The Comment, April 16, 1987
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Wavelength (December 1981)
University of New Orleans ScholarWorks@UNO Wavelength Midlo Center for New Orleans Studies 12-1981 Wavelength (December 1981) Connie Atkinson University of New Orleans Follow this and additional works at: https://scholarworks.uno.edu/wavelength Recommended Citation Wavelength (December 1981) 14 https://scholarworks.uno.edu/wavelength/14 This Book is brought to you for free and open access by the Midlo Center for New Orleans Studies at ScholarWorks@UNO. It has been accepted for inclusion in Wavelength by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. ML I .~jq Lc. Coli. Easy Christmas Shopping Send a year's worth of New Orleans music. to your friends. Send $10 for each subscription to Wavelength, P.O. Box 15667, New Orleans, LA 10115 ·--------------------------------------------------r-----------------------------------------------------· Name ___ Name Address Address City, State, Zip ___ City, State, Zip ---- Gift From Gift From ISSUE NO. 14 • DECEMBER 1981 SONYA JBL "I'm not sure, but I'm almost positive, that all music came from New Orleans. " meets West to bring you the Ernie K-Doe, 1979 East best in high-fideUty reproduction. Features What's Old? What's New ..... 12 Vinyl Junkie . ............... 13 Inflation In Music Business ..... 14 Reggae .............. .. ...... 15 New New Orleans Releases ..... 17 Jed Palmer .................. 2 3 A Night At Jed's ............. 25 Mr. Google Eyes . ............. 26 Toots . ..................... 35 AFO ....................... 37 Wavelength Band Guide . ...... 39 Columns Letters ............. ....... .. 7 Top20 ....................... 9 December ................ ... 11 Books ...................... 47 Rare Record ........... ...... 48 Jazz ....... .... ............. 49 Reviews ..................... 51 Classifieds ................... 61 Last Page ................... 62 Cover illustration by Skip Bolen. Publlsller, Patrick Berry. Editor, Connie Atkinson. -
Martin Birch: Altro Lutto Nel Mondo Del Rock Lunedì 10 Agosto 2020 09:58
Martin Birch: altro lutto nel mondo del rock Lunedì 10 Agosto 2020 09:58 Era stato l'ingegnere del suono di 'Made In Japan' dei Deep Purple. (foto di Ross Halfin) È morto, a 71 anni, Martin Birch, storico produttore ed ingenere del suono. Aveva lavorato (tra gli altri) con Black Sabbath e Iron Maiden ed era stato un personaggio fondamentale per la scena heavy metal. Agli inizi della propria carriera aveva lavorato come tecnico del suono per i Fleetwood Mac. Il suo sapiente lavoro è apprezzabile nei dischi più importanti dei Deep Purple: 'Deep Purple in Rock ', 'Ma chine Head ' e ' Made in Japan '. La notizia del suo decesso è stata confermata anche da David Coverdale, ex Deep Purple e Whitesnake , su Twitter: "Con grande dolore ho potuto appurare che il mio caro amico e produttore Martin Birch è deceduto… Martin è stato una grande parte della mia vita… Mi ha aiutato fin dal primo momento in cui ci siamo incontrati fino a Slide It In… Il mio pensiero e le mie preghiere vanno alla sua famiglia, i suoi amici e ai fan… ". Si dedicò negli anni '80 alla collaborazione con gli Iron Maiden, producendo tutti i loro album da ' Killers' a 'Fear of the Dark', di fatto costruendo insieme a loro quella ricetta diventata un marchio di fabbrica per il gruppo di Steve Harris 1 / 7 Martin Birch: altro lutto nel mondo del rock Lunedì 10 Agosto 2020 09:58 e Bruce Dickinson . Nel 1992 si era però ritirato. Discografia parziale (Fonte Wikipedia) Fleetwood Mac 1969 - Then Play On (engineer) 1970 - Kiln House (engineer) 1973 - Mystery to Me (producer, engineer, -
Smash Hits Volume 60
35p USA $1 75 March I9-April 1 1981 W I including MIND OFATOY RESPECTABLE STREE CAR TROUBLE TOYAH _ TALKING HEADS in colour FREEEZ/LINX BEGGAR &CO , <0$& Of A Toy Mar 19-Apr 1 1981 Vol. 3 No. 6 By Visage on Polydor Records My painted face is chipped and cracked My mind seems to fade too fast ^Pg?TF^U=iS Clutching straws, sinking slow Nothing less, nothing less A puppet's motion 's controlled by a string By a stranger I've never met A nod ofthe head and a pull of the thread on. Play it I Go again. Don't mind me. just work here. I don't know. Soon as a free I can't say no, can't say no flexi-disc comes along, does anyone want to know the poor old intro column? Oh, no. Know what they call me round here? Do you know? The flannel panel! The When a child throws down a toy (when child) humiliation, my dears, would be the finish of a more sensitive column. When I was new you wanted me (down me) Well, I can see you're busy so I won't waste your time. I don't suppose I can drag Now I'm old you no longer see you away from that blessed record long enough to interest you in the Ritchie (now see) me Blackmore Story or part one of our close up on the individual members of The Jam When a child throws down a toy (when toy) (and Mark Ellen worked so hard), never mind our survey of the British funk scene. -
The Medical Humanities Journal of Boston College
THE MEDICAL HUMANITIES JOURNAL OF BOSTON COLLEGE Volume 5 MISSION STATEMENT The Medical Humanities Journal of Boston College seeks to: • Initiate and engage in conversation in the Boston College community and beyond about the emergent field of Medical Humanities, Health and Culture. • Provide students at Boston College with the opportunity to publish original work. • Feature a variety of work from several disciplines. • Examine critically and represent creatively ideas of health, illness, caregiving, and medicine. • Con- nect students with alumni, professionals, and other Medical Humanities programs to extend and to engage in conversation beyond Boston College. EDITORIAL STAFF EDITORS’ NOTE We all enter university eager to become specialists in our own fields of interest, be it chemistry, econom- EDITORS-IN-CHIEF ADVISORS ics, nursing, or art history. We are often driven by our passions, which prompt us to take separate paths towards Aleksandra Qilleri Amy Boesky, Department Chair, Professor of English the attainment of our goals. In light of our individualized engagements, we tend to forget what keeps us intercon- Heena Nissaraly and Director of the Medical Humanities, Health, and nected; one of our shared experiences is that of health and illness. Culture Minor MANAGING EDITOR The Medical Humanities Journal of Boston College seeks to bring all of our experiences to light in an Michaila Kaufmann effort to communicate the breadth of the medical humanities. Through pieces like Cailin MacQuarrie’s op-ed Colleen Taylor, Ph.D. Candidate in -
Fall 2018-2019 Season Tacoma Arts Live Encore Arts Seattle
2019–2020 Energize Your Passion 2019–20 Season · Tacoma’s Historic Theater District Pantages Theater · Rialto Theater · Theater on the Square · Tacoma Armory My legacy. My partner. You have dreams. Goals you want to achieve during your lifetime and a legacy you want to leave behind. The Private Bank can help. Our highly specialized and experienced wealth strategists can help you navigate the complexities of estate planning and deliver the customized solutions you need to ensure your wealth is transferred according to your wishes. Take the first step in ensuring the preservation of your wealth for your lifetime and future generations. To learn more, please visit unionbank.com/theprivatebank or contact: Lisa Roberts Managing Director, Private Wealth Management [email protected] 415-705-7159 Wills, trusts, foundations, and wealth planning strategies have legal, tax, accounting, and other implications. Clients should consult a legal or tax advisor. ©2019 MUFG Union Bank, N.A. All rights reserved. Member FDIC. Union Bank is a registered trademark and brand name of MUFG Union Bank, N.A. Untitled-3 1 4/30/19 12:11 PM Welcome to the 2019–20 Season in the Theater District Tacoma Arts Live’s mission is to “energize community through live performance.” The performing 2019–2020 | Volume 6, No. 1 arts, as the pulse of the city, radiate a vital and joyful energy and engage in the momentum of social change. With 45+ events to choose from in the 2019-20 season, we hope you’ll connect and discover remarkable and transformative experiences in the year ahead. For all upcoming events, visit TacomaArtsLive.org. -
Keplers-Trial-Programme-Va-17.Pdf
Tim Watts EPLER’S TRIAL 9th November 2017 Lydia and Manfred Gorvy Lecture Theatre Victoria & Albert Museum KEPLER PRODUCTIONS would like to thank our sponsors: Our heartfelt thanks, too, goes to the participants in the discussion meetings at St John’s College, Cambridge, out of which much of the material for the opera emerged: Dr John Adamson Dr Mark Nicholls Dr Matthew Champion Prof Mignon Nixon Dr Adam Chau Prof John Rink Dr Stefan Hanss Prof Jacqueline Rose Prof Nick Jardine Prof Simon Schaffer Prof Sachiko Kusukawa Dr Ruth Scurr Prof John Toland Dr David Stuart Prof Juliet Mitchell Dr Charlotte Woodford Pre-performance discussion with Dame Marina Warner, Prof Ulinka Rublack, Prof Simon Schaffer, Dr Aura Satz and Tim Watts. EPLER’S TRIAL An opera by TIM WATTS with film by AURA SATZ based on The Astronomer and the Witch by ULINKA RUBLACK WILLIAM ASHFORD , director GRAHAM WALKER , conductor Cerys purser , Katharina Kepler TheoTheoDOREDORE Platt , Johannes Kepler Hugh Cutting , Daemon JOHN LOFTHOUSE , Einhorn / Magistrate Michael Bell , Schoolmaster / Gabelkhover LYNETTE ALCANTáALCANTáRARARARA , Ursula Reinbold OSIAN GUTHRIE , Young Johannes GESUALDO SIX & GUESTS Soprano: Ana Beard Fernández ( Dorothea Klebl ), Lucy Cox Countertenor: Guy James, Hamish McClaren Tenor: Josh Cooter, Michael Craddock Bass: Samuel Mitchell, Owain Park orchestra Flute – Charlotte Eves Oboe – Rachel Becker Cornetts – Jeremy West, Darren Moore Sackbut –Ellie Chambers Percussion – Carl Wikeley Harp – Tanya Houghton Organ / Harpsichord – Richard Gowers Violins –Julia Hwang, Stephanie Childress, Laura Rickard, Margaret Faultless Cello – Ghislaine McMullin Repetiteur: Richard Gowers Production KATE ROMANO , producer Vicky zenetzi , stage manager OLIVER ORWELL, AV Technician WILLIAM ASHFORD, costume & set design IZZY DABIRI, costume consultant opening soundscape by William Ashford introduction Born in 1571, Johannes Kepler is still one of the most admired astronomers who ever lived. -
Siouxsie and the Banshees the Scream Mp3, Flac, Wma
Siouxsie And The Banshees The Scream mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock Album: The Scream Country: UK & Europe Released: 1989 Style: Post-Punk MP3 version RAR size: 1552 mb FLAC version RAR size: 1738 mb WMA version RAR size: 1738 mb Rating: 4.6 Votes: 514 Other Formats: APE VOX MOD DXD MP2 MP4 MMF Tracklist Hide Credits Pure 1 1:50 Music By – McKay*, Morris*, Sioux*, Severin* Jigsaw Feeling 2 4:37 Lyrics By – Severin*Music By – McKay*, Severin* Overground 3 3:48 Lyrics By – Severin*Music By – McKay* Carcass 4 3:49 Lyrics By – Sioux*, Severin*Music By – Fenton*, Sioux*Written-By – Fenton* Helter Skelter 5 3:46 Written-By – Lennon/McCartney* Mirage 6 2:48 Lyrics By – Severin*Music By – McKay* Metal Postcard 7 4:13 Lyrics By – Sioux*Music By – McKay* Nicotine Stain 8 2:57 Lyrics By – Sioux*Music By – Severin* Suburban Relapse 9 4:10 Lyrics By – Sioux*Music By – McKay* Switch 10 6:51 Lyrics By – Sioux*Music By – McKay* Companies, etc. Distributed By – Polydor Ltd. Marketed By – Polydor Ltd. Phonographic Copyright (p) – Polydor Ltd. (UK) Copyright (c) – Polydor Ltd. (UK) Recorded At – RAK Studios Mixed At – De Lane Lea Studios Published By – Dreamhouse Music Published By – Chappell Music Ltd. Published By – Sparta Florida Music Group Ltd. Published By – Northern Songs Credits Bass Guitar – Steven Severin Design [Concept] – Siouxsie And The Banshees* Drums, Percussion – Kenny Morris Guitar, Saxophone – John McKay Mixed By – Steve Lillywhite Photography By – Paul Wakefield Producer – Siouxsie And The Banshees*, Steve Lillywhite Voice – Siouxsie-Sioux* Written-By – McKay* (tracks: 1 to 4, 6 to 10), Morris* (tracks: 1 to 4, 6 to 10), Sioux* (tracks: 1 to 4, 6 to 10), Severin* (tracks: 1 to 4, 6 to 10) Notes ℗ 1978 Polydor Ltd (UK) © 1989 Polydor Ltd (UK) Original Sound Recording Made By Polydor Ltd (UK) Recorded at RAK. -
City, University of London Institutional Repository
City Research Online City, University of London Institutional Repository Citation: Berköz, Levent Donat (2012). A gendered musicological study of the work of four leading female singer-songwriters: Laura Nyro, Joni Mitchell, Kate Bush, and Tori Amos. (Unpublished Doctoral thesis, City University London) This is the unspecified version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/1235/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] A Gendered Musicological Study of the Work of Four Leading Female Singer-Songwriters: Laura Nyro, Joni Mitchell, Kate Bush, and Tori Amos Levent Donat Berköz Thesis Submitted in Fulfilment of the Requirements for the Degree of Doctor of Philosophy City University London Centre for Music Studies June 2012 1 TABLE OF CONTENTS TABLE OF CONTENTS ………………………………………………………… 2 LIST OF FIGURES ……………………………………………………………… 5 ACKNOWLEDGEMENTS ……………………………………………………… 7 DECLARATION ………………………………………………………………… 9 ABSTRACT ……………………………………………………………………… 10 INTRODUCTION ……………………………………………………………….. 11 Aim of the thesis…………………………………………………………………. -
Debbie Smith YE Nuns / Echobelly
WORDS CHERI AMOUR TECH PICTURES MARTIN HOBBY DEBBIE SMITH YE NUNS / ECHOBELLY “I was hungover like a mother,” admits Debbie Smith about the didn’t survive her three-year-old brother’s intrigue) and annual first time we met in 2012, by the banks of Canal Saint-Martin in attempts to get her to pick up the guitar. “At 14, my dad had the Parisian summertime. Decked out in a dapper three-piece, given up buying me guitars after my brother and I would Smith had performed alongside Raincoats luminary Gina Birch literally tie them up into the tree at the bottom of the garden in the bohemian surrounds of the city’s Comptoir Général, with and shoot arrows at them. But at 14 I decided, ‘Right, I’ll try its colonial tiling and curio cabinets full of skeletons, rare bird now’,” she recalls. feathers and stuffed animals. Who knew that when Birch listed “I bought an Argos guitar, a really cheap amp and an Ibanez herself and ‘friend’ as that afternoon’s performers, we’d be flanger, which was brilliant,” she says. “It was huge and had rubbing shoulders with seminal Britpop guitarist Smith? six knobs on it and took two square batteries. It was a serious A consistent face in the backlines of the British music pedal.” From then on, every day after school, Smith would scene since 1990, Smith is no stranger to teaming up with practise behind closed bedroom doors, flexing her chord iconic figureheads like Birch, performing with everyone from structures around the first Siouxsie and the Banshees album: My Bloody Valentine bassist Debbie Googe in supergroup “I’ve forgotten a lot of them now, but give me a couple of Snowpony, to Au Pairs frontwoman Lesley Woods in Darlings drinks and a guitar, and I will go Banshees on you,” she jests. -
The Cure — Wikipédia
The Cure — Wikipédia https://fr.wikipedia.org/wiki/The_Cure The Cure 1 The Cure [ðə ˈkjʊə(ɹ)] est un groupe de rock britannique, originaire de Crawley, dans le Sussex The Cure de l'Ouest, en Angleterre. Formé en 1976, le groupe comprend actuellement Robert Smith, Roger O'Donnell aux claviers, Simon Gallup à la basse, Reeves Gabrels à la guitare et Jason Cooper à la batterie. Robert Smith est la figure emblématique du groupe. Il en est le chanteur et le guitariste (il joue également de la basse ou des claviers), le parolier et le principal compositeur. Par ailleurs, il est le seul membre présent depuis l'origine du groupe. The Cure, à Singapour le 1er août 2007. Associé au mouvement new wave, The Cure a Informations générales développé un son qui lui est propre, aux ambiances 2, 3 Pays d'origine Royaume-Uni tour à tour mélancoliques, rock, pop, gothiques Genre musical Cold wave, new wave, et psychédéliques, créant de forts contrastes, où la post-punk, rock alternatif, basse est mise en avant et n’est pas seulement un rock gothique instrument d’accompagnement. Elle est, Années actives Depuis 1976 notamment en raison du jeu particulier de Simon Gallup une composante essentielle de la musique de Labels Fiction Records, Geffen The Cure. L'utilisation conjointe d'une basse six Records cordes (souvent une Fender VI), au son Site officiel www.thecure.com caractéristique, très souvent utilisée dans les motifs (http://www.thecure.com) mélodiques, contribue pour beaucoup à la signature Composition du groupe sonore si singulière du groupe. Membres Robert Smith Cette identité musicale, ainsi qu'une identité Simon Gallup visuelle véhiculée par des clips, contribuent à la Roger O'Donnell popularité du groupe qui atteint son sommet dans Jason Cooper les années 1980. -
Central Florida Future, Vol. 21 No. 33, January 12, 1989
University of Central Florida STARS Central Florida Future University Archives 1-12-1989 Central Florida Future, Vol. 21 No. 33, January 12, 1989 Part of the Mass Communication Commons, Organizational Communication Commons, Publishing Commons, and the Social Influence and oliticalP Communication Commons Find similar works at: https://stars.library.ucf.edu/centralfloridafuture University of Central Florida Libraries http://library.ucf.edu This Newsletter is brought to you for free and open access by the University Archives at STARS. It has been accepted for inclusion in Central Florida Future by an authorized administrator of STARS. For more information, please contact [email protected]. Recommended Citation "Central Florida Future, Vol. 21 No. 33, January 12, 1989" (1989). Central Florida Future. 894. https://stars.library.ucf.edu/centralfloridafuture/894 • . he Central Florida Future c 1988 The Central Florida Future Volume 21, Number 33 University of Central Florida/Orlando Thursday January 12, 1989 • . ' Experts shoo bats from Education building by Joelle Subourne and then be disposed of. CENTRAL FLORIDA FUTURE How Not To Get Rabies According to Hanks,"A relatively .small, but unde termined number ofbats have remained in the build Students frequenting the Education building have ing." No new bats should be able to work their way it heard it before, but this time it is definite: into the building n.ow that it has been caulked. The bat problem has finally been solved. According to Dean McFall, director of UCF Public Marshall Hanks and Will Bright, two bat removal Affairs, Hanks and Bright were found after contact experts from Wisconsin, announced in a J anuary 3 ing the Bat Conservation Society. -
Coming Soon to Shank Hall
Coming Soon To Shank Hall http://www.shankhall.com/rss_event.htm?1000 shank hall 1434 N Farwell Ave · Milwaukee, WI 53202 · (414) 276-7288 Schedule Tickets Map FAQ Rent Specs Photos Forums June 28, 2009 Michael Schenker Group , Doug Doppler 8pm $25 1 of 4 6/9/2009 1:51 PM Coming Soon To Shank Hall http://www.shankhall.com/rss_event.htm?1000 Born in Sarstedt, Germany, Schenker has had a long career that has seen him rise to become one of the most influential and respected rock guitarists working today. He started playing in his early teens when his brother Rudolf brought home a Flying V guitar, which captured Michael's imagination. Schenker debuted with Scorpions on their debut album Lonesome Crow at age 16 and was lauded at the time for his mature technique. After Scorpions, Schenker joined upcoming UK band UFO under somewhat unusual circumstances. UFO left the UK to play some dates in Germany, and Scorpions were hired to open for them. UFO's guitarist Bernie Marsden forgot his passport and was unable to make the first gig. At the venue members of UFO spotted Michael playing a sound check with the Scorpions and managed to persuade him into playing that evening's show. Shortly afterwards Schenker was offered the lead guitar spot in UFO and, with the blessing of his brother Rudolf, accepted it. Schenker wrote the music for most of UFO's major label (Chrysalis Records) debut album Phenomenon. His playing on this and subsequent UFO albums attracted attention from music critics and especially from the guitar community.