (Acoustative) Things We Do For Love Life Of My Own 4 PM Wall Street Shuffle Live For Today Sukiyaki 110 DEGREES IN THE SHADE Loser 4 RUNNER Is It Really Me Road I'm On Cain's Blood 112 Smack Ripples Come See Me So I Need You That Was Him Cupid Ticket To Heaven 42ND STREET Dance With Me Train 42nd Street 4HIM It's Over Now When I'm Gone Basics Of Life Only You (w. Puff Daddy, Ma$e, Notorious When You're Young B.I.G.) 3 OF HEARTS For Future Generations Peaches & Cream Arizona Rain Measure Of A Man U Already Know Love Is Enough Sacred Hideaway 12 GAUGE 30 SECONDS TO MARS Where There Is Faith Dunkie Butt Closer To The Edge Who You Are 12 STONES Kill 5 SECONDS OF SUMMER Crash Rescue Me Amnesia Far Away 311 Don't Stop Way I Feel All Mixed Up Easier 1910 FRUITGUM CO.
    [Show full text]
  • Brian May Plays “God Save the Queen” from the Roof of Buckingham Palace to Commemorate Queen Elizabeth II’S Golden Jubilee on June 3, 2002
    Exclusive interview Brian May plays “God Save the Queen” from the roof of Buckingham Palace to commemorate Queen Elizabeth II’s Golden Jubilee on June 3, 2002. © 2002 Arthur Edwards 26 Astronomy • September 2012 As a teenager, Brian Harold May was shy, uncer- tain, insecure. “I used to think, ‘My God, I don’t know what to do, I don’t know what to wear, I don’t know who I am,’ ” he says. For a kid who didn’t know who he was or what he wanted, he had quite a future in store. Deep, abiding interests and worldwide success A life in would come on several levels, from both science and music. Like all teenagers beset by angst, it was just a matter of sorting it all out. Skiffle, stars, and 3-D A postwar baby, Brian May was born July 19, 1947. In his boyhood home on Walsham Road in Feltham on the western side of Lon- science don, England, he was an only child, the offspring of Harold, an electronics engineer and senior draftsman at the Ministry of Avia- tion, and Ruth. (Harold had served as a radio operator during World War II.) The seeds for all of May’s enduring interests came early: At age 6, Brian learned a few chords on the ukulele from his father, who was a music enthusiast. A year later, he awoke one morning to find a “Spanish guitar hanging off the end of my bed.” and At age 7, he commenced piano lessons and began playing guitar with enthusiasm, and his father’s engineering genius came in handy to fix up and repair equipment, as the family had what some called a modest income.
    [Show full text]
  • © 2017 Star Party Karaoke 17 Cross Canadian Ragweed 45 Shinedown 98.6 Keith 247 Artful Dodger Feat
    Numbers Song Title © 2017 Star Party Karaoke 17 Cross Canadian Ragweed 45 Shinedown 98.6 Keith 247 Artful Dodger Feat. Melanie Blatt 409 Beach Boys, The 911 Wyclef Jean & Mary J Blige 1969 Keith Stegall 1979 Smashing Pumpkins, The 1982 Randy Travis 1985 Bowling For Soup 1999 Prince 1999 Wilkinsons, The 5678 Step #1 Crush Garbage 1, 2 Step Ciara Feat. Missy Elliott 1, 2, 3 Redlight 1910 Fruitgum Co 10 Days Late Third Eye Blind 10,000 Promises Backstreet Boys, The 100 Years Five For Fighting 100 Years From Now Huey Lewis & The News 100% Chance Of Rain Gary Morris 100% Pure Love Crystal Waters 16th Avenue Lacy J Dalton 18 & Life Skid Row 18 Till I Die Bryan Adams 18 Yellow Roses Bobby Darin 19-2000 Gorillaz 19th Nervous Breakdown Rolling Stones, The 2 Become 1 Spice Girls, The 20 Good Reasons Thirsty Merc 20th Century Fox Doors, The 21 Questions 50 Cent Feat Nate Dogg 24 Hours At A Time Marshall Tucker Band, The 24-7 Kevon Edmonds 25 Miles Edwin Starr 25 Minutes Michael Learns To Rock 25 Minutes To Go Johnny Cash 25 Or 6 To 4 Chicago 26 Cents Wilkinsons, The 29 Nights Danni Leigh 29 Palms Robert Plant 3 Strange Days School Of Fish 30 Days In The Hole Humble Pie 30,000 Pounds Of Bananas Harry Chapin 32 Flavours Alana Davis 4 In The Morning Gwen Stefani 4 Seasons Of Loneiness Boyz 2 Men 4 To 1 In Atlanta Tracy Byrd 4+20 Crosby, Stills, Nash & Young 42nd Street Broadway Show “42nd Street” 455 Rocket Kathy Mattea 4th Of July Shooter Jennings 5 Miles To Empty Brownstone 50,000 Names George Jones 50/50 Lemar 500 Miles (Away From Home) Bobby Bare
    [Show full text]
  • Calliope Manuscript Day 1998 Article 1
    Calliope (1954-2001) Volume 1998 Calliope Manuscript Day 1998 Article 1 1998 Calliope Manuscript Day 1998 Follow this and additional works at: https://scholarworks.wmich.edu/calliope Part of the Creative Writing Commons Recommended Citation (1998) "Calliope Manuscript Day 1998," Calliope (1954-2001): Vol. 1998 , Article 1. Available at: https://scholarworks.wmich.edu/calliope/vol1998/iss1/1 This Complete Issue is brought to you for free and open access by the English at ScholarWorks at WMU. It has been accepted for inclusion in Calliope (1954-2001) by an authorized editor of ScholarWorks at WMU. For more information, please contact wmu- [email protected]. llalliope 1998 Calliope Manuscript Day 1998 English Department Western Michigan University March 13, 1998 Workshop Leaders Fiction Gina Wilkins Pete Walpole Becky Cooper· Mike Wells Allegra Blake Darren DeFrain Gabrielle Halko Bonnie Campbell Kim Vollmer Heidi Bell Anne Moore Odell Darren Doyle . · Ryan Johnson Curt Dawkins Pablo Peschiera Carla Vissers Tony Spicer Heather Sias Matt Hollrah Lydia Roth Jason Hall Scott Bade Drama Mackie Garrett Lisa Beckwith Miller Jeff Greer Teachers' Workshop: Sharon Bryan and Elizabeth McCracken Manuscript Day Coordinators: Michele C. McLaughlin and Matt Dube Thanks from the Department of English to members of the WMU Creative Writing Program for staffing workshops; to visiting professors Sharon Bryan and Elizabeth McCracken for the teachers' workshop; to Rebecca Beech for typing Calliope; to J ana Pyle for the cover design; and to those who will give a reading at the program, undecided at the time of printing. Calliope prepared by Rebecca A. Beech Participating Schools Carol Beaver . Ferndale High School Bill Boyle .
    [Show full text]