Old Fulton NY Post Cards by Tom Tryniski
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Million Dollar Quartet” by Colin Escott & Floyd Mutrux at the Hippodrome Theatre Through December 2
“Million Dollar Quartet” By Colin Escott & Floyd Mutrux At the Hippodrome Theatre through December 2 By James Cooper MEMORIES ARE MADE OF THIS … PRODUCTION Flashing lights, shimmering jackets and long musical solos radiate through the production of “Million Dollar Quartet,” now at the Hippodrome Theatre. Though the special effects and costumes are beneficial in some instances, the show lacks emphasis in the one area it should stress the most: the music. The whole story focuses on the decisions of four major musicians from the 1950s: Carl Perkins, Johnny Cash, Jerry Lee Lewis and Elvis Presley. Music is the main concept within the script, but it certainly isn’t the main concept within the performance. The show focuses on a single event: the night that all four musicians of the “Million Dollar Quartet” were present in the same space at the same time, the Sun Records Studio in Memphis on December 4, 1956. Elvis (Cody Slaughter) used to be a member of the Sun Records family but then he switched to RCA, a bigger label. Since this change, Elvis has lost contact with his former producer, Sam Phillips (Vince Nappo). As Elvis returns with his girlfriend Dyanne (Kelly Lamont) he makes it clear to Sam that he wishes he had stayed at Sun. Sam too wishes that Elvis had stayed, but his main focus is now on producing Johnny (David Elkins) and the up-and-coming Jerry Lee (Martin Kaye). All the while Carl (Robert Britton Lyons) has to decide whether or not he wants to leave Sun Records or move on to Columbia. -
80S 697 Songs, 2 Days, 3.53 GB
80s 697 songs, 2 days, 3.53 GB Name Artist Album Year Take on Me a-ha Hunting High and Low 1985 A Woman's Got the Power A's A Woman's Got the Power 1981 The Look of Love (Part One) ABC The Lexicon of Love 1982 Poison Arrow ABC The Lexicon of Love 1982 Hells Bells AC/DC Back in Black 1980 Back in Black AC/DC Back in Black 1980 You Shook Me All Night Long AC/DC Back in Black 1980 For Those About to Rock (We Salute You) AC/DC For Those About to Rock We Salute You 1981 Balls to the Wall Accept Balls to the Wall 1983 Antmusic Adam & The Ants Kings of the Wild Frontier 1980 Goody Two Shoes Adam Ant Friend or Foe 1982 Angel Aerosmith Permanent Vacation 1987 Rag Doll Aerosmith Permanent Vacation 1987 Dude (Looks Like a Lady) Aerosmith Permanent Vacation 1987 Love In An Elevator Aerosmith Pump 1989 Janie's Got A Gun Aerosmith Pump 1989 The Other Side Aerosmith Pump 1989 What It Takes Aerosmith Pump 1989 Lightning Strikes Aerosmith Rock in a Hard Place 1982 Der Komimissar After The Fire Der Komimissar 1982 Sirius/Eye in the Sky Alan Parsons Project Eye in the Sky 1982 The Stand Alarm Declaration 1983 Rain in the Summertime Alarm Eye of the Hurricane 1987 Big In Japan Alphaville Big In Japan 1984 Freeway of Love Aretha Franklin Who's Zoomin' Who? 1985 Who's Zooming Who Aretha Franklin Who's Zoomin' Who? 1985 Close (To The Edit) Art of Noise Who's Afraid of the Art of Noise? 1984 Solid Ashford & Simpson Solid 1984 Heat of the Moment Asia Asia 1982 Only Time Will Tell Asia Asia 1982 Sole Survivor Asia Asia 1982 Turn Up The Radio Autograph Sign In Please 1984 Love Shack B-52's Cosmic Thing 1989 Roam B-52's Cosmic Thing 1989 Private Idaho B-52's Wild Planet 1980 Change Babys Ignition 1982 Mr. -
Grab the Bull by the Horns ... It's a New Semester!
The University Echo /»p An Independent Student Newspaper Serving the University Community Since 1906 Volume,77/lssue 15 The University of Tennessee at Chattanooga Friday, January 14, 1983 INSIDE THIS WEEK: Set aside forces cutbacks The unsung rodeo heroes pp. 10-11 Record check bids farewell to Squeeze p. 14 Barry Aslinger/The Echo Grab the bull Mocs beat by the horns ... ETSU 76-73 p. 16 it's a new semester! News 2 The Echo/January 14, 1983 Statewide "set aside" hits UTC By Mary Mahoney Echo News Editor In response to a statewide $7 million "set aside" of state appropriations for higher education, UTC Projected revenues 1982-83 Chancellor Frederick Obear announced a plan to A State appropriations 46.7% freeze hiring, postpone salary increases, delay B "Set aside" 1.1% purchasing new academic and administrative C Student fees 23.6°k equipment, and reduce department operating D Other 28.6% budgets. UTC's "set aside" of $616,265 amounts to The set aside is five percent of the state appropriations five percent of the total appropriations the University but only 1.1 percent of total revenues. receives from the state. Vice-chancellor of business and finance Dave The second area to be cut, Obear said, is academic Larson added that this is the third year of appropriation Larson stressed the cutback is a "set aside" rather and administrative equipment. Larson said he hoped cuts and this year's is the largest. He noted however, than an impoundment. The difference, he explained, to buy word processors and other equipment for the that a little more than half of last year's "set aside" was is that an impoundment is an actual loss of the funds, administrative and departmental offices to help with recovered. -
Behind the Gear Studios and I Worked There for Three Weeks
brothers - I’d had enough. So then I went to A&M Behind The Gear Studios and I worked there for three weeks. The studio This Issue’s Guru of Gadgets sucked then. There was sort of a bad, lean-on-the- by Larry Crane shovel attitude. I felt like everyone there was just collecting paychecks - I like to work. So I went to the Jonathan Little Village Recorders, which is a nice studio. It was owned by Geordie Hormel. I worked there from 1984 to 1987. I’d gotten to know Jimmy Iovine and Shelly Yakus from the Cherokee days. They were working at Cherokee and we did the Tom Petty record Southern Accents and the Eurythmics [Be Yourself Tonight], one of those Talking Heads records [True Stories] with Eric Thorngren engineering, Robbie Robertson’s first [self-titled] solo record with Daniel Lanois and a lot of records with Gary Katz. Being a tech was nice because I didn’t have From the first moment another engineer Phase-Corrected Speaker Systems” (which later I put in to sit in the room all the time, but back then you were raved about a Little Labs DI to me, I knew the end of the IBP manual). I sent that out with my pretty involved in the whole process. I built my first that this company was onto something resume, saying, “This is some of my work.” Tom Lubin, mic pre while I was there. Tchad Blake and Mitchell special. It turns out Little Labs is the editor of RE/P Magazine, said to come see him in Froom really liked it. -
Scanned Using Book Scancenter 7033
Trauma and Visuality in Modernity EDITED AND WITH AN INTRODUaiON BY Lisa Saltzman and Eric Rosenberg Dartmouth College Press Hanover, New Hampshire Published by University Press of New England Hanover and London Dartmouth College Press Published by University Press of New England, One Court Street, Lebanon, NH 03766 www.upne.com © 2006 by Trustees of Dartmouth College Printed in the United States of America 5 4 3 2 1 All rights reserved. No part of this book may be reproduced in any form or by any electronic or mechanical means, including storage and retrieval systems, without permission in writing from the publisher, except by a reviewer, who may quote brief passages in a review. Members of educational institutions and organizations wishing to photocopy any of the work for classroom use, or au thors and publishers who would like to obtain permission for any of the mate rial in the work, should contact Permissions, University Press of New England, One Court Street, Lebanon, NH 03766. Library of Congress Cataloging-in-Publication Data Trauma and visuality in modernity / edited and with an introduction by Lisa Saltzman and Eric Rosenberg.—1st ed. p. cm. — (Interfaces: studies in visual culture) Includes bibliographical references and index. ISBN-13: 978-1-58465-515-2 (cloth : alk. paper) ISBN-10: 1-58465-515-1 (cloth : alk. paper) ISBN-13: 978-1-58465-516-9 (pbk.: alk. paper) ISBN-10: 1-58465-516-X (pbk. : alk. paper) 1. Arts, Modern—Psychological aspects. 2. Psychic trauma in art. 3. Psychoanalysis and the arts. I. Saltzman, Lisa. II. Rosenberg, Eric M. -
NEW MUSIC on COMPACT DISC 4/16/04 – 8/31/04 Amnesia
NEW MUSIC ON COMPACT DISC 4/16/04 – 8/31/04 Amnesia / Richard Thompson. AVRDM3225 Flashback / 38 Special. AVRDM3226 Ear-resistible / the Temptations. AVRDM3227 Koko Taylor. AVRDM3228 Like never before / Taj Mahal. AVRDM3229 Super hits of the '80s. AVRDM3230 Is this it / the Strokes. AVRDM3231 As time goes by : great love songs of the century / Ettore Stratta & his orchestra. AVRDM3232 Tiny music-- : songs from the Vatican gift shop / Stone Temple Pilots. AVRDM3233 Numbers : a Pythagorean theory tale / Cat Stevens. AVRDM3234 Back to earth / Cat Stevens. AVRDM3235 Izitso / Cat Stevens. AVRDM3236 Vertical man / Ringo Starr. AVRDM3237 Live in New York City / Bruce Springsteen & the E Street Band. AVRDM3238 Dusty in Memphis / Dusty Springfield. AVRDM3239 I'll be around : and other hits. AVRDM3240 No one does it better / SoulDecision. AVRDM3241 Doin' something / Soulive. AVRDM3242 The very thought of you: the Decca years, 1951-1957 /Jeri Southern. AVRDM3243 Mighty love / Spinners. AVRDM3244 Candy from a stranger / Soul Asylum. AVRDM3245 Gone again / Patti Smith. AVRDM3246 Gung ho / Patti Smith. AVRDM3247 Freak show / Silverchair. AVRDM3248 '60s rock. The beat goes on. AVRDM3249 ‘60s rock. The beat goes on. AVRDM3250 Frank Sinatra sings his greatest hits / Frank Sinatra. AVRDM3251 The essence of Frank Sinatra / Frank Sinatra. AVRDM3252 Learn to croon / Frank Sinatra & Tommy Dorsey and his orchestra. AVRDM3253 It's all so new / Frank Sinatra & Tommy Dorsey and his orchestra. AVRDM3254 Film noir / Carly Simon. AVRDM3255 '70s radio hits. Volume 4. AVRDM3256 '70s radio hits. Volume 3. AVRV3257 '70s radio hits. Volume 1. AVRDM3258 Sentimental favorites. AVRDM3259 The very best of Neil Sedaka. AVRDM3260 Every day I have the blues / Jimmy Rushing. -
Singing in English in the 21St Century: a Study Comparing
SINGING IN ENGLISH IN THE 21ST CENTURY: A STUDY COMPARING AND APPLYING THE TENETS OF MADELEINE MARSHALL AND KATHRYN LABOUFF Helen Dewey Reikofski Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS August 2015 APPROVED:….……………….. Jeffrey Snider, Major Professor Stephen Dubberly, Committee Member Benjamin Brand, Committee Member Stephen Austin, Committee Member and Chair of the Department of Vocal Studies … James C. Scott, Dean of the College of Music Costas Tsatsoulis, Interim Dean of the Toulouse Graduate School Reikofski, Helen Dewey. Singing in English in the 21st Century: A Study Comparing and Applying the Tenets of Madeleine Marshall and Kathryn LaBouff. Doctor of Musical Arts (Performance), August 2015, 171 pp., 6 tables, 21 figures, bibliography, 141 titles. The English diction texts by Madeleine Marshall and Kathryn LaBouff are two of the most acclaimed manuals on singing in this language. Differences in style between the two have separated proponents to be primarily devoted to one or the other. An in- depth study, comparing the precepts of both authors, and applying their principles, has resulted in an understanding of their common ground, as well as the need for the more comprehensive information, included by LaBouff, on singing in the dialect of American Standard, and changes in current Received Pronunciation, for British works, and Mid- Atlantic dialect, for English language works not specifically North American or British. Chapter 1 introduces Marshall and The Singer’s Manual of English Diction, and LaBouff and Singing and Communicating in English. An overview of selected works from Opera America’s resources exemplifies the need for three dialects in standardized English training. -
Wildflower Girl
Wildflower Girl By Dana Stewart Quinney Hidden Shelf Publishing House P.O. Box 4168, McCall, ID 83638 www.hiddenshelfpublishinghouse.com Copyright © 2019, Dana Stewart Quinney Hidden Shelf Publishing House All rights reserved Cover photo: Dana Quinney as a child Graphic design: Allison Kaukola (back cover), Kristen Carrico (front cover) Interior layout: Kerstin Stokes Editor: Carol Anne Wagner Library of Congress Cataloguing-in-Publication Data Quinney, Dana Stewart Wildflower Girl ISBN: 978-1-7338193-0-5 Printed in the United States of America WILDFLOWER GIRL “When Dana was three years old, she mastered a somersault, a monumental time in her young life. She wanted to remember that somersault forever, and her Mom taught her a way. She applied the same method toward remembering all the important events in her life. They are assembled together in this captivating compi- lation of short stories. Travel with Danny through these magical times as she witnesses a murder (or did she?) from her secret watching place, finds the stars with her adventuresome father, and almost loses her life in her grandpa’s waders. And, always the botanist and biologist, twenty years after Danny’s grandpa told her that “all of the animals isn’t all found out” she discovers a new species of Fairy Shrimp. I became lost in these fascinating stories.” – Carol Howell, Jade Mist Shetland Sheepdogs “This lovely book of short stories is like a portal, taking the reader back to a simpler, more innocent time in a magical place. It is a place that was real, but unavailable to anyone in today’s world, unless you allow this book to take you there. -
How the Performances, Song Lyrics, and Activism of the Indigo Girls Demonstrate the Mutable Composition of Southern Identity
Georgia State University ScholarWorks @ Georgia State University English Theses Department of English 8-11-2015 How the Performances, Song Lyrics, and Activism of the Indigo Girls Demonstrate the Mutable Composition of Southern Identity Alison Law Follow this and additional works at: https://scholarworks.gsu.edu/english_theses Recommended Citation Law, Alison, "How the Performances, Song Lyrics, and Activism of the Indigo Girls Demonstrate the Mutable Composition of Southern Identity." Thesis, Georgia State University, 2015. https://scholarworks.gsu.edu/english_theses/191 This Thesis is brought to you for free and open access by the Department of English at ScholarWorks @ Georgia State University. It has been accepted for inclusion in English Theses by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. HOW THE PERFORMANCES, SONG LYRICS, AND ACTIVISM OF THE INDIGO GIRLS DEMONSTRATE THE MUTABLE COMPOSITION OF SOUTHERN IDENTITY by ALISON LAW Under the Direction of Gina Caison, Ph.D. ABSTRACT A common misconception about the southern region of the United States is that any one part of the region can stand alone as an accurate representation of the territory as a whole. To refute any notion of a homogeneous South and demonstrate the dynamic nature of an individual or community identity, I examine the history, song lyrics, performances, and activism of the folk-rock duo the Indigo Girls and their hometown of Atlanta, Georgia. This project applies the theories of locational feminism found in Susan Stanford Friedman’s Mappings and New Southern Studies in Tara McPherson’s text Reconstructing Dixie . Analyzing the biographies, song lyrics, performances, and activism of the Indigo Girls as an archive of southern literature allows us to understand the fluid, multiplex nature of regional identity and view Atlanta as one “borderland” in a heterogeneous U.S. -
Typehouse Magazine
Issue 10, January 2017 Typehouse Literary Magazine Editor in Chief: Val Gryphin Fiction Editor: Lindsay Fowler Non-fiction Editor: Lily Blackburn Poetry Editor: David Midkiff Visual Art Editor: John Koch Typehouse is a writer-run literary magazine based out of Portland, Oregon. We are always looking for well-crafted, previously unpublished writing and art that seeks to capture an awareness of the human predicament. If you are interested in submitting, visit our website at www.typehousemagazine.com. ©2017 Typehouse Literary Magazine. All rights reserved. No part of this periodical may be reproduced in any form without written permission. Typehouse Literary Magazine is published triannually. Established 2013. Cover Photo Secrets in the waters by Dr. Ho Cheung LEE (See page 24) Summer 2015. My young companion pondered as he waded into the wrinkled waters of a southern beach of the Hong Kong island. His family matters were unreadable on his face. Yet, this moment, his lowered head and stillness against the calm ocean seemed to be telling that there was more being hidden in his mind than the undiscovered in the buried castle under the seabed. Table of Contents: Fiction: Anatomy of a Cloud Nancy Au 10 Leaving Arizona Justin Hunter 27 Going Home Nicholas MacDonnell 44 An Honest Conversation Christian Sanchez 61 We All Think We Can See the Trajectories of Each Other’s Lives, But Tend to Lose Interest / Rosemaling / Appropriation Starts Here Robert Kaye 68 An Excerpt from Red Sun Rogue Taylor Zajonc 80 Volary Delynn Willis 99 Careful What You Look -
Conference Abstracts
The Society for SeventeenthCentury Music Eighth Annual Conference Vermillion, South Dakota April 27-30, 2000 ABSTRACTS (in alphabetical order by author) SPANISH NUN MUSICIANS: EARLY MODERN CAREER GIRLS? Colleen R. Baade Lincoln, Nebraska This paper examines the social situation of Spanish nun musicians at women’s monasteries in Madrid, Segovia, Toledo, and Valladolid during the seventeenth and eighteenth centuries. Sources for my study include contracts for reception and profession of nun musicians whose dowries were waived or reduced in exchange for their service as musician, and monastery account books which show that some religious communities paid regular monetary stipends to sister musicians. I will address the question of just what a girl’s musical ability was worth and discuss ways in which the duties of and compensation to nun musicians changed from the beginning of the seventeenth century to the end of the eighteenth. It has been contended that a position as convent musician constituted one of very few “career opportunities” available to women in early modern Europe, but documentary evidence suggests that the majority of girls who received dowry waivers were prepared from early childhood by parents or guardians to become nun musicians because their families had no other means of paying a nun’s dowry, let alone any prospects for securing a suitable marriage. The demands placed upon “hired” nun musicians were probably quite heavy, and most of these women, unless prevented by illness or old age, were expected to serve as convent musicians their entire lives. In one case, a nun whose age and ailment prevented her from playing was required to refund part of the dowry that had been waived for her in order to be released from her duties as convent musician. -
Tom Petty | 1950-2017
TOM PETTY FIGHT TO BE FREE TOM PETTY | 1950-2017 A real musical hero, remembered by STEPHEN DEUSNER and his admiring peers. Plus: BUD SCOPPA recalls his long relationship with the head Heartbreaker… “I just like music done well, pretty much.” Photo by RICHARD E AARON RICHARD E. AARON/REDFERNS E. RICHARD 80 • UNCUT • DECEMBER 2017 Tom Petty in New York, 1976 DECEMBER 2017 • UNCUT • 81 TOM PETTY OM Petty made his finest album under months later she would be dead. Petty did not attend her funeral. incredible duress. During the sessions for Somehow, despite all these distractions, the Heartbreakers 1979’s Damn The Torpedoes, he was suing managed to distil their sound down to its leanest, meanest elements. Shelter Records and his friend/mentor/ Damn The Torpedoes tightened up their attack, pushed their producer Denny Cordell to secure a better strongest traits to the forefront, made fine use of Campbell’s guitar contract and to obtain publishing rights to his own and Benmont Tench’s organ. “Refugee” sharpened Petty’s songs. Some days he was in the studio with the songwriting. “Here Comes My Girl” featured what are still some of Heartbreakers, laying down vocal tracks; other his most soulful vocal performances. “Even The Losers” gave the days he was in the courtroom with his lawyers, band a rousing rock’n’roll anthem. And those are the first three testifying to the conditions of his record deal. songs. Drawing from the energy of punk and the tautness of new In a strategic measure, he and the other band wave, the album is streamlined, compact and succinct – except for members declared bankruptcy, as it was decided the the odd sound collages that preface one or two songs and that were meagre proceeds from their previous two albums — meant to recall the studio experiments of The Beatles.