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Louie Louie Investigation Demonstrates, the FBI Felt That Such Matters Were Theirs to Judge Even After Several Other Government Agencies Had Given Their Clearance
Herrick 1 Aidan Herrick Matthew Lasar History 190U December 18, 2014 Rock, Race, and Payola: The FBI and The Kingsmen’s “Louie Louie” In the spring of 1964, the Federal Bureau of Investigation launched one of its most infamous cases. After receiving numerous reports on a potentially dangerous item that had circulated prolifically around the United States, FBI offices from California to Florida began launching their own investigations into this threat. Much like a virus, the FBI had seen this enemy before, but it took a new form every time it reappeared. Their foe? Rock n’ roll. The new strain? None other than “Louie Louie,” as performed by The Kingsmen. Though clearly a silly waste of time to modern audiences that are used to Top 40 songs that border on pornographic, in 1964 Louie Louie and music like it had a reputation for stirring up trouble. If the FBI could find anything obscene about it, such a discovery could launch another rock ‘n’ roll witch hunt like the one rock had experienced during the Payola scandal five years prior. If a dirty utterance were to be found, the FBI would have another feather in its cap, proving their self-proclaimed position as a moral bulwark against enemies of American virtue. Should a single piece of foul language be present anywhere in the two minute and forty-seven second recording, what more would be necessary to a white society scared of a black uprising to prove that all this “jungle music” was corrupting their kids? In a Rube Goldberg-esque political mess, the FBI opened this investigation not so much because of the song itself, but because of a general paranoid atmosphere in the United States about race, sex and rock. -
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. -
Repor 1 Resumes
REPOR 1RESUMES ED 018 277 PS 000 871 TEACHING GENERAL MUSIC, A RESOURCE HANDBOOK FOR GRADES 7 AND 8. BY- SAETVEIT, JOSEPH G. AND OTHERS NEW YORK STATE EDUCATION DEPT., ALBANY PUB DATE 66 EDRS PRICEMF$0.75 HC -$7.52 186P. DESCRIPTORS *MUSIC EDUCATION, *PROGRAM CONTENT, *COURSE ORGANIZATION, UNIT PLAN, *GRADE 7, *GRADE 8, INSTRUCTIONAL MATERIALS; BIBLIOGRAPHIES, MUSIC TECHNIQUES, NEW YORK, THIS HANDBOOK PRESENTS SPECIFIC SUGGESTIONS CONCERNING CONTENT, METHODS, AND MATERIALS APPROPRIATE FOR USE IN THE IMPLEMENTATION OF AN INSTRUCTIONAL PROGRAM IN GENERAL MUSIC FOR GRADES 7 AND 8. TWENTY -FIVE TEACHING UNITS ARE PROVIDED AND ARE RECOMMENDED FOR ADAPTATION TO MEET SITUATIONAL CONDITIONS. THE TEACHING UNITS ARE GROUPED UNDER THE GENERAL TOPIC HEADINGS OF(1) ELEMENTS OF MUSIC,(2) THE SCIENCE OF SOUND,(3) MUSICAL INSTRUMENTS,(4) AMERICAN FOLK MUSIC, (5) MUSIC IN NEW YORK STATE,(6) MUSIC OF THE THEATER,(7) MUSIC FOR INSTRUMENTAL GROUPS,(8) OPERA,(9) MUSIC OF OTHER CULTURES, AND (10) HISTORICAL PERIODS IN MUSIC. THE PRESENTATION OF EACH UNIT CONSISTS OF SUGGESTIONS FOR (1) SETTING THE STAGE' (2) INTRODUCTORY DISCUSSION,(3) INITIAL MUSICAL EXPERIENCES,(4) DISCUSSION AND DEMONSTRATION, (5) APPLICATION OF SKILLS AND UNDERSTANDINGS,(6) RELATED PUPIL ACTIVITIES, AND(7) CULMINATING CLASS ACTIVITY (WHERE APPROPRIATE). SUITABLE PERFORMANCE LITERATURE, RECORDINGS, AND FILMS ARE CITED FOR USE WITH EACH OF THE UNITS. SEVEN EXTENSIVE BE.LIOGRAPHIES ARE INCLUDED' AND SOURCES OF BIBLIOGRAPHICAL ENTRIES, RECORDINGS, AND FILMS ARE LISTED. (JS) ,; \\',,N.k-*:V:.`.$',,N,':;:''-,",.;,1,4 / , .; s" r . ....,,'IA, '','''N,-'0%')',", ' '4' ,,?.',At.: \.,:,, - ',,,' :.'v.'',A''''',:'- :*,''''.:':1;,- s - 0,- - 41tl,-''''s"-,-N 'Ai -OeC...1%.3k.±..... -,'rik,,I.k4,-.&,- ,',V,,kW...4- ,ILt'," s','.:- ,..' 0,4'',A;:`,..,""k --'' .',''.- '' ''-. -
Lightning in a Bottle
LIGHTNING IN A BOTTLE A Sony Pictures Classics Release 106 minutes EAST COAST: WEST COAST: EXHIBITOR CONTACTS: FALCO INK BLOCK-KORENBROT SONY PICTURES CLASSICS STEVE BEEMAN LEE GINSBERG CARMELO PIRRONE 850 SEVENTH AVENUE, 8271 MELROSE AVENUE, ANGELA GRESHAM SUITE 1005 SUITE 200 550 MADISON AVENUE, NEW YORK, NY 10024 LOS ANGELES, CA 90046 8TH FLOOR PHONE: (212) 445-7100 PHONE: (323) 655-0593 NEW YORK, NY 10022 FAX: (212) 445-0623 FAX: (323) 655-7302 PHONE: (212) 833-8833 FAX: (212) 833-8844 Visit the Sony Pictures Classics Internet site at: http:/www.sonyclassics.com 1 Volkswagen of America presents A Vulcan Production in Association with Cappa Productions & Jigsaw Productions Director of Photography – Lisa Rinzler Edited by – Bob Eisenhardt and Keith Salmon Musical Director – Steve Jordan Co-Producer - Richard Hutton Executive Producer - Martin Scorsese Executive Producers - Paul G. Allen and Jody Patton Producer- Jack Gulick Producer - Margaret Bodde Produced by Alex Gibney Directed by Antoine Fuqua Old or new, mainstream or underground, music is in our veins. Always has been, always will be. Whether it was a VW Bug on its way to Woodstock or a VW Bus road-tripping to one of the very first blues festivals. So here's to that spirit of nostalgia, and the soul of the blues. We're proud to sponsor of LIGHTNING IN A BOTTLE. Stay tuned. Drivers Wanted. A Presentation of Vulcan Productions The Blues Music Foundation Dolby Digital Columbia Records Legacy Recordings Soundtrack album available on Columbia Records/Legacy Recordings/Sony Music Soundtrax Copyright © 2004 Blues Music Foundation, All Rights Reserved. -
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 Comment, January 23, 1986
Bridgewater State University Virtual Commons - Bridgewater State University The ommeC nt Campus Journals and Publications 1986 The ommeC nt, January 23, 1986 Bridgewater State College Volume 61 Number 1 Recommended Citation Bridgewater State College. (1986). The Comment, January 23, 1986. 61(1). Retrieved from: http://vc.bridgew.edu/comment/518 This item is available as part of Virtual Commons, the open-access institutional repository of Bridgewater State University, Bridgewater, Massachusetts. WhOGPI• Goldbtlrg thlnH p.7 Bridgewater State College m nt Janmry 23, 1_111 Vol XXXI _no 1 BS C's Pres.. Rondlleau resigns By Rondileau•s resignation was voted on Brent Rossi and and accepted by the Board of Trustees Roger Spring and the establishment of a screening and search committee will begin shortly. This After 24 years as President of the col committee, which will be chosen by the lege, Dr. Adrian Rondileau announced Board, will include members of the his ·resignation to the Board of Trustees administration, faculty, student body, on January IS. His resignation is effective alumni, and trustees. They will interview as of September l, 1986. all applicants. After they make their In his letter of resignation, Rondileau recommendations to _the Board, the promised to "do everything possible so Board, in turn, will make their recom that there may be a smooth transition n of mendations to the Massachusetts Board power. He also stated that "'in the of Regents. monthes ahead, we will all work together The president, who has been in office to foster and increase the forward during -what has been a period of great momentum of the College." diversification and enrichment of the col. -
Odetta Spirituals for Christmas Mp3, Flac, Wma
Odetta Spirituals For Christmas mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Funk / Soul / Non Music Album: Spirituals For Christmas Country: France Released: 1964 Style: Gospel, Rhythm & Blues, Religious MP3 version RAR size: 1146 mb FLAC version RAR size: 1815 mb WMA version RAR size: 1555 mb Rating: 4.3 Votes: 471 Other Formats: MPC MOD WAV MIDI ADX MP3 AAC Tracklist A1 Virgin Mary Had One Son A2 Somebody's Talking About Jesus A3 Ain't That A-Rocking A4 Mary Had A Baby A5 Go Tell It On The Mountain A6 Beautyful Star A7 Poor Little Jesus B1 Shout For Joy B2 Oh, Jerusalem B3 Rise Up Shepherd And Follow B4 If Anybody Asks You B5 What Month Was Jesus Born In? B6 Children' Go Where I Send Thee Credits Bass [String] – Bill Lee Guitar – Odetta Notes Front cover: BBH 1.390 which is the Mono version cover and a 1x4 cm greens sticker with STEREO in big black capital letters under the BBH 1.390. Label says SBBH 1390. Label is in pink color. Barcode and Other Identifiers Matrix / Runout (Side A): M6 237083 YPARTX 54872 21 SBBH 1390 A Matrix / Runout (Side B): M6 237224 YPARTX 54872 21 B SBBH 1390 B Other versions Category Artist Title (Format) Label Category Country Year Christmas Spirituals VSD-2079 Odetta Vanguard VSD-2079 US 1960 (LP) Super BBH 1390, BBH Spirituals For BBH 1390, BBH Odetta Majestic, France 1964 1.390 Christmas (LP) 1.390 Super Majestic Christmas Spirituals VMD 79079-2 Odetta Vanguard VMD 79079-2 Europe Unknown (CD) AVRS 9030 Odetta Spirituals (LP) Amadeo AVRS 9030 Austria 1961 Christmas Spirituals DOS762HP Odetta DOL DOS762HP Europe 2017 (LP, Pic, RE) Related Music albums to Spirituals For Christmas by Odetta Odetta - At Town Hall Odetta - Odetta Sings Dylan Jesus And Mary Chain, The - Taste The Floor! Various - The Soul Of Jesus Christ Superstar The Mighty Kings Of Harmony - The Mighty Kings Of Harmony Do Rocking Spirituals The Jesus And Mary Chain - Some Candy Talking E.P. -
Charles Town Samstag, 3
Charles Town Samstag, 3. Oktober 2020 Race 1 1 01:00 900 m 22.000 Race 2 2 01:32 1400 m 10.000 Race 3 3 02:02 1400 m 17.000 Race 4 4 02:32 900 m 15.000 Race 5 5 03:02 1300 m 10.500 Race 6 6 03:32 1300 m 14.000 Race 7 7 04:02 1300 m 26.000 Race 8 8 04:32 900 m 24.000 03.10.2020 - Charles Town ©2020 by Wettstar / LiveSports.at KG / Meeting ID: 213679 Seite 1 03.10.2020 - Charles Town Rennen # 10 Seite 2 WANN STARTET IHR PFERD... A. P. d'Oro 5 Cook The Books 4 Meet Ms Bobbi Rae 4 Paul's Plunder 8 Step Out Dancing 3 Bay Hill 5 Cryptosonde 2 Meyers Storm 2 Prince Of Windsor 3 Super Garner 3 Bella Femmina 4 Danz A Rebel 5 Modern Cowpoke 2 Respected 6 Swiss Sunrise 1 Best Shot 1 Fancy Concho 7 Mongolian Angel 8 Righteous Man 7 Thank You Girl 6 Blimey Limey 5 Feisty And Sassy 7 Moon Me Again 8 Rip Thorn 7 Thunder Punch 4 Bold Valor 3 Global First 4 Ms. Haiti 8 Roaring Sidecar 6 Traci's Girl 8 Bustin Bunny 8 Grand Fiber 1 Northern Heat 6 Rocket Road 3 Trikki Nikki 8 Carter's Run 3 Harbour Town 7 Not A Trick 1 Scythe 1 Weaving You Behind 2 Cashton Peak 5 He's A Gold Digger 7 Nurse Tompkins 6 Shore Shot 8 Whiskey Humor 7 Catch My Caboose 3 Hot Possebility 6 Offshore Trip 5 Smookie 8 Whoa Black Betty 8 Celia's Pride 4 Lil Silver Fox 2 Outvoted 5 So Red The Rose 6 Wild Cork 4 Charitable Visit 3 Mayhem Like Me 7 Pap's Legacy 2 Stacksdenero 5 Your Eyes To Mine 6 WANN STARTET IHR JOCKEY / FAHRER.. -
Published Sheet Music from the Rudy Vallee Collection
Published Sheet Music from the Rudy Vallee Collection The Rudy Vallee collection contains almost 30.000 pieces of sheet music (about two thirds published and the rest manuscripts); about half of the titles are accessible through a database and we are presenting here the first ca. 2000 with full information. Song: 21 Guns for Susie (Boom! Boom! Boom!) Year: 1934 Composer: Myers, Richard Lyricist: Silverman, Al; Leslie, Bob; Leslie, Ken Arranger: Mason, Jack Song: 33rd Division March Year: 1928 Composer: Mader, Carl Song: About a Quarter to Nine From: Go into Your Dance (movie) Year: 1935 Composer: Warren, Harry Lyricist: Dubin, Al Arranger: Weirick, Paul Song: Ace of Clubs, The Year: 1926 Composer: Fiorito, Ted Arranger: Huffer, Fred Song: Ace of Diamonds, The Year: 1926 Composer: Fiorito, Ted Arranger: Huffer, Fred Song: Ace of Spades, The Year: 1926 Composer: Fiorito, Ted Arranger: Huffer, Fred K. Song: Actions (speak louder than words) Year: 1931 Composer: Vallee, Rudy; Himber, Richard; Greenblatt, Ben Lyricist: Vallee, Rudy; Himber, Richard; Greenblatt, Ben Arranger: Prince, Graham Song: Adios Year: 1931 Composer: Madriguera, Enric Lyricist: Woods, Eddie; Madriguera, Enric(Spanish translation) Arranger: Raph, Teddy Song: Adorable From: Adorable (movie) Year: 1933 Composer: Whiting, Richard A. Lyricist: Marion, George, Jr. Arranger: Mason, Jack; Rochette, J. (vocal trio) Song: African Lament (Lamento Africano) Year: 1931 Composer: Lecuona, Ernesto Lyricist: Gilbert, L. Wolfe Arranger: Katzman, Louis Song: African Lament (Lamento Africano) -
PAUL REVERE & the Raiders: Pop/Garage Band &Amp
PAUL REVERE & THE RAIDERS: POP/GARAGE BAND and “LOUIE LOUIE” By Alan L. Chrisman Paul Revere, leader and keyboardist for American 60’s and 70’s band, Paul Revere & The Raiders just passed away recently. They had several big hits in the 60’s and the 70’s, such as “Kicks”, “Hungry”, “Just Like Me” “Him or Me-What’s it Gonna Be?” and “Indian Reservation”. They were known for their American Revolution costumes and pop songs, but would later be considered a garage band by the punk era. Their image and sound was created an American reaction to The Beatles and The British Invasion in the mid-60’s and they wrote and played some very catchy and popular hits. Paul Revere (his real middle name) founded the band, when he met lead vocalist, Mark Lindsay, in 1958, who was delivering buns to Revere’s restaurant in Idaho. Revere was drafted into the military, but as a conscientious objector, worked in a mental institution for a year and a half. They formed a band called The Downbeats and had a few regional hits and toured, at one point, with Leon Russell on piano. They got signed to Columbia Records because they had an early hit with the later garage band classic, “Louie Louie” in ’63. The song,”Louie Louie” has its own fascinating history: Originally written by Richard Berry in 1955, it was a minor R&B hit for him. Berry was the uncredited lead vocal on “Riot in Cell Block #9” by The Robbins who later turned into The Coasters. -
A Unique Recording of "The Leaving of Liverpool"
0+ t<\1 5ummer/Fall V ~ 2008 E tJ) Webcasts -§i Odetta > \I) ~ :zV t V .. 1-> C Th:FS~I:::, i :~ O,:o~~:eb::': ~ C'U'OS from lh' ,'oS'oSofPm",' T,y"" V ¥e J Jd )1 n J J' IJJ JJ ,4,1 J. J }I;OJ j "W' J Dl 7 Now J'mlca-ving Li-vcr-pool, bound ouL for Fris-co Bay""'::::" I'm [cav-ing my sweet-heart be-hind me, but ['II U t W£ J J"Da ] I,LD 1)< J or j"rIJ~JJ IJ ) "J )1 ,LJ 311 come back and mar-ry you some-day_ Oh when I'm far a-waynt sea_ I'll nl-waysthink of you_ and the <l.) 4~' jJ J ;,1]:1 j J )IJ Ji J =1, 1J 0/) II " F' ) J. ~ IJ ) J. Jil t.__fl___ 19 day I'm Icav-ing Li-vcr-pooland the land ingstag!for sea. Sing fare you well, my own true love. when , ... LA E >Iun n I • J I} J J II _.--- F J J J J ~ m,. b" my do< , ling when I thinks of you. o gn"" u= American Folklite Center The Librar~ of Congress Folklife Center News AMERICAN FOLKLIFE CENTER “The LeaVING OF LIVERPOOL” ODETTA AFC WEBCASTS IN THE AFC ARCHIVE 1930-2008 NOW ONLINE BOARD OF TRUSTEES Congressional Appointees: C. Kurt Dewhurst, Chair, Michigan Daniel Botkin, California Mickey Hart, California Dennis Holub, South Dakota William L. Kinney, Jr., South Carolina Charlie Seemann, Nevada Kay Kaufman Shelemay, Massachusetts Librarian Appointees: Jane Beck, Vice-chair, Vermont Maribel Alvarez, Arizona Read about a unique re Odetta Holmes Felious AFC has recently made Tom Rankin, North Carolina 15 3 cording of an iconic song, 13 Gordon was a remarkable webcasts available of its Donald Scott, Nevada and the colorful sailor who sang it singer, and a longtime friend of the 2008 public events. -
The Heart of Rock and Soul by Dave Marsh
The Heart of Rock and Soul by Dave Marsh 11 LOUIE LOUIE, The Kingsmen Produced by Ken Chase and Jerry Dennon; written by Richard Berry Wand 143 1963 Billboard: #2 Really stupid, really great. Not really dirty, but so what? "Louie Louie" is the most profound and sublime expression of rock and roll's ability to create something from nothing. Built up from a Morse code beat and a "dub duh dub" refrain, with scratchy lead vocal, tacky electric piano, relentless rhythm guitar, and drums that sound like the guy who's playing 'em isn't sure what comes next, "Louie Louie" scales the heights of trash rock to challenge the credentials of all latter-day rockers: If you don't love it, you've missed the point of the whole thing. Naturally, this Parthenon of Pop didn't spring from the head of the Muse. A Muse would probably have slain it on sight, or passed away herself from the shock of something so crude and fine. "Louie Louie" was born in much more prosaic circumstances, as the B side of "You Are My Sunshine," an R&B version of the Jimmie Davis country standard recorded by Richard Berry and the Pharoahs and released on Flip Records in 1956. Berry was a veteran Los Angeles session singer who'd sung lead on the Robins ' "Riot in Cell Block #9," the first big hit for producers Jerry Leiber and Mike Stoller. The Pharoahs were Berry's cohorts of the day, Flip his patron of the moment. "You Are My Sunshine" made only a small buzz but when L.A.