Entertainment Memorabilia | Knightsbridge, London | Wednesday 24 June 2015 22444
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Still on the Road Session Pages: 1978 World Tour US November
STILL ON THE ROAD 1978 WORLD TOUR – US: NOVEMBER 1 Madison, Wisconsin Dane County Memorial Coliseum 3 Kansas City, Missouri Kemper Arena 4 Omaha, Nebraska Civic Auditorium 6 Denver, Colorado McNicholls Arena 9 Portland, Oregon Memorial Coliseum 10 Seattle, Washington Hec Edmondson Pavilion, University Of Washington 11 Vancouver, British Columbia, Canada Pacific National Exhibition Hall 13 Oakland, California Alameda County Coliseum 14 Oakland, California Alameda County Coliseum 15 Los Angeles, California The Forum, Inglewood 17 San Diego, California Sports Arena 18 Tempe, Arizona A.S.U. Activities Center 19 Tucson, Arizona McKale Memorial Center, University Of Arizona 21 El Paso, Texas Special Events Arena 23 Norman, Oklahoma LLoyd Noble Center 24 Fort Worth, Texas Tarrant County Convention Center Arena 25 Austin, Texas Special Events Center, University Of Texas At Austin 26 Houston, Texas The Summit 28 Jackson, Mississippi The Coliseum 29 Baton Rouge, Louisiana L.S.U. Assembly Center Still On The Road: 1978 World Tour: US November 4670 Dane County Memorial Coliseum Madison, Wisconsin 1 November 1978 1. My Back Pages 2. She’s Love Crazy (Tampa Red) 3. Mr. Tambourine Man 4. Shelter From The Storm 5. It's All Over Now, Baby Blue 6. Tangled Up In Blue 7. Ballad Of A Thin Man 8. Maggie's Farm 9. I Don’t Believe You (She Acts Like We Never Have Met) 10. Like A Rolling Stone 11. I Shall Be Released 12. Señor (Tales Of Yankee Power) 13. The Times They Are A-Changin' 14. It Ain't Me, Babe 15. Am I Your Stepchild? 16. One More Cup Of Coffee (Valley Below) 17. -
S4C Authority Bulletin - July 2004
S4C Authority Bulletin - July 2004 OPEN MEETING – TREGARON The Authority held an Open Meeting on Thursday, 22 July 2004, at the Rhiannon Celtic Centre, Tregaron. 45 members of the public were present. The meeting was chaired by Elan Closs Stephens, Chair of S4C, and the Chief Executive, Huw Jones, and the Producer of Children’s Programmes, Angharad Garlick, also took part in the discussion. Amongst the matters discussed were: Sport A member of the audience expressed a wish to see greater Welsh language coverage being given to minor sports – bowls, cycling, cross-country running, athletics, tennis, and it was said that there was also a need for a programme on soccer in Wales such as Gôl. It was said that although rugby was fine, there was too much of it. Huw Jones explained that S4C was anxious to obtain rights to broadcast other sports where they were available. However, rugby was an example of where S4C was able to increase its audience. Soccer had similar potential and S4C was aiming to broadcast more soccer over the coming year. It was, however, more difficult to make similar pledges in relation to the minor sports. It was hoped to be able to give greater coverage to rallying, and discussions were ongoing in respect of some other areas of sport. However, the Channel was aware that viewers expected sports coverage to be exciting and of a high standard. S4C would seek to pursue the rights to broadcast such sports when they became available. Linguistic Standards It was said that S4C needed to take great care in relation to linguistic standards, particularly when children were likely to be watching. -
John Lennon from ‘Imagine’ to Martyrdom Paul Mccartney Wings – Band on the Run George Harrison All Things Must Pass Ringo Starr the Boogaloo Beatle
THE YEARS 1970 -19 8 0 John Lennon From ‘Imagine’ to martyrdom Paul McCartney Wings – band on the run George Harrison All things must pass Ringo Starr The boogaloo Beatle The genuine article VOLUME 2 ISSUE 3 UK £5.99 Packed with classic interviews, reviews and photos from the archives of NME and Melody Maker www.jackdaniels.com ©2005 Jack Daniel’s. All Rights Reserved. JACK DANIEL’S and OLD NO. 7 are registered trademarks. A fine sippin’ whiskey is best enjoyed responsibly. by Billy Preston t’s hard to believe it’s been over sent word for me to come by, we got to – all I remember was we had a groove going and 40 years since I fi rst met The jamming and one thing led to another and someone said “take a solo”, then when the album Beatles in Hamburg in 1962. I ended up recording in the studio with came out my name was there on the song. Plenty I arrived to do a two-week them. The press called me the Fifth Beatle of other musicians worked with them at that time, residency at the Star Club with but I was just really happy to be there. people like Eric Clapton, but they chose to give me Little Richard. He was a hero of theirs Things were hard for them then, Brian a credit for which I’m very grateful. so they were in awe and I think they had died and there was a lot of politics I ended up signing to Apple and making were impressed with me too because and money hassles with Apple, but we a couple of albums with them and in turn had I was only 16 and holding down a job got on personality-wise and they grew to the opportunity to work on their solo albums. -
Diwylliant, Y Gymraeg a Chwaraeon the National Assembly for Wales the Culture, Welsh Language and Sport Committee
Cynulliad Cenedlaethol Cymru Y Pwyllgor Diwylliant, y Gymraeg a Chwaraeon The National Assembly for Wales The Culture, Welsh Language and Sport Committee Dydd Iau, 30 Tachwedd 2006 Thursday, 30 November 2006 Cynnwys Contents Cyflwyniad, Ymddiheuriadau, Dirprwyon a Datgan Buddiannau Introduction, Apologies, Substitutions and Declarations of Interest Cofnodion y Cyfarfod Diwethaf a Hynt y Camau i’w Cymryd Minutes of Last Meeting and Progress on Action Points Adroddiad Blynyddol i’r Pwyllgor gan Amgueddfa Genedlaethol Cymru Annual Report to Committee from National Museum Wales Adroddiad Blynyddol i’r Pwyllgor gan Lyfrgell Genedlaethol Cymru Annual Report to Committee from National Library of Wales Cronfeydd Diwylliannol Ewrop European Cultural Funds Cynnig Trefniadol Procedural Motion Cofnodir y trafodion hyn yn yr iaith y llefarwyd hwy ynddi yn y pwyllgor. Yn ogystal, cynhwysir cyfieithiad Saesneg o gyfraniadau yn y Gymraeg. These proceedings are reported in the language in which they were spoken in the committee. In addition, an English translation of Welsh speeches is included. Aelodau Cynulliad yn bresennol: Rosemary Butler (Cadeirydd), Eleanor Burnham, Lisa Francis, Denise Idris Jones, Val Lloyd, Alun Pugh (y Gweinidog dros Ddiwylliant, y Gymraeg a Chwaraeon), Owen John Thomas. Swyddogion yn bresennol: Neil Cox, Gwasanaeth Ymchwil yr Aelodau; Gwilym Evans, Cyfarwyddwr Dros Dro y Gyfarwyddiaeth dros Ddiwylliant, y Gymraeg a Chwaraeon; Gwyn Griffiths, Cynghorydd Cyfreithiol y Pwyllgor; Ann John, Pennaeth, Cangen y Llyfrgell Genedlaethol a’r Amgueddfa Genedlaethol; Nia Lewis, Swyddfa Ewrop, Brwsel. Eraill yn bresennol: Andrew Green, Llyfrgellydd Llyfrgell Genedlaethol Cymru; Robin Gwyn, Cyfarwyddwr Cyfathrebu Amgueddfa Cymru; Michael Houlihan, Cyfarwyddwr Cyffredinol Amgueddfa Cymru; Judith Ingram, Pennaeth Polisi a Chynllunio Amgueddfa Cymru; Dr R. -
Bob Dylan Performs “It's Alright, Ma (I'm Only Bleeding),” 1964–2009
Volume 19, Number 4, December 2013 Copyright © 2013 Society for Music Theory A Foreign Sound to Your Ear: Bob Dylan Performs “It’s Alright, Ma (I’m Only Bleeding),” 1964–2009 * Steven Rings NOTE: The examples for the (text-only) PDF version of this item are available online at: http://www.mtosmt.org/issues/mto.13.19.4/mto.13.19.4.rings.php KEYWORDS: Bob Dylan, performance, analysis, genre, improvisation, voice, schema, code ABSTRACT: This article presents a “longitudinal” study of Bob Dylan’s performances of the song “It’s Alright, Ma (I’m Only Bleeding)” over a 45-year period, from 1964 until 2009. The song makes for a vivid case study in Dylanesque reinvention: over nearly 800 performances, Dylan has played it solo and with a band (acoustic and electric); in five different keys; in diverse meters and tempos; and in arrangements that index a dizzying array of genres (folk, blues, country, rockabilly, soul, arena rock, etc.). This is to say nothing of the countless performative inflections in each evening’s rendering, especially in Dylan’s singing, which varies widely as regards phrasing, rhythm, pitch, articulation, and timbre. How can music theorists engage analytically with such a moving target, and what insights into Dylan’s music and its meanings might such a study reveal? The present article proposes one set of answers to these questions. First, by deploying a range of analytical techniques—from spectrographic analysis to schema theory—it demonstrates that the analytical challenges raised by Dylan’s performances are not as insurmountable as they might at first appear, especially when approached with a strategic and flexible methodological pluralism. -
The 007Th Minute Ebook Edition
“What a load of crap. Next time, mate, keep your drug tripping private.” JACQUES A person on Facebook. STEWART “What utter drivel” Another person on Facebook. “I may be in the minority here, but I find these editorial pieces to be completely unreadable garbage.” Guess where that one came from. “No, you’re not. Honestly, I think of this the same Bond thinks of his obituary by M.” Chap above’s made a chum. This might be what Facebook is for. That’s rather lovely. Isn’t the internet super? “I don’t get it either and I don’t have the guts to say it because I fear their rhetoric or they’d might just ignore me. After reading one of these I feel like I’ve walked in on a Specter round table meeting of which I do not belong. I suppose I’m less a Bond fan because I haven’t read all the novels. I just figured these were for the fans who’ve read all the novels including the continuation ones, fan’s of literary Bond instead of the films. They leave me wondering if I can even read or if I even have a grasp of the language itself.” No comment. This ebook is not for sale but only available as a free download at Commanderbond.net. If you downloaded this ebook and want to give something in return, please make a donation to UNICEF, or any other cause of your personal choice. BOOK Trespassers will be masticated. Fnarr. BOOK a commanderbond.net ebook COMMANDERBOND.NET BROUGHT TO YOU BY COMMANDERBOND.NET a commanderbond.net book Jacques I. -
1 Music Article from a Homeless Street Musician in Nashville to a Top
Music article From a homeless street musician in Nashville to a top-selling artist in Sweden - The remarkable story of Doug Seegers (by J. Granstrom) In the previous newsletter, we covered Jill Johnson’s highly celebrated TV show “Jills veranda (Jill’s Porch)”, where she invites Swedish artists to visit her in Nashville to make music and learn more Seegers with Johnson at the Swedish about different aspects about life in the American TV show “Allsång på Skansen” Deep South. In one of the most popular episodes during the first season of the show in 2014, Johnson and her guest Magnus Carlson - singer of the popular Swedish band “Weeping Willows” which has collaborated with Oasis member Andy Bell on several occasions - met the 62-year old homeless street musician Doug Seegers who was performing on a park bench in Nashville. A street vendor recommended Johnson and Carlson to check out Seegers, and both were immediately impressed by Seeger’s voice. He tells them that he “lives in a place where he doesn’t have to pay rent - under a bridge”, and then brings them out to a church where homeless people are Seegers with Johnson on offered free food and clothes. During the visit, Seegers plays the cover of their joint his own song ”Going Down To The River”, which impressed album “In Tandem” Johnson and Carlson so much that they returned some time later and offered to record the song with Seegers in Johnny Cash’s old studio in Nashville. Seegers became an overnight sensation in Sweden after the episode was broadcast, and “Going Down To The River” was number 1 on the Swedish iTunes charts for 12 consecutive days. -
Renalming Stage XVI
Study A Man ) 0WhoStud ie I -ex n SexIn ALTERNA TV %I - W --- -- -- -- ^ ^ SB :Counvcil Ap proies Renalming Stage XVI By Elizabeth Wasserman stations, channels 2-13, into a Long The name of the Stage X JI apart- Island-based station. This proposal, ment complex may be changed to the which has received bi-partisan endorse- Harry A. Chapin Apartment Complex if ment form federal, state and local politi- ,residents and the Stony Brook Council, cians, as well as the LICFB varied the local board of trustees have their memberships, including representa- way. tives from Long Island based industries, t The council endorsed changing the colleges and others. name, in honor of the late musician and 'The 10-member council, which has humanitarian who died in a car crash on one seat vacant, was also informed of the the Long Island Expressway in 1981, at controversy surrounding a Professor Carl Hanes Statesman, iDave Goodman their meeting last night. The resolution who was teaching AFS/POL 319 "Polit- stands, providing Chapin's widow ics of Race" equating Zionism as a form expresses approval. The name change of racism. Provost Homer Neal, who was brought up by the Apartment Com- was in attendance at the meeting, said TrusteesJSUNY Weigh plex Residents Association in August. the "issue did create divisions" among University President John Mar- staff members and students. He sug- burger announced at the meeting that ,gested the university may set up a sym- -State Budget Request his policy will change towards the Dor- posium on the topic in the coming mitory Cooking Program, which has months to clear the air about academic By Mitch Wagner individual campuses, including Stony come under attack recently by two State freedom and responsibility, brought up The 1984-85 preliminary budget Brook, submitted budget requests to the surveys. -
Liam Gallager
It’s not about everyone liking Reformed hellraiser Liam Gallagher may have mellowed of late, but there’s still plenty of fire left in you… the Oasis avenger, Sally Browne discovers on a night out with the band HE’S had both of the Gallagher brothers in handle it any more — the hangovers.’’ Back celebrity and the band stops. The crowd four, but who’s counting?). Where Noel his taxi, the London cab driver informs me, in their day, the Gallagher brothers, Noel erupts into a frenzied soccer chant: ‘‘Who are delivers answers worthy of a stand-up show, as we wind through the city’s narrow streets. and Liam, were the unlikely princes of ya? Who are ya?’’ Liam keeps his short and to the point, but The nice one and the naughty one. British pop culture. Growing up in a rough It’s actor Daniel Craig or, as Noel points he’s not ungenerous, chatting about his wife The ‘‘nice’’ one he dropped off at his area of Manchester, in the north, with a out: ‘‘Bond, James Bond.’’ and kids. He recently appeared on Gordon house, at the height of the band’s Britpop devoted mum and unkind dad, they had a Each of the brothers dedicates a song to Ramsay’s The F Word with Nicole. Is fame, when crowds of people were waiting fearless ambition. his woman — Noel, 41, sings Waiting for the Ramsay a man that can outswear him? ‘‘He outside. They sang about living forever, not dying Rapture from the new album, to girlfriend can have a go. -
In the Studio: the Role of Recording Techniques in Rock Music (2006)
21 In the Studio: The Role of Recording Techniques in Rock Music (2006) John Covach I want this record to be perfect. Meticulously perfect. Steely Dan-perfect. -Dave Grohl, commencing work on the Foo Fighters 2002 record One by One When we speak of popular music, we should speak not of songs but rather; of recordings, which are created in the studio by musicians, engineers and producers who aim not only to capture good performances, but more, to create aesthetic objects. (Zak 200 I, xvi-xvii) In this "interlude" Jon Covach, Professor of Music at the Eastman School of Music, provides a clear introduction to the basic elements of recorded sound: ambience, which includes reverb and echo; equalization; and stereo placement He also describes a particularly useful means of visualizing and analyzing recordings. The student might begin by becoming sensitive to the three dimensions of height (frequency range), width (stereo placement) and depth (ambience), and from there go on to con sider other special effects. One way to analyze the music, then, is to work backward from the final product, to listen carefully and imagine how it was created by the engineer and producer. To illustrate this process, Covach provides analyses .of two songs created by famous producers in different eras: Steely Dan's "Josie" and Phil Spector's "Da Doo Ron Ron:' Records, tapes, and CDs are central to the history of rock music, and since the mid 1990s, digital downloading and file sharing have also become significant factors in how music gets from the artists to listeners. Live performance is also important, and some groups-such as the Grateful Dead, the Allman Brothers Band, and more recently Phish and Widespread Panic-have been more oriented toward performances that change from night to night than with authoritative versions of tunes that are produced in a recording studio. -
ENTERTAINMENT Page 17 Technique • Friday, March 24, 2000 • 17
ENTERTAINMENT page 17 Technique • Friday, March 24, 2000 • 17 Fu Manchu on the road On shoulders of giants ENTERTAINMENT The next time you head off down the Oasis returns after some troubling highway and are looking for some years with a new release and new hope tunes, try King of the Road. Page 19 for the future of the band. Page 21 Technique • Friday, March 24, 2000 Passion from the mouthpiece all the way to the back row By Alan Back Havana, Cuba, in 1949, Sandoval of jazz, classical idioms, and Living at a 15-degree tilt began studying classical trumpet traditional Cuban styles. at the age of 12, and his early During a 1977 visit to Cuba, Spend five minutes, or even experience included a three-year bebop master and Latin music five seconds, talking with enrollment at the Cuba National enthusiast Dizzy Gillespie heard trumpeter Arturo Sandoval and the young upstart performing you get an idea of just how with Irakere and decided to be- dedicated he is to his art. Whether “I don’t have to ask gin mentoring him. In the fol- working as a recording artist, lowing years, Sandoval left the composer, professor, or amateur permission to group in order to tour with both actor, he knows full well where anybody to do Gillespie’s United Nation Or- his inspiration comes from and chestra and an ensemble of his does everything in his power to what I have to.” own. The two formed a friend- pass that spark along to anyone Arturo Sandoval ship that lasted until the older who will listen. -
BLOW up De Michelangelo Antonioni
Simon LAURENT MAITRISE IECA HISTOIRE DU CINEMA BLOW UP de Michelangelo Antonioni Dossier téléchargé depuis le site www.lotus-mineral.com AVRIL 2004 1 SOMMAIRE Générique ..................................................................... 3 Biographie ................................................................... 5 Filmographie ............................................................... 6 Résumé.......................................................................... 11 Découpage séquentiel.................................................... 12 Découpage de la séquence 14 ....................................... 16 Analyse de la séquence 14 ........................................... 23 La représentation de l’Angleterre.................................. 29 Analyse personnelle ...................................................... 34 Relevé de citations ........................................................ 40 Cahier critique............................................................... 46 Bibliographie ................................................................ 49 2 Générique : Blow up Réalisateur : Michelangelo Antonioni Assitant réalisateur : Claude Watson Scénario : Michelangelo Antonioni & Tonino Guerra d’après la nouvelle « Las babas del diablo » de Julio Cortázar Dialogues anglais : Edward Bond Distribution Vanessa Redgrave : Jane Sarah Miles : Patricia David Hemmings : Thomas John Castle : Bill Jane Birkin : La femme blonde Gillian Hills : La femme brune Peter Bowles : Ron Veruschka von Lehndorff : Verushka Julian