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lbs Influence Drug Al:^se? pts Replace 'Group' As^^een ounci^BWVinter Peace Festival I ub Januar ist Rockf Top Year Rolf Harris iN BEGINS ON PAGE 57 H U »{. i-' W" ' V. < , - One day Father Flanagan, of Boys’ and soon enough it was a hit. Town, saw one of his little boys carrying a So far, the story has spread to the much bigger boy in his arms, a crippled following towns, and “He Ain’t Heavy, boy. Father Flanagan asked the little boy He’s My Brother” is a hit in all of them: if that wasn’t an awfully heavy load. Houston, Spartanburg, S.C., Columbus, “He ain’t heavy,” the little boy San Diego, Seattle, Denver, Washington, replied. “He’s my brother.” The Hollies’ Minneapolis, San Antonio, Raleigh, song is based on this story. Omaha, San Francisco, Portland, Fresno, Just recently a Jesuit priest, who knew Providence, Des Moines, Mobile, the Boys’ Town story, heard the song on Chicago, Los Angeles, Sacramento, I the radio. He called the D.J. and told him Spokane, New York, Detroit, Atlanta, about it. In turn, the D.J. began to tell the Louisville. story every time he played the record, On Epic Records HlIPIC Special thanks to three heavy brothers—Gary Schaffer, Gary Taylor, Dan Walker. ®''EPIC''. Marea Re|. T.M. PBINIEB IN U.SJ». THE INTERNATIONAL MUSIC-RECORD WEEKLY VOL. XXXI — Number 26/January 24, 1970 Publication Office / 1 780 Broadway, New York, New York 10019 / Telephone: JUdson 6-2640 / Cable Address: Cash Box, N Y GEORGE ALBERT President and Publisher MARTY OSTROW Vice Presiden t IRV LICHTMAN Editor in Chief EDITORIAL MARV GOODMAN Assoc. Editor ALLAN RINDE West Coast Editor JOHN KLEIN NORMAN STEINBERG ED KELLEHER EDITORIAL ASSISTANTS MIKE MARTUCCI ANTHONY LANZETTA ADVERTISING BERNIE BLAKE Director of Advertising ACCOUNT EXECUTIVES STAN SOIFER, New York HARVEY GELLER, Hollywood WOODY HARDING Rock & Drugs Art Director COIN MACHINE & VENDING ED ADLUM General Manager BOB COHEN, Assistant CAMILLE COMPASIO, Chicago LISSA MORROW, Hollywood CIRCULATION THERESA TORTOSA, Mgr. HOLLYWOOD HARVEY GELLER 6430 Sunset Blvd., Hollywood, Calif. 90028 Phone: (213) 465-2129 NASHVILLE JUANITA JONES is different other art 806 16th Ave. South, Nashville, Tenn. 37203 The thingthat excites students of rock industry no from Phone: (615) 244-2898 about the best of rock lyrics is that they forms (e.g. movies, the theatre, books) CHICAGO are artful and accurate reflections of in that 1. not all artists are talented; CAMILLE COMPASIO the passions of their main audience, 2. those who see good economics in 29 E. Madison St., Chicago III. Phone: (312) FI 6-7272 youth. We believe that this audience tackling a “hot” subject can produce ENGLAND DORRIS LAND denies, in general, popularity to those blatant trash that is, unfortunately, em- 3 Cork Street, London, W1, England Phone: 01-734-2374 artists and their wares who exploit rock ployed by detractors as a generalized of ITALY HOLLAND for the almighty buck. example “bad influence.” Besides MARIO PANVINI ROSATI PAUL ACKET This all comes to mind as a new con- mercenary interests, one must admit, Galleria Passarella 2 Theresiastraat 59-63 troversy is emerging on the effect that is the “shock” value that some fine Milan (Italy) The Hague Tel: 790990 Tel: 837700 rock lyrics and, to some extent, the writers have utilized in getting the ball of from GERMANY sound of rock itself may have on the rolling on this kind commentary CHRISTIAN TOERSLEFF BELGIUM use of hallucinatory drugs or worse rock, leading to overreaction and less 2 Hamburg 56 Etienne Smet youngsters and perhaps, for that than good sense (and rock!) on their Leuchtturmeg 30 Hugo Verrieststraat 87 among Tel: 34-91-94-86 Sint-Niklaas (wass) matter, the adult population. Strangely parts. Tel: 76.48.80 (03) enough, this new indictment of rock, BRAZIL But, as things stand now, we believe PEDRO FRAZAO spearheaded by an unkindly United AUSTRALIA DE VASCONCELOS references to drugs are at a minimum RON TUDOR Nations report on the subject, comes Frei 1 1 Apt. 1 3 Rua Caneca, , in rock lyrics and, if they do occur, they 8 Francis St., at a time when direct references to the Heathmont, Victoria usually represent the highest form of Tel: 239.40 18 drug scene is at a minimum. Particu- Tel: 870-5677 rock articulation. And surely to be noted ARGENTINA larly in the singles area, there has been is that many artists and their works are MIGUEL SMIRNOFF MEXICO a decided return to more romanticized Belgrano 3252, Piso 4 "B" SALVADOR ARREGUIN propagandizing on the dangers of drugs. Buenos Aires, Argentina ANTONIO SENS notions of life and, if anything, a great- Tel: 89-6796 Tiber 100 — 7 y 8 Pisos er appeal to understanding in this crisis- Most rock fans have, down through Mexico D.F. CANADA 5, ridden sphere. the years, displayed either by intuition Tel: 25-39-52 11-62-96 WALT GREALIS Two or three years ago, rock writers and/or intelligence, the ability to dis- RPM 1560 Bayview Ave. JAPAN began to carry their idea of freedom of miss the phony and tripe they’ve been Toronto 17, Ontario Adv. Mgr. expression to the point where more or exposed to. Among those who are im- Tel: 89-2166 SHOICHI KUSANO (416) of high Editorial Mgr. less direct references to drugs were pressionable, a recent survey FRANCE MORIHIRO NAGATA made. But, because contemporary art school students in the Detroit area CHRISTOPHE IZARD 466 Higfashi-OIzumi if it seemed to indicate that a lot of kids 24, Rue Octave Feuillet Neirimaku wouldn’t be contemporary didn’t Paris XVI Tel: 870-9358 Tokyo mirror life as it stands at a given junc- don’t even comprehend the more ob- ture, rock lyrics got the message and scure rock lyrics. In any event, rock as SUBSCRIPTION RATES $25 per year anywhere in the U.S.A. Published weekly by Cash Box, 1780 Broadway, New York, began “reporting” on events not always art is merely reflecting a social con- N.Y. 10019. Second class postage paid at Hartford, Conn. 06105 USA. amenable to those who like their art to dition for which rock is often a conve- Copyright © 1969 by The Cash Box Publishing Co., Inc. All rights reserved. Copyright under Universal Copyright Convention. stress a positive view of life. The music nient, simplistic scapegoat. C^shBox CashBoxTOPlOO I WANT YOU BACK PSYCHEDELIC SHACK IF WALLS COULD TALK Jackson 5-Motown 1157 — Temptations-Gordy 7096 44 Little Milton-Checker 1226 76 80 VENUS HONEY COME BACK GUESS WHO 3 7 Glen Campbell-Capitol 2718 — v_y Shocking Blue-Colossus 108 50 Ruby Winters-Diamond 269 77 82 3 RAINDROPS KEEP FALLIN’ ON 36 FANCY NEW WORLD COMING Bobbie Gentry-Capitol 2675 38 39 — — MY HEAD Mama Cass-Dunhill 4225 B. J. Thomas-Scepter SPS 580 1 1 37 CUPID Johnny Nash-Jad 220 36 36 LU 4 WHOLE LOTTA LOVE Peggy Lipton-Ode 124 78 78 Led Zeppelin-Atlantic 2690 2 2 oo SHE CAME THROUGH THE WHY SHOULD I TRY BATHROOM WINDOW Gentrys-Sun 1 108 — — 5 SOMEDAY WE’LL BE TOGETHER Joe Cocker-A&M 1147 39 44 Diana Ross & The Supremes-Motown 1156 6 6 SHADES OF GREEN LET’S WORK TOGETHER Flaming Ember-Hot Wax 6907 — — DON’T CRY DADDY Wilbert Harrison-Sue 11 43 62 Elvis Presley-RCA 9768 7 9 40 LOVE BONES GIVE ME JUST A LITTLE MORE TIME Of The Board-Invictus 9074 — — 7 JAM UP, JELLY TIGHT Johnny Taylor- Stax 0055 46 58 Chairman Tommy Roe-ABC 11247 5 5 41 POINT IT OUT SHE’S READY JINGLE, JANGLE Smokey Robinson & Mlracles-Tamla 54189 42 46 Spiral Starecase-Columbia 45048 79 85 Archies-Kirshner 5002 9 11 THE THRILL IS MA BELLE AMIE (42) GONE — 9 WITHOUT LOVE B. B. King-Bluesway 61032 58 69 Tee Set-Colossus 107 89 ( ) Tom Jones-Parrot 40045 10 13 43 EVERYBODY IS A STAR WON’T FIND BETTER Sly & Family Stone-Epic 10555 47 56 New Hope-Jamie 1381 82 88 (id) I’LL NEVER FALL IN LOVE AGAIN Dionne Warwick-Scepter 12273 13 17 44 NA NA HEY HEY DIDN’T I (BLOW YOUR MIND 11 EARLY IN THE MORNING KISS HIM GOODBYE THIS TIME) Steam-Fontana 1667 28 18 Vanity Fare-Page One 027 12 15 Delfonics-Philly Groove 161 83 97 TRAVELING BAND GOT TO SEE I CAN’T 12 LEAVING ON A JET PLANE Creedence Clearwater Revival-Fantasy 637 — — Peter. Paul & Mary-WB/7 Arts 7340 8 3 GET MOMMY 46 JENNIFER TOMKINS — 1 THANK YOU Jerry Butler-Mercury 73015 88 ( ^ Street People-Musicor 1365 48 57 vly Sly & Family Stone-Epic 10555 37 64 A7 KOOL’S BACK AGAIN H/ UPON CRIPPLE CREEK Kool & The Gang-De-Lite 323 84 98 14 WINTER WORLD OF LOVE The Band-Capitol 2635 26 28 Engelbert Humperdinck-Parrot 40044 15 19 BOLD SISTER 48 ELI’S COMING SOUL Ike & Tina Turner*Blue Thumb 104 86 100 15 MIDNIGHT COWBOY Three Dog Night-Dunhill 4215 40 26 Ferrante & Teicher-UA 50554 16 10 A FRIEND IN THE CITY 49T ^ AIN’T IT FUNKY NOW PT .1 — — 16 WALKING IN THE RAIN James Brown-King 6280 45 50 Andy Kim-Steed 723 Jay & Americans-UA 50605 18 21 RAINY IN HELLO IT’S ME NIGHT GEORGIA - - BLOWING AWAY Brook Benton-Cotillion 44057 62 72 Nazz-SGCOOl VJ/ Fifth Dimension-Soul City 780 21 31 51 MOON WALK THE TOUCH OF YOU Joe Simon-Soundstage 7 2651 55 67 Brenda & Tabulations-Top & Bottom 401 94 — (18) ARIZONA Mark Lindsay-Columbia 45037 25 33 52 TRACES/MEMORIES MEDLEY MORNIN’ MORNIN’ 19 WONDERFUL WORLD, BEAUTIFUL Lettermen-Capitol 2697 56 60 Bobby Goldsboro-U.
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    UNSEEN FEMININITY: WOMEN IN JAPANESE NEW WAVE CINEMA by Candice N. Wilson B.A. in English/Film, Middlebury College, Middlebury, 2001 M.A. in Cinema Studies, New York University, New York, 2007 Submitted to the Graduate Faculty of The Kenneth P. Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of PhD in English/Film Studies University of Pittsburgh 2015 UNIVERSITY OF PITTSBURGH KENNETH P. DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Candice N. Wilson It was defended on April 27, 2015 and approved by Marcia Landy, Distinguished Professor, Film Studies Program Neepa Majumdar, Associate Professor, Film Studies Program Nancy Condee, Director, Graduate Studies (Slavic) and Global Studies (UCIS), Slavic Languages and Literatures Dissertation Advisor: Adam Lowenstein, Director, Film Studies Program ii Copyright © by Candice N. Wilson 2015 iii UNSEEN FEMININITY: WOMEN IN JAPANESE NEW WAVE CINEMA Candice N. Wilson, PhD University of Pittsburgh, 2015 During the mid-1950s to the early 1970s a subversive cinema, known as the Japanese New Wave, arose in Japan. This dissertation challenges critical trends that use French New Wave cinema and the oeuvre of Oshima Nagisa as templates to construct Japanese New Wave cinema as largely male-centered and avant-garde in its formal aesthetics. I argue instead for the centrality of the erotic woman to a questioning of national and postwar identity in Japan, and for the importance of popular cinema to an understanding of this New Wave movement. In short, this study aims to break new ground in Japanese New Wave scholarship by focusing on issues of gender and popular aesthetics.
  • Vanguard Label Discography Was Compiled Using Our Record Collections, Schwann Catalogs from 1953 to 1982, a Phono-Log from 1963, and Various Other Sources

    Vanguard Label Discography Was Compiled Using Our Record Collections, Schwann Catalogs from 1953 to 1982, a Phono-Log from 1963, and Various Other Sources

    Discography Of The Vanguard Label Vanguard Records was established in New York City in 1947. It was owned by Maynard and Seymour Solomon. The label released classical, folk, international, jazz, pop, spoken word, rhythm and blues and blues. Vanguard had a subsidiary called Bach Guild that released classical music. The Solomon brothers started the company with a loan of $10,000 from their family and rented a small office on 80 East 11th Street. The label was started just as the 33 1/3 RPM LP was just gaining popularity and Vanguard concentrated on LP’s. Vanguard commissioned recordings of five Bach Cantatas and those were the first releases on the label. As the long play market expanded Vanguard moved into other fields of music besides classical. The famed producer John Hammond (Discoverer of Robert Johnson, Bruce Springsteen Billie Holiday, Bob Dylan and Aretha Franklin) came in to supervise a jazz series called Jazz Showcase. The Solomon brothers’ politics was left leaning and many of the artists on Vanguard were black-listed by the House Un-American Activities Committive. Vanguard ignored the black-list of performers and had success with Cisco Houston, Paul Robeson and the Weavers. The Weavers were so successful that Vanguard moved more and more into the popular field. Folk music became the main focus of the label and the home of Joan Baez, Ian and Sylvia, Rooftop Singers, Ramblin’ Jack Elliott, Doc Watson, Country Joe and the Fish and many others. During the 1950’s and early 1960’s, a folk festival was held each year in Newport Rhode Island and Vanguard recorded and issued albums from the those events.
  • Space In-Between: Masumura Yasuzo, Japanese New Wave, And

    Space In-Between: Masumura Yasuzo, Japanese New Wave, And

    SPACE IN-BETWEEN: MASUMURA YASUZO, JAPANESE NEW WAVE, AND MASS CULTURE CINEMA by PATRICK ALAN TERRY A THESIS Presented to the Department of East Asian Languages and Literatures and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Master of Arts June 2011 THESIS APPROVAL PAGE Student: Patrick Alan Terry Title: Space In-Between: Masumura Yasuzo, Japanese New Wave, and Mass Culture Cinema This thesis has been accepted and approved in partial fulfillment of the requirements for the Master of Arts degree in the Department of East Asian Languages and Literatures by: Prof. Steven Brown Chair Dr. Daisuke Miyao Advisor and Richard Linton Vice President for Research and Graduate Studies/Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded June 2011 ii © 2011 Patrick Alan Terry iii THESIS ABSTRACT Patrick Alan Terry Master of Arts Department of East Asian Languages and Literatures June 2011 Title: Space In-Between: Masumura Yasuzo, Japanese New Wave, and Mass Culture Cinema Approved: ________________________________________________ Dr. Daisuke Miyao During the early stage of Japan’s High Economic Growth Period (1955-1970), a group of directors and films, labeled the Japanese New Wave, emerged to strong critical acclaim and scholarly pursuit. Over time, Japanese New Wave Cinema has come to occupy a central position within the narrative history of Japanese film studies. This position has helped introduce many significant films while inadvertently ostracizing or ignoring the much broader landscape of film at this time. This thesis seeks to complexify the New Wave’s central position through the career of Daiei Studios’ director, Masumura Yasuzo.