The Bass Lines of Paul Simon's Graceland
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Juluka Scatterlings Mp3, Flac, Wma
Juluka Scatterlings mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Funk / Soul / Folk, World, & Country Album: Scatterlings Country: US Released: 1982 Style: Afrobeat MP3 version RAR size: 1228 mb FLAC version RAR size: 1604 mb WMA version RAR size: 1747 mb Rating: 4.7 Votes: 442 Other Formats: AAC DTS FLAC ADX MIDI WMA MP1 Tracklist A1 Scatterlings Of Africa A2 Spirit Is The Journey A3 Umbaqanga Music A4 Digging For Some Words A5 Two Humans On The Run A6 Shake My Way B1 Siyayilanda B2 Kwela Man B3 Simple Things B4 Ijwanasibeki B5 Two Humans On The Run Credits Arranged By – Juluka Bass, Percussion, Vocals – Gary Van Zyl Drums, Percussion, Vocals – Zola Mtiya Flute, Vocals – Scorpion Madondo Keyboards – Tim Hoare Lead Vocals, Backing Vocals, Guitar, Concertina – Sipho Mchunu Lead Vocals, Backing Vocals, Guitar, Performer [Umhupe-mouth Bow] – Johnny Clegg Producer – Hilton Rosenthal Notes Cat # on cover 9 23898-4 Cat # on cassette AR 4-23898 Other versions Category Artist Title (Format) Label Category Country Year MINC(L) 1040, Scatterlings (LP, MINC(L) 1040, Juluka MINC, MINC South Africa 1982 MINC (L) 1040 Album) MINC (L) 1040 Scatterlings (CD, CDM 4064742 Juluka EMI CDM 4064742 Germany 1990 Album, RE) RSMCD 1029 Scatterlings (CD, Rhythm RSMCD 1029 Juluka South Africa 2006 134 Album, RE) Safari 134 Scatterlings (LP, Warner Bros. 9 23898-1 Juluka 9 23898-1 US 1982 Album) Records Scatterlings (LP, Safari SHAKA 1 Juluka SHAKA 1 UK 1982 Album) Records Related Music albums to Scatterlings by Juluka 1. Teufelskreis - Unplugged 2. Juluka - The Best Of Juluka 3. Johnny Clegg & Savuka - Third World Child 4. -
Eating After the Triple Disaster: New Meanings of Food in Three Post-3.11 Texts
EATING AFTER THE TRIPLE DISASTER: NEW MEANINGS OF FOOD IN THREE POST-3.11 TEXTS by ROSALEY GAI B.A., The University of Chicago, June 2016 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in THE FACULTY OF GRADUATE AND POSTDOCTORAL STUDIES (Asian Studies) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) August 2020 © Rosaley Gai, 2020 The following individuals certify that they have read, and recommend to the Faculty of Graduate and Postdoctoral Studies for acceptance, the thesis entitled: Eating After the Triple Disaster: New Meanings of Food in Three Post-3.11 Texts submitted by Rosaley Gai in partial fulfillment of the requirements for the degree of Master of Arts in Asian Studies Examining Committee: Sharalyn Orbaugh, Professor, Asian Studies, UBC Supervisor Christina Yi, Associate Professor, Asian Studies, UBC Supervisory Committee Member Ayaka Yoshimizu, Assistant Professor of Teaching, Asian Studies, UBC Supervisory Committee Member ii ABstract Known colloquially as “3.11,” the triple disaster that struck Japan’s northeastern region of Tōhoku on March 11, 2011 comprised of both natural (the magnitude 9.0 earthquake and resultant tsunami) and humanmade (the nuclear meltdown at the Tokyo Electric Power Company’s Fukushima Daiichi nuclear power plant incurred due to post-earthquake damage) disasters. In the days, weeks, months, and years that followed, there was an outpouring of media reacting to and reflecting on the great loss of life and resulting nuclear contamination of the nearby land and sea of the region. Thematically, food plays a large role in many post-3.11 narratives, both through the damage and recovery of local food systems after the natural disasters and the radiation contamination that to this day stigmatizes regionally grown food. -
PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 and 1991 Bradley C. Klypchak a Dissertation Submitted to the Graduate
PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 AND 1991 Bradley C. Klypchak A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2007 Committee: Dr. Jeffrey A. Brown, Advisor Dr. John Makay Graduate Faculty Representative Dr. Ron E. Shields Dr. Don McQuarie © 2007 Bradley C. Klypchak All Rights Reserved iii ABSTRACT Dr. Jeffrey A. Brown, Advisor Between 1984 and 1991, heavy metal became one of the most publicly popular and commercially successful rock music subgenres. The focus of this dissertation is to explore the following research questions: How did the subculture of heavy metal music between 1984 and 1991 evolve and what meanings can be derived from this ongoing process? How did the contextual circumstances surrounding heavy metal music during this period impact the performative choices exhibited by artists, and from a position of retrospection, what lasting significance does this particular era of heavy metal merit today? A textual analysis of metal- related materials fostered the development of themes relating to the selective choices made and performances enacted by metal artists. These themes were then considered in terms of gender, sexuality, race, and age constructions as well as the ongoing negotiations of the metal artist within multiple performative realms. Occurring at the juncture of art and commerce, heavy metal music is a purposeful construction. Metal musicians made performative choices for serving particular aims, be it fame, wealth, or art. These same individuals worked within a greater system of influence. Metal bands were the contracted employees of record labels whose own corporate aims needed to be recognized. -
COURSE CATALOG 2016-2017 Academic Calendar
COURSE CATALOG 2016-2017 Academic Calendar . 4 Academic Programs . 46 About LACM . .. 6 Performance LACM Educational Programs . 8 Bass . 46 CONTENTS Administration . 10 Brass & Woodwind . .. 52 Admissions . 11 Drums . .. 58 Tuition & Fees . 13 Guitar . 64 Financial Aid . 18 Vocal. 70 Registrar . 22 Music Composition International Student Services . 26 Songwriting . 76 Academic Policies & Procedures . 27 Music Production Student Life . 30 Composing for Visual Media . 82 Career Services . .. 32 Music Producing & Recording . 88 Campus Facilities – Security. 33 Music Industry Rules of Conduct & Expectations . 35 Music Business . 94 Health Policies . 36 Course Descriptions . 100 Grievance Policy & Procedures . .. 39 Department Chairs & Faculty Biographies . 132 Change of Student Status Policies & Procedures . 41 Collegiate Articulation & Transfer Agreements . 44 FALL 2016 (OCTOBER 3 – DECEMBER 16) ACADEMIC DATES SPRING 2017 (APRIL 10 – JUNE 23) ACADEMIC DATES July 25 - 29: Registration Period for October 3 - October 7: Add/Drop January 30 - February 3: Registration Period for April 10 - April 14: Add/Drop Upcoming Quarter Upcoming Quarter October 10 - November 11: Drop with a “W” April 17 - May 19: Drop with a “W” August 22: Tuition Deadline for Continuing Students February 27: Tuition Deadline for November 14 - December 9: Receive a letter grade May 22 - June 16: Receive a letter grade October 3: Quarter Begins Continuing Students November 11: Veterans Day, Campus Closed April 10: Quarter Begins November 24: Thanksgiving, Campus Closed May 29: Memorial Day, Campus Closed November 25: Campus Open, No classes. June 19 - 23: Exams Week December 12-16: Exams Week June 23: Quarter Ends December 16: Quarter Ends December 24 - 25: Christmas, Campus Closed December 26: Campus Open, No classes. -
Constructing and Consuming an Ideal in Japanese Popular Culture
Running head: KAWAII BOYS AND IKEMEN GIRLS 1 Kawaii Boys and Ikemen Girls: Constructing and Consuming an Ideal in Japanese Popular Culture Grace Pilgrim University of Florida KAWAII BOYS AND IKEMEN GIRLS 2 Table of Contents Abstract………………………………………………………………………………………..3 Introduction……………………………………………………………………………………4 The Construction of Gender…………………………………………………………………...6 Explication of the Concept of Gender…………………………………………………6 Gender in Japan………………………………………………………………………..8 Feminist Movements………………………………………………………………….12 Creating Pop Culture Icons…………………………………………………………………...22 AKB48………………………………………………………………………………..24 K-pop………………………………………………………………………………….30 Johnny & Associates………………………………………………………………….39 Takarazuka Revue…………………………………………………………………….42 Kabuki………………………………………………………………………………...47 Creating the Ideal in Johnny’s and Takarazuka……………………………………………….52 How the Companies and Idols Market Themselves…………………………………...53 How Fans Both Consume and Contribute to This Model……………………………..65 The Ideal and What He Means for Gender Expression………………………………………..70 Conclusion……………………………………………………………………………………..77 References……………………………………………………………………………………..79 KAWAII BOYS AND IKEMEN GIRLS 3 Abstract This study explores the construction of a uniquely gendered Ideal by idols from Johnny & Associates and actors from the Takarazuka Revue, as well as how fans both consume and contribute to this model. Previous studies have often focused on the gender play by and fan activities of either Johnny & Associates talents or Takarazuka Revue actors, but never has any research -
Abraham Laboriel Thomas Risell Alfonso Cifo
Sep-Oct 2012 Número 9 / Entrevistamos Abraham Laboriel Thomas Risell Alfonso Cifo Analizamos Yamaha TRB1005J EBS Microbass II Software: Hybrid Tools y Vivace Y además Didáctica con la colaboración especial de Igor Saavedra, Taller, Multimedia... SUMARIO EDITORIAL NÚMERO 9 3 Entrevistas aludos amigos, un número más y seguimos no defraudar a nadie. Ello me lleva a dar las fieles a la cita con todos vosotros, los gracias a todos los colaboradores sin los Abraham Laboriel S Alfonso Cifo seguidores del mundo del bajo. Para esta cuales no sería posible este sueño. Como Thomas Risell ocasión contamos con unos contenidos siempre os recomiendo visitar las webs de variados y de mucha calidad, solo hay que nuestros anunciantes, están a un click en la 19 Reviews nombrar a Abraham Laboriel entrevistado en revista y tienen propuestas muy interesantes exclusiva y nuestro bajista de portada. Thomas que en nada envidian a otras europeas. Yamaha TRB1005J Risell, el danés conocido como Marlowe DK, Gracias por estar ahí. EBS Microbass II toda una estrella en la didáctica a través de Internet nos cuenta su fascinante historia. 27 Taller Marcas de gran prestigio en el mundo del Convolución bajo como EBS y Yamaha ocupan nuestras José Manuel López reviews. Damos la bienvenida a Mariano Director de Bajos y Bajistas. 30 Didáctica Martos a nuestra sección de didáctica cada Bajo Flamenco vez más completa y abarcando mayor número Love Games de técnicas y estilos, como siempre con Simon Karma Police Fitzpatrick al frente. Acordes al vez sea el momento de reflexionar 38 Software Tdespués de un año y medio del inicio del Hybrid Tools proyecto, ya consolidada realidad, que es Vivace Bajos y Bajistas y desde luego no podemos sentirnos más satisfechos de la aceptación 42 Multimedia tenida en todo el mundo del bajo, ese feedback nos llena de energía para seguir trabajando y Abraham Laboriel La personalidad y la libertad al bajo. -
Yamaha Corporation of America Winter Namm 2012 Press Kit
YAMAHA CORPORATION OF AMERICA WINTER NAMM 2012 PRESS KIT VISIT THE YAMAHA WINTER NAMM 2012 EXHIBIT AT THE ANAHEIM MARRIOTT, MARQUIS BALLROOM ACCESS HIGH-RESOLUTION PHOTOS AND PRESS RELEASES AT HTTP://WWW.YAMAHA.COM/NAMM/ FOR FURTHER INFORMATION, PLEASE CONTACT THE FOLLOWING STAFF AT GILES COMMUNICATIONS: KEYBOARD DIVISION LISA CESARANO [email protected] 914-414-1556 (MOBILE) ELISE COOPER 914-584-7952 BAND AND ORCHESTRAL DIVISION, CORPORATE LISA CESARANO [email protected] 914-414-1556 (MOBILE) PAC, LIVE SOUND,MUSIC PRODUCTION, STEINBERG: MARC FERRIS [email protected] 914-478-1233 (MOBILE) CORPORATE POPULAR YAMAHA JUNIOR ORIGINAL CONCERT SERIES RETURNS TO NAMM —Talented Young Musicians Take to the Stage at Annual Winter NAMM Crowd Favorite — ANAHEIM, Calif.—The Yamaha Music Education System will present its perennially captivating Junior Original Concert (JOC) on Thursday, January 19. For the first time, the young musicians will perform at two NAMM venues: 8:30 a.m. at the NAMMU Dealer Breakfast in the Pacific Ballroom, Hilton Anaheim Hotel and 1:00 p.m. at the Yamaha Booth, Keyboard Division area, Marquis Ballroom at the Anaheim Marriott Hotel. All NAMM attendees are invited to enjoy the free 1 p.m. concert event, which will feature young talented Yamaha Music School students performing their own original compositions. Nine-year-old Alexander Hurvitz, a student at Harmony Music World, Fullerton, Calif., will perform his original piano solo composition, “Pushy Cat and Nutty Squirrels.” Chloe Li, also age 9 and a JSAC student at the Irvine Yamaha Music Center, will play the Clavinova CVP-509 in her original ensemble composition, “First Flight.” Chloe will play along with percussionists Dominic Primo, Sarah Chen and Lauren Chen, as well as her sister Claire Li, who will be performing on a second CVP-509. -
Narrative Representations of Gender and Genre Through Lyric, Music, Image, and Staging in Carrie Underwood’S Blown Away Tour
COUNTRY CULTURE AND CROSSOVER: Narrative Representations of Gender and Genre Through Lyric, Music, Image, and Staging in Carrie Underwood’s Blown Away Tour Krisandra Ivings A Thesis Presented In Partial Fulfillment of the Requirement for the Degree Master of Arts in Music with Specialization in Women’s Studies University of Ottawa © Krisandra Ivings, Ottawa, Canada, 2016 Abstract This thesis examines the complex and multi-dimensional narratives presented in the work of mainstream female country artist Carrie Underwood, and how her blending of musical genres (pop, rock, and country) affects the narratives pertaining to gender and sexuality that are told through her musical texts. I interrogate the relationships between and among the domains of music, lyrics, images, and staging in Underwood’s live performances (Blown Away Tour: Live DVD) and related music videos in order to identify how these gendered narratives relate to genre, and more specifically, where these performances and videos adhere to, expand on, or break from country music tropes and traditions. Adopting an interlocking theoretical approach grounded in genre theory, gender theory, narrative theory in the context of popular music, and happiness theory, I examine how, as a female artist in the country music industry, Underwood uses genre-blending to construct complex gendered narratives in her musical texts. Ultimately, I find that in her Blown Away Tour: Live DVD, Underwood uses diverse narrative strategies, sometimes drawing on country tropes, to engage techniques and stylistic influences of several pop and rock styles, and in doing so explores the gender norms of those genres. ii Acknowledgements A great number of people have supported this thesis behind the scenes, whether financially, academically, or emotionally. -
1. Matome Ratiba
JICLT Journal of International Commercial Law and Technology Vol. 7, Issue 1 (2012) “The sleeping lion needed protection” – lessons from the Mbube ∗∗∗ (Lion King) debacle Matome Melford Ratiba Senior Lecturer, College of Law University of South Africa (UNISA) [email protected] Abstract : In 1939 a young musician from the Zulu cultural group in South Africa, penned down what came to be the most popular albeit controversial and internationally acclaimed song of the times. Popular because the song somehow found its way into international households via the renowned Disney‘s Lion King. Controversial because the popularity passage of the song was tainted with illicit and grossly unfair dealings tantamount to theft and dishonest misappropriation of traditional intellectual property, giving rise to a lawsuit that ultimately culminated in the out of court settlement of the case. The lessons to be gained by the world and emanating from this dramatics, all pointed out to the dire need for a reconsideration of measures to be urgently put in place for the safeguarding of cultural intellectual relic such as music and dance. 1. Introduction Music has been and, and continues to be, important to all people around the world. Music is part of a group's cultural identity; it reflects their past and separates them from surrounding people. Music is rooted in the culture of a society in the same ways that food, dress and language are”. Looked at from this perspective, music therefore constitute an integral part of cultural property that inarguably requires concerted and decisive efforts towards preservation and protection of same from unjust exploitation and prevalent illicit transfer of same. -
Heavy Metal and Classical Literature
Lusty, “Rocking the Canon” LATCH, Vol. 6, 2013, pp. 101-138 ROCKING THE CANON: HEAVY METAL AND CLASSICAL LITERATURE By Heather L. Lusty University of Nevada, Las Vegas While metalheads around the world embrace the engaging storylines of their favorite songs, the influence of canonical literature on heavy metal musicians does not appear to have garnered much interest from the academic world. This essay considers a wide swath of canonical literature from the Bible through the Science Fiction/Fantasy trend of the 1960s and 70s and presents examples of ways in which musicians adapt historical events, myths, religious themes, and epics into their own contemporary art. I have constructed artificial categories under which to place various songs and albums, but many fit into (and may appear in) multiple categories. A few bands who heavily indulge in literary sources, like Rush and Styx, don’t quite make my own “heavy metal” category. Some bands that sit 101 Lusty, “Rocking the Canon” LATCH, Vol. 6, 2013, pp. 101-138 on the edge of rock/metal, like Scorpions and Buckcherry, do. Other examples, like Megadeth’s “Of Mice and Men,” Metallica’s “For Whom the Bell Tolls,” and Cradle of Filth’s “Nymphetamine” won’t feature at all, as the thematic inspiration is clear, but the textual connections tenuous.1 The categories constructed here are necessarily wide, but they allow for flexibility with the variety of approaches to literature and form. A segment devoted to the Bible as a source text has many pockets of variation not considered here (country music, Christian rock, Christian metal). -
PRESS RELEASE Artist: Maciek Schejbal Album: Afro-Polka Label: Afro-Polka Productions Release Date: August 30, 2018
PRESS RELEASE Artist: Maciek Schejbal Album: Afro-Polka Label: Afro-Polka Productions Release Date: August 30, 2018 Maciek Schejbal (pronounced MAH-chek SHAY-bal) is world-class drummer based in New York City. In addi- tion to gigging and touring with jazz bands and afro-pop groups, Maciek is an instructor at the Drummers Collec- tive in Manhattan. The Drummers Collective is generally thought of as the drumming equivalent of Los Angeles’ Guitar Institute of Technology. Afro-Polka is Maciek’s brand and a nascent genre of music. It’s the soundtrack of one musician’s voyage from Eastern Europe through South Africa to the USA. He has traveled, listened, learned and amalgamated a huge amount of styles, traditions and art forms into a strong, singular and original musical voice. From Cracow, to Johannesburg and Cape Town, and then onto New York City, Maciek has formed crack rhythm sections with some of the best bass players in the world. Afro-Polka great musicians he has collaborated with in his journeys. Don’t be scared by the polka, these fresh sounding tracks are is Maciek’s �irst album consisting entirely of his compositions. The tunes are performed here with many very afro-pop and jazz focused. The polka is the added seasoning that makes it unique. Every player on this record is a virtuoso and has played in bands with or on albums of some very well known musical artists and they are all deserving of recognition. Due to space constraints and the emphasis on the Maciek’s partner- ships with bass players, here are some notable connections of the bass players on this album: Fred Doumbe (Manu Dibango, Les Nubians); Bakithi Kumalo (Paul Simon’s Graceland); Leo Traversa (Angelique Kidjo, Don Byron); Gregory Jones (Astrid Gilberto, Savion Glover); Essiet Okon Essiet (Art Blakey, Freddie Hubbard); John Patitucci (Wayne Shorter, Chick Corea). -
R Z- /Li ,/Zo Rl Date Copyright 2012
Hearing Moral Reform: Abolitionists and Slave Music, 1838-1870 by Karl Byrn A thesis submitted to Sonoma State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS III History Dr. Steve Estes r Z- /Li ,/zO rL Date Copyright 2012 By Karl Bym ii AUTHORIZATION FOR REPRODUCTION OF MASTER'S THESIS/PROJECT I grant permission for the reproduction ofparts ofthis thesis without further authorization from me, on the condition that the person or agency requesting reproduction absorb the cost and provide proper acknowledgement of authorship. Permission to reproduce this thesis in its entirety must be obtained from me. iii Hearing Moral Reform: Abolitionists and Slave Music, 1838-1870 Thesis by Karl Byrn ABSTRACT Purpose ofthe Study: The purpose of this study is to analyze commentary on slave music written by certain abolitionists during the American antebellum and Civil War periods. The analysis is not intended to follow existing scholarship regarding the origins and meanings of African-American music, but rather to treat this music commentary as a new source for understanding the abolitionist movement. By treating abolitionists' reports of slave music as records of their own culture, this study will identify larger intellectual and cultural currents that determined their listening conditions and reactions. Procedure: The primary sources involved in this study included journals, diaries, letters, articles, and books written before, during, and after the American Civil War. I found, in these sources, that the responses by abolitionists to the music of slaves and freedmen revealed complex ideologies and motivations driven by religious and reform traditions, antebellum musical cultures, and contemporary racial and social thinking.