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Cashbox Subscription: Please Check Classification;
July 13, 1985 NEWSPAPER $3.00 v.'r '-I -.-^1 ;3i:v l‘••: • •'i *. •- i-s .{' *. » NE RIAA CERTIFICATIONS ANNOUNCED R.E.M. AFFILIATES LIVE-AID Crass Roots Audience Blossoms TWORK, GEAR FOR Story on Page 13 WEHIND THE BULLETS: TEARS FOR FEARS #1 MTV AWARDS ENTER NEXT PHASE GUEST EDITORIAL: AL KOOPER SUBSCRIPTION ORDER: PLEASE ENTER MY CASHBOX SUBSCRIPTION: PLEASE CHECK CLASSIFICATION; RETAILER ARTIST I NAME VIDEO JUKEBOXES DEALER AMUSEMENT GAMES COMPANY TITLE ONE-STOP VENDING MACHINES DISTRIBUTOR RADIO SYNDICATOR ADDRESS BUSINESS HOME APT. NO. RACK JOBBER RADIO CONSULTANT PUBLISHER INDEPENDENT PROMOTION CITY STATE/PROVINCE/COUNTRY ZIP RECORD COMPANY INDEPENDENT MARKETING RADIO OTHER: NATURE OF BUSINESS PAYMENT ENCLOSED SIGNATURE DATE USA OUTSIDE USA FOR 1 YEAR I YEAR (52 ISSUES) $125.00 AIRMAIL $195.00 6 MONTHS (26 ISSUES) S75.00 1 YEAR FIRST CLASS/AIRMAIL SI 80.00 01SHBCK (Including Canada & Mexico) 330 WEST 58TH STREET • NEW YORK, NEW YORK 10019 ' 01SH BOX HE INTERNATIONAL MUSIC / COIN MACHINE / HOME ENTERTAINMENT WEEKLY VOLUME XLIX — NUMBER 5 — July 13, 1985 C4SHBO( Guest Editorial : T Taking Care Of Our Own ^ GEORGE ALBERT i. President and Publisher By A I Kooper MARK ALBERT 1 The recent and upcoming gargantuan Ethiopian benefits once In a very true sense. Bob Geldof has helped reawaken our social Vice President and General Manager “ again raise an issue that has troubled me for as long as I’ve been conscience; now we must use it to address problems much closer i SPENCE BERLAND a part of this industry. We, in the American music business do to home. -
Music & Film Memorabilia
MUSIC & FILM MEMORABILIA Friday 11th September at 4pm On View Thursday 10th September 10am-7pm and from 9am on the morning of the sale Catalogue web site: WWW.LSK.CO.Uk Results available online approximately one hour following the sale Buyer’s Premium charged on all lots at 20% plus VAT Live bidding available through our website (3% plus VAT surcharge applies) Your contact at the saleroom is: Glenn Pearl [email protected] 01284 748 625 Image this page: 673 Chartered Surveyors Glenn Pearl – Music & Film Memorabilia specialist 01284 748 625 Land & Estate Agents Tel: Email: [email protected] 150 YEARS est. 1869 Auctioneers & Valuers www.lsk.co.uk C The first 91 lots of the auction are from the 506 collection of Jonathan Ruffle, a British Del Amitri, a presentation gold disc for the album writer, director and producer, who has Waking Hours, with photograph of the band and made TV and radio programmes for the plaque below “Presented to Jonathan Ruffle to BBC, ITV, and Channel 4. During his time as recognise sales in the United Kingdom of more a producer of the Radio 1 show from the than 100,000 copies of the A & M album mid-1980s-90s he collected the majority of “Waking Hours” 1990”, framed and glazed, 52 x 42cm. the lots on offer here. These include rare £50-80 vinyl, acetates, and Factory Records promotional items. The majority of the 507 vinyl lots being offered for sale in Mint or Aerosmith, a presentation CD for the album Get Near-Mint condition – with some having a Grip with plaque below “Presented to Jonathan never been played. -
4BH 1000 Best Songs 2011 Prez Final
The 882 4BH1000BestSongsOfAlltimeCountdown(2011) Number Title Artist 1000 TakeALetterMaria RBGreaves 999 It'sMyParty LesleyGore 998 I'llNeverFallInLoveAgain BobbieGentry 997 HeavenKnows RickPrice 996 ISayALittlePrayer ArethaFranklin 995 IWannaWakeUpWithYou BorisGardiner 994 NiceToBeWithYou Gallery 993 Pasadena JohnPaulYoung 992 IfIWereACarpenter FourTops 991 CouldYouEverLoveMeAgain Gary&Dave 990 Classic AdrianGurvitz 989 ICanDreamAboutYou DanHartman 988 DifferentDrum StonePoneys/LindaRonstadt 987 ItNeverRainsInSouthernCalifornia AlbertHammond 986 Moviestar Harpo 985 BornToTry DeltaGoodrem 984 Rockin'Robin Henchmen 983 IJustWantToBeYourEverything AndyGibb 982 SpiritInTheSky NormanGreenbaum 981 WeDoIt R&JStone 980 DriftAway DobieGray 979 OrinocoFlow Enya 978 She'sLikeTheWind PatrickSwayze 977 GimmeLittleSign BrentonWood 976 ForYourEyesOnly SheenaEaston 975 WordsAreNotEnough JonEnglish 974 Perfect FairgroundAttraction 973 I'veNeverBeenToMe Charlene 972 ByeByeLove EverlyBrothers 971 YearOfTheCat AlStewart 970 IfICan'tHaveYou YvonneElliman 969 KnockOnWood AmiiStewart 968 Don'tPullYourLove Hamilton,JoeFrank&Reynolds 967 You'veGotYourTroubles Fortunes 966 Romeo'sTune SteveForbert 965 Blowin'InTheWind PeterPaul&Mary 964 Zoom FatLarry'sBand 963 TheTwist ChubbyChecker 962 KissYouAllOver Exile 961 MiracleOfLove Eurythmics 960 SongForGuy EltonJohn 959 LilyWasHere DavidAStewart/CandyDulfer 958 HoldMeClose DavidEssex 957 LadyWhat'sYourName Swanee 956 ForeverAutumn JustinHayward 955 LottaLove NicoletteLarson 954 Celebration Kool&TheGang 953 UpWhereWeBelong -
Warner/Reprise Loss Leaders Booklet
THE WARNER BROS. LOSS LEADERS SERIES (1969-1980) Depending On How You Count Them, 34 Essential Various Artist Collections From Another Time We figured it was about time to pull together all of the incredible Warner Bros. Loss Leaders releases dating back to 1969 (and even a little earlier). For those who lived through the era, Warner Bros. Records was winning the sales of an entire generation by signing and supporting some of music’s most uniquely groundbreaking recording artists… during music’s most uniquely groundbreak- ing time. With an appealingly irreverent style (“targeted youth marketing,” it would be called today), WB was making lifelong fans of the kids who entered into the label’s vast catalog of art- ists via the Loss Leaders series—advertised on inner sleeves & brochures, and offering generous selections priced at $1 per LP, $2 for doubles and $3 for their sole 3-LP release, Looney Tunes And Merrie Melodies. And that was including postage. Yes… those were the days, but back then there were very few ways, outside of cut-out bins or a five-finger discount, to score bulk music as cheaply. Warners unashamedly admitted that their inten- tions were to sell more records, by introducing listeners to music they weren’t hearing on their radios, or finding in many of their (still weakly distributed) record stores. And it seemed to work… because the series continued until 1980, and the program issued approximately 34 titles, by our questionable count (detailed in later posts). But, the oldsters among us all fondly remember the multi-paged, gatefold sleeves and inviting artwork/packaging that beckoned from the inner sleeves of our favorite albums, not to mention the assorted rarities, b-sides and oddities that dotted many of the releases. -
Estrella Morente Lead Guitarist: José Carbonell "Montoyita"
Dossier de prensa ESTRELLA MORENTE Vocalist: Estrella Morente Lead Guitarist: José Carbonell "Montoyita" Second Guitarist: José Carbonell "Monty" Palmas and Back Up Vocals: Antonio Carbonell, Ángel Gabarre, Enrique Morente Carbonell "Kiki" Percussion: Pedro Gabarre "Popo" Song MADRID TEATROS DEL CANAL – SALA ROJA THURSDAY, JUNE 9TH AT 20:30 MORENTE EN CONCIERTO After her recent appearance at the Palau de la Música in Barcelona following the death of Enrique Morente, Estrella is reappearing in Madrid with a concert that is even more laden with sensitivity if that is possible. She knows she is the worthy heir to her father’s art so now it is no longer Estrella Morente in concert but Morente in Concert. Her voice, difficult to classify, has the gift of deifying any musical register she proposes. Although strongly influenced by her father’s art, Estrella likes to include her own things: fados, coplas, sevillanas, blues, jazz… ESTRELLA can’t be described described with words. Looking at her, listening to her and feeling her is the only way to experience her art in an intimate way. Her voice vibrates between the ethereal and the earthly like a presence that mutates between reality and the beyond. All those who have the chance to spend a while in her company will never forget it for they know they have been part of an inexplicable phenomenon. Tonight she offers us the best of her art. From the subtle simplicity of the festive songs of her childhood to the depths of a yearned-for love. The full panorama of feelings, the entire range of sensations and colours – all the experiences of the woman of today, as well as the woman of long ago, are found in Estrella’s voice. -
Towards an Ethnomusicology of Contemporary Flamenco Guitar
Rethinking Tradition: Towards an Ethnomusicology of Contemporary Flamenco Guitar NAME: Francisco Javier Bethencourt Llobet FULL TITLE AND SUBJECT Doctor of Philosophy. Doctorate in Music. OF DEGREE PROGRAMME: School of Arts and Cultures. SCHOOL: Faculty of Humanities and Social Sciences. Newcastle University. SUPERVISOR: Dr. Nanette De Jong / Dr. Ian Biddle WORD COUNT: 82.794 FIRST SUBMISSION (VIVA): March 2011 FINAL SUBMISSION (TWO HARD COPIES): November 2011 Abstract: This thesis consists of four chapters, an introduction and a conclusion. It asks the question as to how contemporary guitarists have negotiated the relationship between tradition and modernity. In particular, the thesis uses primary fieldwork materials to question some of the assumptions made in more ‘literary’ approaches to flamenco of so-called flamencología . In particular, the thesis critiques attitudes to so-called flamenco authenticity in that tradition by bringing the voices of contemporary guitarists to bear on questions of belonging, home, and displacement. The conclusion, drawing on the author’s own experiences of playing and teaching flamenco in the North East of England, examines some of the ways in which flamenco can generate new and lasting communities of affiliation to the flamenco tradition and aesthetic. Declaration: I hereby certify that the attached research paper is wholly my own work, and that all quotations from primary and secondary sources have been acknowledged. Signed: Francisco Javier Bethencourt LLobet Date: 23 th November 2011 i Acknowledgements First of all, I would like to thank all of my supervisors, even those who advised me when my second supervisor became head of the ICMuS: thank you Nanette de Jong, Ian Biddle, and Vic Gammon. -
Annual Commencement / Northwestern University
One J-fundred and Tifty^Third Jlnnual (Commencement NORTHWES UNIVERSr J^une ly, ion Enclosed: Corrected Copy of Commencement Book [ ^'Northwestern University One Hundred and Fifty-Third Annual Commencement 10:30 A.M., Friday, June 17, 201 l Ryan Field EvANSTON, Illinois University Seal and Motto Soon after Northwestern University was redesigned the seal, retaining the book University and the date of its founding. founded, its Board of Trustees adopted and light rays and adding two quota- This seal, which remains Northwestern's an official corporate seal. This seal, ap- tions. On the pages of the open book official signature, was approved by the proved on June 26, 1856, consisted of he placed a Greek quotation from the Board of Trustees on December 5, 1890. an open book surrounded by rays of light Gospel of Saint John, chapter 1, verse 14, and circled by the words Northwestern translating to The Word . full of The full text of the University motto, University, Evanston, Illinois. grace and truth. Circling the book are adopted on June 17, 1890, is from the first three words, in Latin, of the the Epistle of Paul the Apostle to the Thirty years later Daniel Bonbright, University motto: Quaecumque sunt vera Philippians, chapter 4, verse 8 (King professor of Latin and a member of (Whatsoever things are true). The outer James Version). Northwestern 's original faculty, border of the seal carries the name of the NORTHWESTERN UNIVERSITY '^^hatsoever things are true, whatsoever things are honest, whatsoever things are just, whatsoever things are pure, whatsoever things are lovely, whatsoever things are ofgood report; ifthere he any virtue, and if there be any praise, think on these things. -
The Cord Weekly News
ORD IT RUNS IN THE FAMILY I AM THE GWYNNE DYER The blood runs deep when it comes to It's not terrorism that scares him- it's Laurier alumni ... PAGE 12-13 climate change ... PAGE 8 Volume 471ssue 16 WEDNESDAY NOVEMBER 29, 2006 www.cordweekly.mm Feels like home tome It's not always easy to know where 'home' is boxes in an ingenious manner so that they kept out the cold night air. Although Ernest's boxes were not exactly a dream home, they had many of the attributes of home. The boxes provided him with some security; it was warm, I am not exactly sure when it hap even· cozy. And like homes ev pened, but it did happt;n. And it erywhere, the boxes allowed Er wasn't when I went away to uni nest private space to keep some versity for the first time or when things secret and to himself. I was a young conscript sent to But for writer Morrow, Ernest the US army during the Korean revealed another side of homeless "conflict:' Nonetheless, at some ness, beyond the physical hard point I stopped considering the ships, issues of emotion and pain two-story stucco house where my at their· deepest and most basic parents lived for 50 years home. level. But perhaps Morrow's pity And at this wonderful time of the for Ernest was somewhat mis year, people will ask, "Are you going placed. People who work with the home for Christmas?" or"Areyougo homeless know that homeless ing to be home for Christmas?" All ness is not merely "hous~lessness:' · such questions assume we Such a point was recently made all know where home truly is. -
Music 10378 Songs, 32.6 Days, 109.89 GB
Page 1 of 297 Music 10378 songs, 32.6 days, 109.89 GB Name Time Album Artist 1 Ma voie lactée 3:12 À ta merci Fishbach 2 Y crois-tu 3:59 À ta merci Fishbach 3 Éternité 3:01 À ta merci Fishbach 4 Un beau langage 3:45 À ta merci Fishbach 5 Un autre que moi 3:04 À ta merci Fishbach 6 Feu 3:36 À ta merci Fishbach 7 On me dit tu 3:40 À ta merci Fishbach 8 Invisible désintégration de l'univers 3:50 À ta merci Fishbach 9 Le château 3:48 À ta merci Fishbach 10 Mortel 3:57 À ta merci Fishbach 11 Le meilleur de la fête 3:33 À ta merci Fishbach 12 À ta merci 2:48 À ta merci Fishbach 13 ’¡¡ÒàËÇèÒ 3:33 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 14 ’¡¢ÁÔé’ 2:29 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 15 ’¡à¢Ò 1:33 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 16 ¢’ÁàªÕ§ÁÒ 1:36 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 17 à¨éÒ’¡¢Ø’·Í§ 2:07 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 18 ’¡àÍÕé§ 2:23 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 19 ’¡¡ÒàËÇèÒ 4:00 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 20 áÁèËÁéÒ¡ÅèÍÁÅÙ¡ 6:49 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 21 áÁèËÁéÒ¡ÅèÍÁÅÙ¡ 6:23 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 22 ¡ÅèÍÁÅÙ¡â€ÃÒª 1:58 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 23 ¡ÅèÍÁÅÙ¡ÅéÒ’’Ò 2:55 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 24 Ë’èÍäÁé 3:21 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 25 ÅÙ¡’éÍÂã’ÍÙè 3:55 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 26 ’¡¡ÒàËÇèÒ 2:10 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 27 ÃÒËÙ≤˨ђ·Ãì 5:24 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… -
«Vamos a La Playa»: Regreso Sin Culpas Al Ítalo-Disco De Los Ochenta
«Vamos a la playa»: Regreso sin culpas al ítalo-disco de los ochenta La verdad es que siempre se mencionan los mismos referentes cuando se habla de música ochentera: Punk-Rock, New Wave, New Romantic, Heavy Metal, Dark o Techno Pop. Y se recurre a las mismas fuentes de origen: Gran Bretaña y Estados Unidos, principalmente. Pero durante esos oscuros años en Chile también se escucha otro género en las fiestas adolescentes, con artistas ahora olvidados, cuyos vinilos y cd´s son actualmente muy bien cotizados en mercados alternativos y en internet. Con el retorno del vinilo, definido como “la” forma de escuchar música, se valora la buena calidad en la mezcla de estos tracks, que con la tecnología digital, no se logra apreciar. Es el caso del estilo «Ítalo- Disco» o simplemente «Ítalo». Probablemente, hoy no se recuerden los nombres de quienes se inscribían en esa línea melódica, pero no hay duda de que alguno de sus temas forman parte de la memoria colectiva, sin tener idea de que eran «onda disco italiana». El estilo tiene la influencia «disco» gracias a reconocidos productores de ese género como Marc Cerrone (con trabajos como «Love in C Minor», de 1976, y «Supernature», 1977) y del legendario Giorgio Moroder, quien ha seguido vigente trabajando con artistas como Kylie Minogue y Daft Punk. Estos últimos -incluso- le hicieron un intenso homenaje con el tema «Giorgio by Moroder» en su álbum «Random access memories» (2013). «Vamos a la playa»: Regreso sin culpas al ítalo-disco de los ochenta Talentosos como Moroder tenían también un fuerte sonido electrónico, herencia de los alemanes Kraftwerk, que sencillamente adoptan por un drástico abaratamiento del costo en instrumentos, lo que implica una dinánica de democratización de la música. -
A Crash Course in Disco Polo #2: History | Norient.Com 23 Sep 2021 13:35:47
A Crash Course in Disco Polo #2: History | norient.com 23 Sep 2021 13:35:47 A Crash Course in Disco Polo #2: History by Jacek Szczepanek It is importation to which disco polo, Poland’s domestic electronic dance music genre, owes most of its sound. It was the political system flip of 1989 that shaped its troubled fate within Polish society. When it all dissolved in centuries-old wedding traditions, disco polo’s form and aesthetics were set. Look for Sabrina, Boys, Akcent and German number plates in Part 2 of Norient’s guide to disco polo: History. https://norient.com/blog/a-crash-course-in-disco-polo-2-history Page 1 of 7 A Crash Course in Disco Polo #2: History | norient.com 23 Sep 2021 13:35:47 Part 2 of 2 – Part 1 / Part 2 Importation Paths The idea of partying to sequenced synthesised sounds flowed into Poland by both public and private paths, which in a communist country were necessarily two quite distinct channels. Disco was officially embraced in the Eastern Bloc as a cure for the epidemic of rock, as it proposed light-hearted dancing instead of politically malcontent, depressive individualism (Wright 2007). The Soviet Union’s mid-70s policy of encouraging the emergence of local diskoteki (dance clubs) was followed by the invitation of West Germany’s Boney M. to perform in Moscow in 1978 (Wright 2007). A show in Poland followed a year later – Boney M. performed at the International Intervision Festival in Sopot. The concert was transmitted on national television and became a thing to remember. -
Winners and Losers Round 2 - Famous Names
Round 1 – Winners and losers Round 2 - Famous names 1 Which country has won the Eurovision 6 Which of these well-known singers failed Song Contest the most times? to win the Eurovision trophy for the A France United Kingdom? B United Kingdom A Cliff Richard C Ireland B Lulu C Sandie Shaw 2 In 1969, how many countries won the Eurovision Song Contest? 7 A year before storming to Eurovision A 2 success and world domination in 1974, B 3 ABBA tried and failed to become C 4 Sweden’s entry in the 1973 Eurovision Song Contest. 3 Which host nation was the first ever to What was the song called? score ‘nil points’? A Ring, Ring A Austria B Ding, Ding B Turkey C Ping Pong C United Kingdom 8 Which pop legend co-wrote one of the 4 How old was Sandra Kim when she won Songs for Europe entries in 1969, the contest for Belgium in 1986? eventually losing out to Lulu’s A 13 Boom Bang-a-Bang? B 16 C 68 9 Which former EastEnders star sent A Message to Your Heart at the Eurovision 5 Which famous Eurovision winners did Song Contest in 1991? the UK give ‘nil points’ to when they hosted the competition in Brighton? 10 Name this famous crooner, who failed to set the competition alight in 1970. Further information If you would like to know more about this year’s Eurovision Song Contest entries, visit the official website of the competition: www.eurovision.tv It features updates and results of the national selection competitions, plus a full list of songs vying for a place in the finals.