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Rolling Stones 2018
Contact: Miguel Ceballos Aaron Guerrero Jeep® vuelve a subirse al escenario con The Rolling Stones La marca Jeep® es Patrocinador Oficial de la gira europea "STONES - NO FILTER" 2018 La gira visitará países como Reino Unido, Irlanda, Francia, Alemania, la República Checa y Polonia del 17 de mayo al 8 de julio La estrella invitada en cada uno de los eventos será toda la gama Jeep por tercera ocasión La colaboración entre la marca Jeep y The Rolling Stones comenzó en 2014 con la aclamada gira europea "14 On Fire" April 11, 2018, Ciudad de México - The Rolling Stones volverá a los caminos este verano y la marca Jeep® volverá a ser su Patrocinador Oficial. La gira ‘STONES - NO FILTER' 2018 consta de 14 conciertos en el Reino Unido, Irlanda, Francia, Alemania, República Checa y Polonia entre el 17 de mayo y el 8 de julio. La marca Jeep acompañará a la banda por tercera ocasión, mientras Mick Jagger, Keith Richards, Charlie Watts y Ronnie Wood se embarcan en otra nueva aventura que se espera que eclipse el increíble éxito de la gira europea del año pasado. La colaboración entre la marca Jeep y The Rolling Stones comenzó en 2014 con la aclamada gira europea ‘14 On Fire'. Esta colaboración reúne a dos iconos con mucho en común: los Stones que revolucionaron la música rock con su sonido y estilo inconfundibles, y Jeep, la legendaria marca que durante más de 75 años ha sido la expresión más auténtica de libertad y aventura en el ámbito automovilístico. Producida por Concerts West/AEG Presents, la gira ‘STONES - NO FILTER' comenzará en Dublín (Irlanda) el 17 de mayo, antes de visitar Londres (22-25 de mayo), Southampton (29 de mayo), Coventry (2 de junio), Manchester (5 de junio), Edimburgo (9 de junio) y Cardiff (15 de junio) en el Reino Unido, antes de regresar al estadio Twickenham de Londres (19 de junio). -
Musterseite 1077.Pdf
Recording Index S Sad Day CD: "No Stone Unturned" (3'00) (Authors: Jagger/Richards) (SLK 17038-P) Mick Jagger .......... vocals, Schwarzbuch CD section A-Z Keith Richards ..... guitar, bvocals, Brian Jones .......... guitar, Sad Sad Sad I Bill Wyman ......... bass, (3'48)(Authors: Jagger/Richards) Charlie Watts ...... drums, Basic track with two guitars, bass, drums Jack Nitzsche ....... piano. and piano. Mick sings lead vocals with RCA Studios, Los Angeles, CA, very early lyrics. December 3 - 10, 1965. Air Studios Montserrat, Caribbean 7" Single: "19th Nervous Breakdown / Island, March 29 - May 5, 1989. Sad Day" 2LP:"Training Wheels" USA: London 45 LON 9823 (COC 39202) February 1966 Schwarzbuch LP section A-Z 7" Single: "Sad Day / You Can't 2CD:"Training Wheels" Always Get What You Want" (Social Graces 001-02) Europe: Decca F 13404 (UK) CD:"Training Wheels" Decca DL 25 576 (GER 06/73) 11CD Box: "Singles 1965-1967" (Rattle Snake RS 228) Decca 105 / 26.382 Y Europe: Abkco 06024 98209851 2CD:"Training Wheels - The Early (Belgium 6/73) USA: Abkco 0 18771 12202 9 Steel Wheels - Outtakes 1989" Decca F 13404 (Italy 5/73) Japan: (Voodoo Sounds) Decca 6103 062 (NL) July 2004 Schwarzbuch CD section A-Z Decca F 13404 (Sweden) 15 CD Box Set: April 29, 1973 "The Rolling Stones In Mono" Sad Sad Sad II LP: "No Stone Unturned" Europe: Abkco 01877 1834526 (3'36) (Authors: Jagger/Richards) Europe: Decca SKL 5173 (UK) September 30, 2016 Additional guitar overdubs and new lead Decca SLK 17038 LP: "Bill Wyman's Rolling Stones" vocals on version I, no (audible) sax, (GER 11/73) extended outro. -
AVAILABLE from DESCRIPTORS Fifty-One Percent Minority. Connecticut Conference on the Articles Presented in This Document Stem Fr
DOCUMENT RESUME ED 074 958 HE 003 935 TITLE Fifty-One Percent Minority. Connecticut Conference on the Status of Women. INSTITUTION Connecticut Education Association, Storrs. SPONS AGENCY National Education Association, Washington, D.C.; Office of Education (DHEW), Washington, D.C. PUL DATE Aug 72 NOTE 72p. AVAILABLE FROMNational E.' :cation Association, 1201 Sixteenth Street, r ., Washington, D.C. 20036 EDRS PRICE MF-$0.65 HC Not Available from EDRS., DESCRIPTORS *Feminism; *Higher Education; Sex Discrimination; *Womens Education; *Womens Studies; *Women Teachers; Working Women ABSTRACT The articles presented in this document stem from taped presentations or post summations of speeches presented at a conference on the status of women held in the spring of 1972 by the Connecticut Education Association. The book can serve as a guide to .three major problems: (1) sexual stereotypes; (2) the legal and economic status of women; and (3)the educational needs of women. Articles presented include: (1) Why Women Fail; 2) The Case for Womens Studies; (3) Sex Role Stereotypes in the Classroom;(4) Sex Role Socialization;(5) Masculinity and Femininity; (9) Teacher Maternity Provisions in Connecticut;(10) Growing Up as a Female Reader;(11) Women in Education; and (12) Sexual Politics in the Classroom. (HS) FILMED FROM BEST AVAILABLE COPY 51% minor ty "PERMISSION TO REPRODUCE THIS COPY. RIGHTED MATERIAL BY MICROFICHE ONLY HAS BEEN GRANTED BY TO ERIC AND ORGANIZATIONS OPERATING UNDER AGREEMENTS WITH THE U S OFFICE OF EDUCATION FURTHER REPRODUCTION OUTSIDE THE ERIC SYSTEM REQUIRES PER- MISSION OF THE COPYRIGHT OWNER CONNECTICUT CONFERENCE ON THE STATUS OF WOMEN NATIONAL EDUCATION ASSOCIATION/USOE-0-72-2507 U.S UEPAR TIMENT OF HEALTH, EDUCATION WELFARE OFFICE OF EDUCATION THIS DOCUMENT HAS BEEN REPRO DUCED EXACTLY AS RECEIVED FROM THE PERSON OR ORGANIZATION ORIG- INATING IT POINTS OF VIEW OROPIN- ' TONS STATED DO NOTNECESSARILY REPRESENT OFFICIAL OFFICE OF EDU- CATION POSITION OR POLICY 51% minority CONNECTICUT CONFERENCE ON THE STATUS OFWOMEN. -
Young Americans to Emotional Rescue: Selected Meetings
YOUNG AMERICANS TO EMOTIONAL RESCUE: SELECTING MEETINGS BETWEEN DISCO AND ROCK, 1975-1980 Daniel Kavka A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC August 2010 Committee: Jeremy Wallach, Advisor Katherine Meizel © 2010 Daniel Kavka All Rights Reserved iii ABSTRACT Jeremy Wallach, Advisor Disco-rock, composed of disco-influenced recordings by rock artists, was a sub-genre of both disco and rock in the 1970s. Seminal recordings included: David Bowie’s Young Americans; The Rolling Stones’ “Hot Stuff,” “Miss You,” “Dance Pt.1,” and “Emotional Rescue”; KISS’s “Strutter ’78,” and “I Was Made For Lovin’ You”; Rod Stewart’s “Do Ya Think I’m Sexy“; and Elton John’s Thom Bell Sessions and Victim of Love. Though disco-rock was a great commercial success during the disco era, it has received limited acknowledgement in post-disco scholarship. This thesis addresses the lack of existing scholarship pertaining to disco-rock. It examines both disco and disco-rock as products of cultural shifts during the 1970s. Disco was linked to the emergence of underground dance clubs in New York City, while disco-rock resulted from the increased mainstream visibility of disco culture during the mid seventies, as well as rock musicians’ exposure to disco music. My thesis argues for the study of a genre (disco-rock) that has been dismissed as inauthentic and commercial, a trend common to popular music discourse, and one that is linked to previous debates regarding the social value of pop music. -
Keith Richards Has Memories to Burn
UNCLASSIFIED U.S. Department of State Case No. F-2014-20439 Doc No. C05773954 Date: 08/31/2015 RELEASE IN PART B6 From: Ebeling, Betsy < B6 Sent: Friday, October 22, 2010 11:03 AM To: Subject: for your mom Keith Richards Has Memories to Burn By JANET MASLIN It is 3 p.m. Eastern Daylight Time in the New York office of Keith Richards's manager, a place that might look ordinary if every wall and shelf were not crammed with some of the world's most glorious rock 'n' roll memorabilia. Mr. Richards has a 3 o'clock appointment. "Come on in, he'll be here in a minute," an assistant says — and here he comes in a minute, at 3:01. This from a man who once prided himself for operating on Keith Time, as in: the security staff ate the shepherd's pie that Keith wanted in his dressing room? Then everyone in this packed stadium can bloody well wait. The Rolling Stones don't play until another shepherd's pie shows up. Chalk up the promptness to the man's new incarnation: he is now Keith Richards, distinguished author. True, he is far from the only rock star to turn memoirist, and far from the only Rolling Stone to write a book about himself — very much about himself. The raven-haired Ron Wood wrote "Ronnie," in which he described Brian Jones as "me in a blond wig." Bill Wyman, the band's retired bass player and bean counter, wrote "Stone Alone," in which not a 15-shilling demo disc went unmentioned. -
Program of the 75Th Anniversary Meeting
PROGRAM OF THE 75 TH ANNIVERSARY MEETING April 14−April 18, 2010 St. Louis, Missouri THE ANNUAL MEETING of the Society for American Archaeology provides a forum for the dissemination of knowledge and discussion. The views expressed at the sessions are solely those of the speakers and the Society does not endorse, approve, or censor them. Descriptions of events and titles are those of the organizers, not the Society. Program of the 75th Anniversary Meeting Published by the Society for American Archaeology 900 Second Street NE, Suite 12 Washington DC 20002-3560 USA Tel: +1 202/789-8200 Fax: +1 202/789-0284 Email: [email protected] WWW: http://www.saa.org Copyright © 2010 Society for American Archaeology. All rights reserved. No part of this publication may be reprinted in any form or by any means without prior permission from the publisher. Program of the 75th Anniversary Meeting 3 Contents 4............... Awards Presentation & Annual Business Meeting Agenda 5……….….2010 Award Recipients 10.................Maps of the America’s Center 12 ................Maps of Renaissance Grand St. Louis 14 ................Meeting Organizers, SAA Board of Directors, & SAA Staff 15 .............. General Information 18. ............. Featured Sessions 20 .............. Summary Schedule 25 .............. A Word about the Sessions 27............... Program 161................SAA Awards, Scholarships, & Fellowships 167............... Presidents of SAA . 168............... Annual Meeting Sites 169............... Exhibit Map 170................Exhibitor Directory 180................SAA Committees and Task Forces 184………….Index of participants 4 Program of the 75th Anniversary Meeting Awards Presentation & Annual Business Meeting America’s Center APRIL 16, 2010 5 PM Call to Order Call for Approval of Minutes of the 2009 Annual Business Meeting Remarks President Margaret W. -
Mark's Music Notes for December 2011…
MARK’S MUSIC NOTES FOR DECEMBER 2011… The Black Keys follow up their excellent 2010 album Brothers with the upbeat El Camino, another great album that commercial radio will probably ignore just like it did with Brothers. In a day and age where CD sales are on the decline, record labels continue to re-issue classic titles with proven track records in new incarnations that include unreleased material, re-mastered sound, and often lavish box sets. Though not yet included in Music Notes, Pink Floyd and Queen both had their entire catalogs re-vamped this year, and they sound great. Jethro Tull’s classic Aqualung album has been expanded, re-mixed and re-mastered with the level of care and quality that should be the standard for all re-issues. The Rolling Stones have already released expanded remasters and box sets on Exile On Main Street and Get Yer Ya-Ya’s Out, and now their top selling album, Some Girls has received the same treatment. Be Bop Deluxe is a 1970’s band that most readers will be unfamiliar with. They never had any mainstream success in the U.S., but the band had several great albums, and their entire studio catalog has recently been remastered and compiled into a concise box set. The Black Keys – El Camino Vocalist/guitarist Dan Auerbach and Drummer Patrick Carney of The Black Keys, have said that they have been listening to a lot of Rolling Stones lately, and they set out to record a more direct rock and roll album than their last album, Brothers was. -
Zhuk Outcover.Indd
The Carl Beck Papers in Russian & East European Studies Sergei I. Zhuk Number 1906 Popular Culture, Identity, and Soviet Youth in Dniepropetrovsk, 1959–84 The Carl Beck Papers in Russian & East European Studies Number 1906 Sergei I. Zhuk Popular Culture, Identity, and Soviet Youth in Dniepropetrovsk, 1959–84 Sergei I. Zhuk is Associate Professor of Russian and East European History at Ball State University. His paper is part of a new research project, “The West in the ‘Closed City’: Cultural Consumption, Identities, and Ideology of Late Socialism in Soviet Ukraine, 1964–84.” Formerly a Professor of American History at Dniepropetrovsk University in Ukraine, he completed his doctorate degree in Russian History at the Johns Hopkins University in 2002 and recently published Russia’s Lost Reformation: Peasants, Millennialism, and Radical Sects in Southern Russia and Ukraine, 1830–1917 (2004). No. 1906, June 2008 © 2008 by The Center for Russian and East European Studies, a program of the University Center for International Studies, University of Pittsburgh ISSN 0889-275X Image from cover: Rock performance by Dniepriane near the main building of Dniepropetrovsk University, August 31, 1980. Photograph taken by author. The Carl Beck Papers Editors: William Chase, Bob Donnorummo, Ronald H. Linden Managing Editor: Eileen O’Malley Editorial Assistant: Vera Dorosh Sebulsky Submissions to The Carl Beck Papers are welcome. Manuscripts must be in English, double-spaced throughout, and between 40 and 90 pages in length. Acceptance is based on anonymous review. Mail submissions to: Editor, The Carl Beck Papers, Center for Russian and East European Studies, 4400 Wesley W. Posvar Hall, University of Pittsburgh, Pittsburgh, PA 15260. -
Ivo Koers Instrumentation on Cliff Richard & the Shadows Recordings VII: Index of Titles This Chapter Sums up All Titles, Li
Ivo Koers Instrumentation On Cliff Richard & The Shadows Recordings VII: Index of titles This chapter sums up all titles, listed in chapters I, II, III, IV, V and VI. After each title, the chapter letter and page number can be found. 40 Golden Greats Part 1 V 17; 40 Golden Greats Part 2 V 21; 40 Golden Greats Part 3 V 25; 40 Years Of Hits Part 1 V 42; 40 Years Of Hits Part 2 V 43; 40 Years Of Hits Part 3 V 45; 40 Years Of Hits Part 4 V 47; 40 Years Of Hits Part 5 V 48; 40 Years Of Hits Part 6 V 51; 40 Years Of Hits Part 7 V 52; 40 Years Of Hits Part 8 V 54; 40 Years Of Hits Part 9 V 54; 40 Years Of Hits Part 11 V 56 All I Do Is Dream Of You III 5; All Shook up [LIVE 1978, 1] I 64; All Shook up [LIVE 1978, 2] IV 3; All Shook Up [LIVE 2009] IV 31; Amor, Amor, Amor I 35; Apron Strings II 5; Apron Strings [LIVE 1959] I 1; Apron Strings [RADIO 1959, VA] I 89; Apron Strings [RADIO 1959, VB] I 99 Baby I Don't Care [LIVE 1959] I 2; Baby I Don't Care [RADIO 1958] I 96; Baby I Don't Care [RADIO 1959] I 96; Bachelor Boy [1962, VA] VI 30; Bachelor Boy [1962, VB] I 32; Bachelor Boy [1962, VC] III 7; Bachelor Boy [1962, VD] VI 17; Bachelor Boy [2009] I 72; Bachelor Boy [LIVE 1963] IV 19; Bachelor Boy [LIVE 1984] IV 8; Bachelor Boy [LIVE 2009] IV 34; Best Of Cliff Richard & The Shadows, The V 27; Big News [VA] I 34; Big News [VB] VI 31; Blue Suede Shoes I 6; Blue Turns To Grey II 26; Blueberry Hill I 30; Boom Boom (That's How My Heart Beats) III 12; Boum III 8; Brass Band Opening/Summer Holiday VI 30; Breathless V 36 C'Est Si Bon III 9; C'mon Everybody -
The Anita Pallenberg Story
Laura Cottingham & The Anita Pallenberg Story May 7 – June 18 At the center of this exhibition is the rarely seen movie The Anita Pallenberg Story (2000) by Laura Cottingham & Leslie Singer. Conceived as a satire on the contemporary art scene of the 1990s, which was defined, in Cottingham’s view, by the rampant progression of a pro- market, highly individualized, and patriarchal art system, the film formulated a critical address of its moment through the lens of life backstage with the Rolling Stones, circa 1968. In open acknowledgement of its layers of costume and citation, the feature-length film blends original footage of the Stones with nonchalant acting performances and cinéma vérité scenes of its own production. Set to a background of post-punk covers, with camera movements taken from Warhol, Fassbinder, and Godard, it presents a portrait of friends in the midst of collaboration, and an uncut study of the modes of appropriation and subjectivity that are contested in cultural production. In a blur of fiction and fact, historical narratives are challenged, and their protagonists transformed, attesting to Cottingham’s claim that, in New York, “we are, in a sense, already living in a movie, breathing in a myth, sustaining ourselves on fantasies, manipulating the plot, and believing against all realities in happy endings.” In 1998, Laura Cottingham completed her video essay Not For Sale: Feminism and Art in the USA during the 1970s, an account of the groundbreaking works of art produced by feminist artists in the United States in the 1970s. At the time, this history remained marginalized and fractured, and Cottingham’s scholarship and inventive research contributed greatly to the reappraisal and recognition of many women artists from the period. -
Vintage Uke Music Revised 2020.Xlsx
9/20/2020 Title Folder 12 street rag !no covers a fool such as i (now and then there's) A A Lady Loves ‐ 1952 L A Man Never Marries A Wife ‐ 1951 M A Nickel Ain't Worth A Cent Today ‐ 1951 N A Picnic In The Park ‐ 1951 P A Sleepin' Bee ‐ 1954 S a very precious love !no covers a woman in love !no covers A Woman In Love ‐ 1955 W a you're adorable A abdul the bulbul ameer A Abie's Irish Nose ‐ 1925 A About A Quarter To Nine A absence makes heart grow fonder A accent on youth A ac‐cent‐tchu‐ate the positive A Across The Breakfast Table ‐ 1929 A Adam's Apple A Adelaide ‐ 1955 A Adios A Adorable ‐ 1933 A After a million dreams A after all it's you A After All You're All I'm After ‐ 1930 A After All You're All I'm After ‐ 1933 A After Business Hours ‐ 1929 A after i say i'm sorry A after i've called you sweetheart A After My Laughter Came Tears A After Tea ‐ 1925 A after you A After You Get What You Want A After You Get What You Want You Don't Want It ‐ 1920A After You've Gone A after_my_laughter_came_tears A ah but is it love A Ah But It Is Love ‐1933 A ah sweet mystery of life A Ah Wants To Die From Eatin' Possum Pie ‐ 1925 A Ah! The Moon Is Here ‐ 1933 A ah‐ha A ain't gonna rain new verses A Ain't Got A Dime To My Name ‐ 1942 A ain't it cold !no covers ain't misbehavin' A aint misbehavin vintage !no covers aint no flies on auntie A Ain't No Flies On Aunty A ain't no land like dixie A aint she sweet A Ain't That a Grand and Glorious Feeling ‐ 1927 A Ain't we carryin' on A Ain't We Got Fun A Ain't You Baby A ain't_misbehavin' A Ain't‐cha A alabama -
Hpm Saved Images 05 02
SAVED IMAGES SAVED IMAGES hobbypopMUSEUM BOMBAY BIZARRE 143 INHALT SURREAL ESTATE 144 ALL IN ONE RHYTHMUS 156 EINE WICHTIGE MITTEILUNG DER KÜNSTLER 7 DER BRENNENDE DORNBUSCH 158 KLÄNGE hobbypopMUSEUM 8 RAVING GARDENS 160 hobbypopMUSEUM ON MAIN STREET Andrew Renton 10 VILLA ROMANA 170 DIGITALIA Dortmunder Kunstverein 22 TAKING THE AIR 174 GESAMTKUNSTSPIEL 20 Jahre hobbypopMUSEUM 46 Oriane Durand EARLY MOVIES 188 DIE KRIPPE 190 2018–2004 ZUR SCHATTIGEN PINIE 191 HOBBY POP PHOTO SHOP MUSEUM 52 INTELLIGENT DESIGN 192 ARENA 62 LE CRAZY HORSE 198 ITALO POP 64 GAMMA GAMMA 200 DIE BRÜCKE 66 EREMITAGE 208 DIE ÜBERTRAGUNG 72 OLYMPIA 210 HOTEL ANDERES UFER 74 NEO PSYCHICO 216 CUCURRUCUCÚ Speculative notes from Hermoupolis 87 ÄGYPTEN 222 Sam Watson GEPÄCKSTÜCK 333 228 BÜRO BUREAU 92 MYSTICA 230 THE BANDWAGON WUPPERTAL 98 ECHO / HXΩ 240 THE BANDWAGON PARIS 112 PROSIT NEUJAHR 250 A LETTER FROM PARIS Benjamin Thorel 118 FROHE WEIHNACHTEN 252 ANOTHER BANDWAGON 124 LES FRANGES 128 INDEX 2018–1998 254 FRINGES 129 DISKOGRAFIE / EDITIONEN / PUBLIKATIONEN 273 FRINGES II 134 FRINGES III 135 IMPRESSUM 286 hobbypopMUMBAI 136 hobbypopMUSEUM on Main Street Andrew Renton “Honey, I’ve been signifying. Whoa, whoa, whoa.” (‘I’m Not Signifiying’) It begins with an exile. Unfamiliar surroundings. No-one is quite at home, but you unpack your things to make sense of them as best you can. There are benefits to this exile. It offers a kind of freedom and a possibility for reinvention. An opportunity to be or play someone else. Or a refreshed version of yourself. Tuned up or down. The model, here, is the Rolling Stones, decamped to the South of France, recording in the basement of Keith Richards’ rented palace, Nellcôte, in Villefranche, on the coast.