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Reil Entertainment Songs by Artist Karaoke by Artist Title Title &, Caitlin Will 12 Gauge Address In The Stars Dunkie Butt 10 Cc 12 Stones Donna We Are One Dreadlock Holiday 19 Somethin' Im Mandy Fly Me Mark Wills I'm Not In Love 1910 Fruitgum Co Rubber Bullets 1, 2, 3 Redlight Things We Do For Love Simon Says Wall Street Shuffle 1910 Fruitgum Co. 10 Years 1,2,3 Redlight Through The Iris Simon Says Wasteland 1975 10, 000 Maniacs Chocolate These Are The Days City 10,000 Maniacs Love Me Because Of The Night Sex... Because The Night Sex.... More Than This Sound These Are The Days The Sound Trouble Me UGH! 10,000 Maniacs Wvocal 1975, The Because The Night Chocolate 100 Proof Aged In Soul Sex Somebody's Been Sleeping The City 10Cc 1Barenaked Ladies Dreadlock Holiday Be My Yoko Ono I'm Not In Love Brian Wilson (2000 Version) We Do For Love Call And Answer 11) Enid OS Get In Line (Duet Version) 112 Get In Line (Solo Version) Come See Me It's All Been Done Cupid Jane Dance With Me Never Is Enough It's Over Now Old Apartment, The Only You One Week Peaches & Cream Shoe Box Peaches And Cream Straw Hat U Already Know What A Good Boy Song List Generator® Printed 11/21/2017 Page 1 of 486 Licensed to Greg Reil Reil Entertainment Songs by Artist Karaoke by Artist Title Title 1Barenaked Ladies 20 Fingers When I Fall Short Dick Man 1Beatles, The 2AM Club Come Together Not Your Boyfriend Day Tripper 2Pac Good Day Sunshine California Love (Original Version) Help! 3 Degrees I Saw Her Standing There When Will I See You Again Love Me Do Woman In Love Nowhere Man 3 Dog Night P.S. -
Issues of Image and Performance in the Beatles' Films
“All I’ve got to do is Act Naturally”: Issues of Image and Performance in the Beatles’ Films Submitted by Stephanie Anne Piotrowski, AHEA, to the University of Exeter as a thesis for the degree of Doctor of Philosophy in English (Film Studies), 01 October 2008. This thesis is available for Library use on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. I certify that all material in this thesis which in not my own work has been identified and that no material has previously been submitted and approved for the award of a degree by this or any other University. (signed)…………Stephanie Piotrowski ……………… Piotrowski 2 Abstract In this thesis, I examine the Beatles’ five feature films in order to argue how undermining generic convention and manipulating performance codes allowed the band to control their relationship with their audience and to gain autonomy over their output. Drawing from P. David Marshall’s work on defining performance codes from the music, film, and television industries, I examine film form and style to illustrate how the Beatles’ filmmakers used these codes in different combinations from previous pop and classical musicals in order to illicit certain responses from the audience. In doing so, the role of the audience from passive viewer to active participant changed the way musicians used film to communicate with their fans. I also consider how the Beatles’ image changed throughout their career as reflected in their films as a way of charting the band’s journey from pop stars to musicians, while also considering the social and cultural factors represented in the band’s image. -
High-Fidelity-1987-1
NOVEMBER 1987 $2.50 USA $3.50 CANADA ELITY AU DI OGH • VI D E OFl • TES T RE P O R T S • M U SI C DIGITAL VIDEO The Hype • The Facts • The Promise Which Digital TV and VCR Features Do You Really Need? THE EQUALIZERS 12 Ways They Can Perk Up Your Stereo THE LAB TESTS 6 Speakers— One Could Be For You! SgOOL V1 21-ANN3N 3111/ 31Ital (13IAA N:Ea3 EW AIH Z6DiA )4/cI flIAZ UVONV NI 4gIIVA0 4ATS9A 5900L RJRBOCHARGE YOUR CD MAYER, A 91{) „cs5L.ANALITAA CA- 2 1 Aci•PTCP \IQ BALAs a. 9 neitE THE ELITE A-91D INTEGRATED AMPLIFIER. Now that the compact disc has taken the world by storm, ordinary amplifiers are failing their driving test. Because or- dismrtion.What's more, dinary amplifiers simply can't critical signal paths are kept handle the dynamic range and extraordinarily short for less purer signal that digital sound electronic interference and delivers. cleaner sound. Fortunately, the A-91D is When it comes to digital far from ordinary. Because the sound, there's no such thing A-91D is built with one thought as go( x.1 vibrations. That's why in mind—to maximize the per- the A-9 ID uses a special anti- formance of digital sound. vibration honeycomb design With 170 watts per channel in the chassis frame. In isola- into 4 ohm speaker loads, and tion barriers between electronic 120 watts into 8 ohms, the sections. Even in all five insu- A-91D unleashes digital's full lator feet. -
BWTB Sept. 13Th 2015
1 2 Playlist Sept. 13th 2015 9AM/OPEN The Beatles - I’m Only Sleeping - Revolver (Lennon-McCartney) Lead vocal: John Written by John and Paul at Kenwood, John’s estate in Weybridge, in one writing session. Recording of the backing rhythm track began at 11:30 p.m. on April 27, 1966. John recorded his lead vocal on April 29. Both the vocal and backing track were recorded at variable speed. It was during the recording of “I’m Only Sleeping” that The Beatles discovered the “backwards guitar.” On May 5, 1966, as the band continued working on the song, George painstakingly transcribed the notes in his guitar solo and flourishes and then wrote them out backwards. He then played them in that reverse order. The tapes were then superimposed BACKWARDS in the mix, playing the solo notes and embellishments in the correct order, but maintaining the eerie backwards sound. “I’m Only Sleeping” was one of three songs issued in America six weeks prior to their official release in the UK. American and Canadian Beatles fans heard “I’m Only 3 Sleeping,” “And Your Bird Can Sing,” and “Doctor Robert” first on Capitol Records’ “Yesterday And Today” album, issued June 20, 1966. The rest of the world had to wait until the first week of August for them to appear on the “Revolver” LP. On U.S. album: Yesterday And Today - Capitol LP The Beatles - Fixing A Hole - Sgt. Pepper’s Lonely Hearts Club Band (Lennon-McCartney) Lead vocal: Paul On February 9, 1967, the Beatles recorded “Fixing A Hole” at Regent Sound Studio on Tottenham Court Road in London. -
Review of Help!
City University of New York (CUNY) CUNY Academic Works Publications and Research CUNY Graduate Center 2007 Review of Help! Michael Adams City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_pubs/138 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] Help! (Capitol, 11.6.2007) Once upon a time, boys and girls, there were these mopheads from Liverpool. They made these songs that made everybody happy. Then these men in suits said, “There’s even more gold in them thar boys.” And a movie was begat real fast cause everybody knew they were flashes in the pan. An American expatriate, Richard Lester, was chosen to make it because he had made It’s Trad, Dad! and knew all about quickly fading musical fads. And behold, A Hard Day’s Night was a masterpiece, and everybody was very, very happy. And the suits said, “Dick, do it again,” and Help! was born. It also made people happy, but it is not a masterpiece. Somewhere in the mysterious East, Clang (Leo McKern) is about to sacrifice a virgin when he discovers the would-be victim has sent the required sacrificial ring to Ringo Starr, famous jewelry fetishist. So Clang, his men, and the lovely Ahme (Eleanor Bron) head for London to get the ring back. Ringo is willing to give it up but can’t get it off, so the boys seek the help of Foot (Victor Spinetti), a mad scientist, and Algernon (Roy Kinnear), his bumbling assistant. -
Beatles Turkish Singles, Identification Guide
Beatles Turkish Single Releases Identification Guide Black Odeon Label Through about the end of 1963, Odeon of Turkey was pressing 45 RPM singles on a black label with "Odeon" at the top. Two horizontal bars run across the label. All Turkish singles, including these early ones, were pressed with center plugs. Singles originally released on this label style Catalog Number "She Loves You"/"I'll Get You" 45‐LA‐4136 "From Me to You"/"Thank You Girl" 45‐LA‐4137 "I Want to Hold Your Hand"/"This Boy" 45‐LA‐4138 "Please Please Me"/"Ask Me Why" 45‐LA‐4139 NOTE: Since few picture sleeves were issued, most Turkish Beatles records can be found in a blue Beatles sleeve (pictured on this page). These list available singles on the back. The earliest of these lists only the first group of singles. In NM condition, these sell for about $100 each, but they are seldom found in NM condition. Blue Label With ODEON at Top Throughout 1964, Odeon's label of choice was a blue version of their earlier label style. The blue label continued through the middle of the year. The early singles were reissued onto this style, and new singles came out in this style as well. Singles originally released on this label style Catalog Number "I Saw Her Standing There"/"Love Me Do" 45‐LA‐4142 "Twist and Shout"/"PS I Love You" 45‐LA‐4143 "Can't Buy Me Love"/"All My Loving" 45‐LA‐4144 "A Hard Day's Night"/"Things We Said Today" 45‐LA‐4153 "If I Fell"/"I Should Have Known Better" 45‐LA‐4157 “And I Love Her”/”I’m Happy Just to Dance With You” 45‐LA‐4158 ”I Feel Fine”/“She’s a Woman” 45‐LA‐4167 NOTE 1: Copies of “Can’t Buy Me Love” exist on red vinyl, with this label and with the later label (see below). -
Beatles Cover Albums During the Beatle Period
Beatles Cover Albums during the Beatle Period As a companion to the Hollyridge Strings page, this page proposes to be a listing of (and commentary on) certain albums that were released in the United States between 1964 and April 1970. Every album in this listing has a title that indicates Beatles-related content and/or a cover that is a parody of a Beatles cover. In addition, the content of every album listed here is at least 50% Beatles-related (or, in the case of albums from 1964, "British"). Albums that are not included here include, for example, records named after a single Beatles song but which contain only a few Beatles songs: for example, Hey Jude, Hey Bing!, by Bing Crosby. 1964: Nineteen-sixty-four saw the first wave of Beatles cover albums. The earliest of these were released before the release of "Can't Buy Me Love." They tended to be quickly-recorded records designed to capitalize rapidly on the group's expanding success. Therefore, most of these albums are on small record labels, and the records themselves tended to be loaded with "filler." Possibly, the companies were not aware of the majority of Beatle product. Beattle Mash The Liverpool Kids Palace M-777 Side One Side Two 1. She Loves You 1. Thrill Me Baby 2. Why Don't You Set Me Free 2. I'm Lost Without You 3. Let Me Tell You 3. You Are the One 4. Take a Chance 4. Pea Jacket Hop 5. Swinging Papa 5. Japanese Beatles 6. Lookout for Charlie The label not only spells "Beatle" correctly but also lists the artist as "The Schoolboys." The liner notes show that this album was released before the Beatles' trip to America in February, 1964. -
So Go the Ghosts of México, Part One
so go the ghosts of méxico, part one by Matthew Paul Olmos Contact: Leah Hamos The Gersh Agency 41 Madison Avenue, 33 rd Floor, New York, NY 10010 212.917.1818 [email protected] i part I a brave woman in méxico the people a brave woman in méxico the police chief the husband el morete güero a place méxico, present day Spanish translation by Mariana Carreño King ii the beginning an emptying dirt and gravel parking lot: vacant spaces and cars-recently-left surrounded by cars-abandoned-who- the-fuck-knows. MARI and HUSBAND fuck in an emptied car. HUSBAND Lemme just— MARI Yea, I know, it’s— HUSBAND You’re on my— MARI I’m trying to— HUSBAND Will you get…over— MARI I don’t want be…over, I wanna be right…on…this… HUSBAND Fine then lift your— MARI I can’t, you go around— HUSBAND Mari, I can’t keep it in if I can’t— MARI You’re a man, if there’s a way to keep it in, you will. (HUSBAND tries a different approach; they find a rhythm) HUSBAND See that. Lookit us— MARI Will you/just— HUSBAND See how we can be— 1 MARI No words. (Just as HUSBAND feels in synch, MARI pulls off. On their separation, we hear a breaking of static; they both notice, but think nothing of it) HUSBAND Okay… MARI This isn’t— HUSBAND Wow. I know that look. MARI I’m not looking at you, I’m just— HUSBAND What? (pause) Say it. MARI Tomorrow. -
Beatles Indian 78'S, Identification Guide
Indian 78 RPM Single Releases Identification Guide Updated 07 Jn 21 Red Parlophone Label With “Trade Mark” in Center India was one of three countries known to have been pressing 78's when the Beatles came along -- the Philippines and Argentina being the others. Of these three, India pressed them the longest, with 78 RPM singles being available practically throughout the Beatles' career. All of the 78's are scarce to rare, with the later singles being hardest to find. Most collectors are unaware that the 78's came out on at least three different label styles. The first of these styles has simply "Trade Mark" in the center of the label. At the top of the label, in the rim, are the words "This copyright record must not be publicly performed without licence." At the bottom of the label are the words "THE PARLOPHONE CO, LTD." Titles Catalog Number "Please Please Me"/"Ask Me Why" R 4983 "From Me to You"/"Thank You Girl" R 5015 "She Loves You"/"I'll Get You" R 5055 "She Loves You"/"I'll Get You" (with "Sample Record" stamp) R 5055 "I Saw Her Standing There"/"Hold Me Tight" DPE 159 "I Want to Hold Your Hand"/"This Boy" R 5084 "Can't Buy Me Love"/"You Can't Do That" R 5114 "Long Tall Sally"/"I Call Your Name" DPE 164 "Love Me Do"/"PS I Love You" R 4949 "Hard Day's Night"/"Things We Said Today" R 5160 Red Parlophone Label With Parlophone in Center and “Incorporated in England” at Top Beginning in mid-1964, Parlophone of India added information to the center of the label and to its rim. -
Gender Role Construction in the Beatles' Lyrics
“SHE LOVES YOU, YEAH, YEAH, YEAH!”: GENDER ROLE CONSTRUCTION IN THE BEATLES’ LYRICS Diplomarbeit zur Erlangung des akademischen Grades eines Magister der Philosophie an der Karl-Franzens-Universität Graz vorgelegt von Mario Kienzl am Institut für: Anglistik Begutachter: Ao.Univ.-Prof. Mag. Dr.phil. Hugo Keiper Graz, April 2009 Danke Mama. Danke Papa. Danke Connie. Danke Werner. Danke Jenna. Danke Hugo. 2 TABLE OF CONTENTS 1. Introduction .......................................................................................................................... 4 2. The Beatles: 1962 – 1970...................................................................................................... 6 3. The Beatles’ Rock and Roll Roots .................................................................................... 18 4. Love Me Do: A Roller Coaster of Adolescence and Love............................................... 26 5. Please Please Me: The Beatles Get the Girl ..................................................................... 31 6. The Beatles enter the Domestic Sphere............................................................................ 39 7. The Beatles Step Out.......................................................................................................... 52 8. Beatles on the Rocks........................................................................................................... 57 9. Do not Touch the Beatles.................................................................................................. -
Aaron Krerowicz Faculty Advisor: Dr. Brett Clement 11 99 66 44 11 99 66 88 ABSTRACT
thth e e LenLen non non /M /Mcc CaCa rTn rTn ey ey DyDy n n a a m m ic ic Aaron Krerowicz Faculty advisor: Dr. Brett Clement 11 99 66 44 11 99 66 88 ABSTRACT T h e 1 2 - Ba r Blu es Few songwriting partnerships can match the longevity, innovations, and popularity of John Lennon Ex Tended Forms and Paul McCartney. Together they formed the core of The Beatles, arguably the most important rock The early Beatles were masters of economy. Only three of their first While several earlier covers use it, the first original Beatles recordings band in history. Fascinatingly, the way Lennon and McCartney composed is often comparable, even 116 recordings surpass three minutes. While they would never to employ the 12-bar blues were McCartney's 'Can't Buy Me Love' and though their resulting music is stylistically distinct, a pattern I dub The Lennon/McCartney Dynamic. abandon brevity, there is a clear progression towards longer songs, Lennon's 'You Can't Do That', both off the album A Hard Day's Night. especially in their later years. Discarded drafts of two songs from The This study observes six pairs of songs, one pair for each year from 1964-69, to show how the two White Album prove their formal experimentation. Track 01 'Can't Buy Me Love', recorded 29 January - 10 March 1964 songwriters frequently employed the same compositional ideas, but in ways that produced uniquely Though the official version of McCartney's 'Helter Skelter' lasts 4:29 (The Beatles' ninth- personal music. -
Songs by Artist
YouStarKaraoke.com Songs by Artist 602-752-0274 Title Title Title 1 Giant Leap 1975 3 Doors Down My Culture City Let Me Be Myself (Wvocal) 10 Years 1985 Let Me Go Beautiful Bowling For Soup Live For Today Through The Iris 1999 Man United Squad Loser Through The Iris (Wvocal) Lift It High (All About Belief) Road I'm On Wasteland 2 Live Crew The Road I'm On 10,000 MANIACS Do Wah Diddy Diddy When I M Gone Candy Everybody Wants Doo Wah Diddy When I'm Gone Like The Weather Me So Horny When You're Young More Than This We Want Some PUSSY When You're Young (Wvocal) These Are The Days 2 Pac 3 Doors Down & Bob Seger Trouble Me California Love Landing In London 100 Proof Aged In Soul Changes 3 Doors Down Wvocal Somebody's Been Sleeping Dear Mama Every Time You Go (Wvocal) 100 Years How Do You Want It When You're Young (Wvocal) Five For Fighting Thugz Mansion 3 Doors Down 10000 Maniacs Until The End Of Time Road I'm On Because The Night 2 Pac & Eminem Road I'm On, The 101 Dalmations One Day At A Time 3 LW Cruella De Vil 2 Pac & Eric Will No More (Baby I'ma Do Right) 10CC Do For Love 3 Of A Kind Donna 2 Unlimited Baby Cakes Dreadlock Holiday No Limits 3 Of Hearts I'm Mandy 20 Fingers Arizona Rain I'm Not In Love Short Dick Man Christmas Shoes Rubber Bullets 21St Century Girls Love Is Enough Things We Do For Love, The 21St Century Girls 3 Oh! 3 Wall Street Shuffle 2Pac Don't Trust Me We Do For Love California Love (Original 3 Sl 10CCC Version) Take It Easy I'm Not In Love 3 Colours Red 3 Three Doors Down 112 Beautiful Day Here Without You Come See Me