Nostalgia and Renewal: the Soundtracks of Rushmore and High Fidelity
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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. -
Introduction to the Art of Drum Circle Facilitation, Part 4 Facilitating the Drum Ensemble Towards Orchestrational Consciousness by Arthur Hull
INTRODUCTION TO THE ART OF DRUM CIRCLE FACILITATION, PART 4 FACILITATING THE DRUM ENSEMBLE TOWARDS ORCHESTRATIONAL CONSCIOUSNESS BY ARTHUR HULL his is the fourth in a series of five articles and video in- cilitator is to help the players use their notes to make space for Tstallments that describe and demonstrate the four stages other people’s creativity. of the Village Music Circles Drum Circle Facilitation Protocol. 3. Melody Line. Once you have your players listening and By using this VMC protocol, you will be able to take a circle talking to each other in their interactive rhythmical dialogue, of drummers from a group playing consciousness to an en- you have set the foundation for a particular melody line, or semble playing consciousness, and finally into orchestration- Rhythm Song, to appear in the totality of the group’s interactive al consciousness, where drum rhythm grooves are turned into playing. These melody lines in your drum circle group’s playing music. will constantly evolve and change throughout the event. Sculpt- If you have been following this series of articles, you have ing and showcasing the particular players who are the funda- gone through the basic Village Music Circle protocol that will mental contributors of any “dialogue melody line” is the key to help you get a drum circle started through facilitating interac- facilitating your playing group into higher and more sophisticat- tive experiential rhythmical playing actives. I have introduced ed forms of musicality. to you the process of facilitating a “Drum Call” experience that will educate your drum circle playing group about itself and the collaborative musical potential that exists in any group rhythm event. -
Rolling Stone Magazine's Top 500 Songs
Rolling Stone Magazine's Top 500 Songs No. Interpret Title Year of release 1. Bob Dylan Like a Rolling Stone 1961 2. The Rolling Stones Satisfaction 1965 3. John Lennon Imagine 1971 4. Marvin Gaye What’s Going on 1971 5. Aretha Franklin Respect 1967 6. The Beach Boys Good Vibrations 1966 7. Chuck Berry Johnny B. Goode 1958 8. The Beatles Hey Jude 1968 9. Nirvana Smells Like Teen Spirit 1991 10. Ray Charles What'd I Say (part 1&2) 1959 11. The Who My Generation 1965 12. Sam Cooke A Change is Gonna Come 1964 13. The Beatles Yesterday 1965 14. Bob Dylan Blowin' in the Wind 1963 15. The Clash London Calling 1980 16. The Beatles I Want zo Hold Your Hand 1963 17. Jimmy Hendrix Purple Haze 1967 18. Chuck Berry Maybellene 1955 19. Elvis Presley Hound Dog 1956 20. The Beatles Let It Be 1970 21. Bruce Springsteen Born to Run 1975 22. The Ronettes Be My Baby 1963 23. The Beatles In my Life 1965 24. The Impressions People Get Ready 1965 25. The Beach Boys God Only Knows 1966 26. The Beatles A day in a life 1967 27. Derek and the Dominos Layla 1970 28. Otis Redding Sitting on the Dock of the Bay 1968 29. The Beatles Help 1965 30. Johnny Cash I Walk the Line 1956 31. Led Zeppelin Stairway to Heaven 1971 32. The Rolling Stones Sympathy for the Devil 1968 33. Tina Turner River Deep - Mountain High 1966 34. The Righteous Brothers You've Lost that Lovin' Feelin' 1964 35. -
Ready to Deliver Counting the Dead and Some Governments’ Efforts to Underplay Their Outbreaks
stripes.com Volume 79, No. 6 ©SS 2020 MONDAY, APRIL 27, 2020 50¢/Free to Deployed Areas CORONAVIRUS OUTBREAK Children in MIDEAST Spain relish outdoor hour BY JOSEPH WILSON AND GEIR MOULSON Associated Press BARCELONA, Spain — Shrieks of joy rang out in the streets of Spain as children were allowed to go outside and play Sun- day for first time in six weeks, while peo- ple in Italy and France were eager to hear their leaders’ plans for easing some of the world’s strictest coronavirus lockdowns. “This is wonderful! I can’t believe it has been six weeks,” Susana Sabate, a mother of 3-year-old twin boys, said in Barcelona. “My boys are very active. Today when they saw the front door and we gave them their scooters, they were thrilled.” Wary of igniting new infection flare-ups, nations have been taking divergent paths on how and when to reopen their econo- mies after weeks at a standstill. The official death toll from the virus topped 200,000 worldwide, with 2.9 million confirmed infections, according to a tally by Johns Hopkins University. Those fig- ures understate the enormity of the crisis, because of limited testing, differences in Ready to deliver counting the dead and some governments’ efforts to underplay their outbreaks. SEE OUTDOOR ON PAGE 7 US gunships prepared to make good on Trump’s warning to Iran BY TONY CAPACCIO ‘ I have instructed the United States Navy to Bloomberg News shoot down and destroy any and all Iranian WASHINGTON — Even before Pres- ident Donald Trump’s vow to “shoot gunboats if they harass our ships at sea. -
ALL the TIME in the WORLD a Written Creative Work Submitted to the Faculty of San Francisco State University in Partial Fulfillm
ALL THE TIME IN THE WORLD A written creative work submitted to the faculty of San Francisco State University In partial fulfillment of The Requirements for 2 6 The Degree 201C -M333 V • X Master of Fine Arts In Creative Writing by Jane Marie McDermott San Francisco, California January 2016 Copyright by Jane Marie McDermott 2016 CERTIFICATION OF APPROVAL I certify that I have read All the Time in the World by Jane Marie McDermott, and that in my opinion this work meets the criteria for approving a written work submitted in partial fulfillment of the requirements for the degree: Master of Fine Arts: Creative Writing at San Francisco State University. Chanan Tigay \ Asst. Professor of Creative Writing ALL THE TIME IN THE WORLD. Jane Marie McDermott San Francisco, California 2016 All the Time in the World is the story of gay young people coming to San Francisco in the 1970s and what happens to them in the course of thirty years. Additionally, the novel tells the stories of the people they meet along-the way - a lesbian mother, a World War II veteran, a drag queen - people who never considered that they even had a story to tell until they began to tell it. In the end, All the Time in the World documents a remarkable era in gay history and serves as a testament to the galvanizing effects of love and loss and the enduring power of friendship. I certify that the Annotation is a correct representation of the content of this written creative work. Date ACKNOWLEDGMENT Thanks to everyone in the San Francisco State University MFA Creative Writing Program - you rock! I would particularly like to give shout out to Nona Caspers, Chanan Tigay, Toni Morosovich, Barbara Eastman, and Katherine Kwik. -
High-Fidelity-1955-Nov.Pdf
November 60 cents SIBELIUS AT 90 by Gerald Abraham A SIBELIUS DISCOGRAPHY by Paul Affelder www.americanradiohistory.com FOR FINE SOUND ALL AROUND Bob Fine, of gt/JZe lwtCL ., has standardized on C. Robert Fine, President, and Al Mian, Chief Mixer, at master con- trol console of Fine Sound, Inc., 711 Fifth Ave., New York City. because "No other sound recording the finest magnetic recording tape media hare been found to meet our exact - you can buy - known the world over for its outstanding performance ing'requirements for consistent, uniform and fidelity of reproduction. Now avail- quality." able on 1/2-mil, 1 -mil and 11/2-mil polyester film base, as well as standard plastic base. In professional circles Bob Fine is a name to reckon auaaaa:.cs 'exceed the most with. His studio, one of the country's largest and exacting requirements for highest quality professional recordings. Available in sizes best equipped, cuts the masters for over half the and types for every disc recording applica- records released each year by independent record lion. manufacturers. Movies distributed throughout the magnetically coated world, filmed TV broadcasts, transcribed radio on standard motion picture film base, broadcasts, and advertising transcriptions are re- provides highest quality synchronized re- corded here at Fine Sound, Inc., on Audio products. cordings for motion picture and TV sound tracks. Every inch of tape used here is Audiotape. Every disc cut is an Audiodisc. And now, Fine Sound is To get the most out of your sound recordings, now standardizing on Audiofilm. That's proof of the and as long as you keep them, be sure to put them consistent, uniform quality of all Audio products: on Audiotape, Audiodiscs or Audiofilm. -
People with Disabilities Get Ready: Curtis Mayfield in the 1990S Ray Pence, Ph.D
People with Disabilities Get Ready: Curtis Mayfield in the 1990s Ray Pence, Ph.D. University of Kansas Abstract: This article breaks with precedent by emphasizing disability’s role in the life and work of Curtis Mayfield (1942-1999) and by arguing that his experience of quadriplegia had both positive and difficult dimensions. Analysis focuses on Mayfield’s representation by journalists and other writers in the 1990s, and on how Mayfield answered their portrayals as an interview subject and as a musician with his final studio album New World Order (1996). Considered within the whole of Mayfield’s career, quadriplegia is revealed as one among many difficulties that he answered with critical positive thinking and powerful music. Key Words: quadriplegia, African-American music, civil rights “When a celebrity is ‘stricken’... editors and producers of national news organizations fall all over each other to run a mass-market variation on the theme, but in terms of narrative structure the celebrity story is simply the same notes scored for a symphony orchestra rather than a string quartet” (Riley, 2005, p. 13). Introduction Curtis Lee Mayfield (1942-1999) was a master of soul, rhythm, and blues with enormous and positive cultural influence in the last forty years of the twentieth century. Mayfield was also a person with disabilities—diabetes and, more significantly, quadriplegia—that he acquired late in life. Images are as important as sounds to understanding relationships between Mayfield’s quadriplegia and his music. Three contrasting views of Mayfield lying flat on his back during the 1990s provide a sort of visual synopsis of public perceptions of his final years. -
2011 – Cincinnati, OH
Society for American Music Thirty-Seventh Annual Conference International Association for the Study of Popular Music, U.S. Branch Time Keeps On Slipping: Popular Music Histories Hosted by the College-Conservatory of Music University of Cincinnati Hilton Cincinnati Netherland Plaza 9–13 March 2011 Cincinnati, Ohio Mission of the Society for American Music he mission of the Society for American Music Tis to stimulate the appreciation, performance, creation, and study of American musics of all eras and in all their diversity, including the full range of activities and institutions associated with these musics throughout the world. ounded and first named in honor of Oscar Sonneck (1873–1928), early Chief of the Library of Congress Music Division and the F pioneer scholar of American music, the Society for American Music is a constituent member of the American Council of Learned Societies. It is designated as a tax-exempt organization, 501(c)(3), by the Internal Revenue Service. Conferences held each year in the early spring give members the opportunity to share information and ideas, to hear performances, and to enjoy the company of others with similar interests. The Society publishes three periodicals. The Journal of the Society for American Music, a quarterly journal, is published for the Society by Cambridge University Press. Contents are chosen through review by a distinguished editorial advisory board representing the many subjects and professions within the field of American music.The Society for American Music Bulletin is published three times yearly and provides a timely and informal means by which members communicate with each other. The annual Directory provides a list of members, their postal and email addresses, and telephone and fax numbers. -
“To Be an American”: How Irving Berlin Assimilated Jewishness and Blackness in His Early Songs
“To Be an American”: How Irving Berlin Assimilated Jewishness and Blackness in his Early Songs A document submitted to The Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS in the Performance Studies Division of the College-Conservatory of Music 2011 by Kimberly Gelbwasser B.M., Northwestern University, 2004 M.M., University of Cincinnati, 2006 Committee Chair: Steven Cahn, Ph.D. Abstract During the late nineteenth and early twentieth centuries, millions of immigrants from Central and Eastern Europe as well as the Mediterranean countries arrived in the United States. New York City, in particular, became a hub where various nationalities coexisted and intermingled. Adding to the immigrant population were massive waves of former slaves migrating from the South. In this radically multicultural environment, Irving Berlin, a Jewish- Russian immigrant, became a songwriter. The cultural interaction that had the most profound effect upon Berlin’s early songwriting from 1907 to 1914 was that between his own Jewish population and the African-American population in New York City. In his early songs, Berlin highlights both Jewish and African- American stereotypical identities. Examining stereotypical ethnic markers in Berlin’s early songs reveals how he first revised and then traded his old Jewish identity for a new American identity as the “King of Ragtime.” This document presents two case studies that explore how Berlin not only incorporated stereotypical musical and textual markers of “blackness” within two of his individual Jewish novelty songs, but also converted them later to genres termed “coon” and “ragtime,” which were associated with African Americans. -
Future No Shame Free Mp3 Download Future No Shame Free Mp3 Download
future no shame free mp3 download Future no shame free mp3 download. Completing the CAPTCHA proves you are a human and gives you temporary access to the web property. What can I do to prevent this in the future? If you are on a personal connection, like at home, you can run an anti-virus scan on your device to make sure it is not infected with malware. If you are at an office or shared network, you can ask the network administrator to run a scan across the network looking for misconfigured or infected devices. Another way to prevent getting this page in the future is to use Privacy Pass. You may need to download version 2.0 now from the Chrome Web Store. Cloudflare Ray ID: 668824185a520b69 • Your IP : 188.246.226.140 • Performance & security by Cloudflare. SUPERFLY (Original Motion Picture Soundtrack) Purchase and download this album in a wide variety of formats depending on your needs. Buy the album Starting at $16.49. SUPERFLY (Original Motion Picture Soundtrack) Copy the following link to share it. You are currently listening to samples. Listen to over 70 million songs with an unlimited streaming plan. Listen to this album and more than 70 million songs with your unlimited streaming plans. 1 month free, then $14.99/ month. Patrick Brown, Composer, Lyricist - Marvin Parkman, Composer, Lyricist - Terrence Smith, Composer, Lyricist - Preston Crump, Composer, Lyricist - Sleepy Brown, MainArtist, AssociatedPerformer, Vocal - Scar, FeaturedArtist, AssociatedPerformer, Vocal - DJ Burn One, Producer - The Five Points Bakery, Producer - Siraaj Rhett, Composer, Lyricist - Sleepy Brown feat. Scar, AssociatedPerformer - Richard A. -
The Shop Around the Corner Being 17 Cameraperson Seasons
Tuesday–Saturday: 11 am-10 pm 11 am-10 Tuesday–Saturday: pm Brunch: 10:30 am-3 Sunday (405) 235-6262 MUSEUM CAFE $5 (12 & under): Children $7 (13-18): Teen $7 ID): (with Students College $5 Members: FILM ADMISSION pm 12-5 Sunday: 10 am-5 pm Tuesday-Saturday: MUSEUM HOURS per person $3 (15 or more): Tours School per person $7 (15 or more): Tours $10 (6-18): Children $10 ID): (with Students College Free Members: MUSEUM ADMISSION (405) 236-3100 DRIVE COUCH 415 I I www.okcmoa.com Adults: $9 Adults: I I OKLAHOMA CITY, OK 73102 OKLAHOMA CITY, I Adults: $12 Adults: I www.okcmoa.com/cafe Closed Mondays and major holidays Mondays Closed I Children (5 & under): Free (5 & under): Children I Seniors (62+): $7 (62+): Seniors I Seniors (62+): $10 (62+): Seniors I I I Military (with ID): $5 ID): (with Military I Monday: 11 am-3 pm 11 am-3 Monday: Thursday: 10 am-9 pm Thursday: Museum Cafe Tea: 3-5 pm (Tues.-Fri.) Tea: Cafe Museum PRESENTED IN 35MM! I Senior Tours (15 or more): $6.50 per person (15 or more): Tours Senior Thursday, December 22 | 8 pm I BOTTLE ROCKET Wednesday, December 21 | 7:30 pm RUSHMORE Wednesday, December 28 | 7:30 pm after 5 pm AFTER 5: $5 ART Distinguished by its impeccably detailed compositions, deadpan wit, and meandering narrative, Bottle Rocket inaugurated the feature film careers of Captain of the fencing team, founder of the astronomy society, and writer-director of the epic Vietnam War drama, Heaven and Hell, fifteen-year-old Wes Anderson, Owen Wilson, and Luke Wilson, while laying the foundation for the development of Anderson’s now iconic film style. -
60 CENTS the Boston Symphony Orchestra
H ENSCHBL 1881 -1884 60 CENTS GERICKE 1884-1889 1898 -1906 NIKISCH 1889-1893 Seventy -five Years of The Boston Symphony Orchestra by JOHN M. CONLY 1919 FEBRUARY PA UR 1893 -1898 ax a CC' c C - u á www.americanradiohistory.com how to select the best suited to your needs Standard Plastic -Base Audiotape meets strength and immunity to temperature all the requirements of the professional and humidity. Like all "Mylar" Audio - RELATIVE STRENGTH OF TAPE or home recordist to excellent advantage, tape, it will not dry out or embrittle BASE MATERIALS (at 75'F) providing unsurpassed recording quality with age. at minimum cost. It has consistently set In 50% Humidity the highest performance standards in Super -Thin Audiotape, on 1/2 -mil radio stations, sound studios and record "Mylar." doubles the footage obtainable 90% Humidity manufacturing companies throughout the on a standard reel. Its use, however, is world. The standard 11/2-mil cellulose limited to special applications where Yield Strength Breaking Strength acetate base has ample strength for greatly increased playing time justifies trouble -free operation under all normal a sacrifice of mechanical strength and some increase in print-through. operating conditions. AUDIOTAPE, STANDARD PLASTIC BASE LR Audiotape offers ad- Regardless of the base material, there two important 4.2 Ib. vantages which, for many is only one Audiotape quality -the fin- applications. 4.1 lb. more than outweigh the slight addi- est obtainable. All tapes are precision LR AUDIOTAPE, 1-MIL "MYLAR" tional cost per foot. First, it gives 50<,-;, coated with the same carefully formu- more uninterrupted playing time on a lated oxide and meet the same exacting professional standards of performance.