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View Or Download Full Colour Catalogue May 2021
VIEW OR DOWNLOAD FULL COLOUR CATALOGUE 1986 — 2021 CELEBRATING 35 YEARS Ian Green - Elaine Sunter Managing Director Accounts, Royalties & Promotion & Promotion. ([email protected]) ([email protected]) Orders & General Enquiries To:- Tel (0)1875 814155 email - [email protected] • Website – www.greentrax.com GREENTRAX RECORDINGS LIMITED Cockenzie Business Centre Edinburgh Road, Cockenzie, East Lothian Scotland EH32 0XL tel : 01875 814155 / fax : 01875 813545 THIS IS OUR DOWNLOAD AND VIEW FULL COLOUR CATALOGUE FOR DETAILS OF AVAILABILITY AND ON WHICH FORMATS (CD AND OR DOWNLOAD/STREAMING) SEE OUR DOWNLOAD TEXT (NUMERICAL LIST) CATALOGUE (BELOW). AWARDS AND HONOURS BESTOWED ON GREENTRAX RECORDINGS AND Dr IAN GREEN Honorary Degree of Doctorate of Music from the Royal Conservatoire, Glasgow (Ian Green) Scots Trad Awards – The Hamish Henderson Award for Services to Traditional Music (Ian Green) Scots Trad Awards – Hall of Fame (Ian Green) East Lothian Business Annual Achievement Award For Good Business Practises (Greentrax Recordings) Midlothian and East Lothian Chamber of Commerce – Local Business Hero Award (Ian Green and Greentrax Recordings) Hands Up For Trad – Landmark Award (Greentrax Recordings) Featured on Scottish Television’s ‘Artery’ Series (Ian Green and Greentrax Recordings) Honorary Member of The Traditional Music and Song Association of Scotland and Haddington Pipe Band (Ian Green) ‘Fuzz to Folk – Trax of My Life’ – Biography of Ian Green Published by Luath Press. Music Type Groups : Traditional & Contemporary, Instrumental -
Dog Lane Café @ Storrs Center Og Lane Café Is Scheduled to Open in the Menu at Dog Lane Café Will Be Modeled Storrs, CT Later This Year
Entertainment & Stuff Pomfret, Connecticut ® “To Bean or not to Bean...?” #63 Volume 16 Number 2 April - June 2012 Free* More News About - Dog Lane Café @ Storrs Center og Lane Café is scheduled to open in The menu at Dog Lane Café will be modeled Storrs, CT later this year. Currently, we are after The Vanilla Bean Café, drawing on influ- D actively engaged in the design and devel- ences from Panera Bread, Starbucks and Au Bon opment of our newest sister restaurant. Our Pain. Dog Lane Café will not be a second VBC kitchen layout and logo graphic design are final- but will have much of the same appeal. The ized. One Dog Lane is a brand new build- breakfast menu will consist of made to ing and our corner location has order omelets and breakfast sand- plenty of windows and a southwest- wiches as well as fresh fruit, ern exposure. Patios on both sides muffins, bagels, croissants, yogurt will offer additional outdoor seating. and other healthy selections to go. Our interior design incorporates Regular menu items served through- wood tones and warm hues for the out the day will include sandwiches, creation of a warm and inviting salads, and soups. Grilled chicken, atmosphere. Artistic style will be the hamburgers, hot dogs and vegetarian highlight of our interior space with options will be served daily along with design and installation by JP Jacquet. His art- chili, chowder and a variety of soups, work is also featured in The Vanilla Bean Café - a desserts and bakery items. Beverage choices will four panel installation in the main dining room - include smoothies, Hosmer Mountain Soda, cof- and in 85 Main throughout the design of the bar fee and tea. -
Rosemary Lane the Pentangle Magazine
Rosemary Lane the pentangle magazine Issue No 12 Summer 1997 Rosemary Lane Editorial... (thanks, but which season? and we'd Seasonal Greetings! rather have had the mag earlier!) o as the summer turns into autumn here we extensive are these re-issues of the Transatlantic are once more with the latest on Pentangle years - with over 30 tracks on each double CD in Rosemary Lane. In what now seems to be that the juxtaposition of the various musical its characteristic mode of production - i.e. long styles is frequently quite startling and often overdue and much anticipated - thanks for the refreshing in reminding you just how broad the reminders! - we nevertheless have some tasty Pentangle repertoire was in both its collective morsels of Pentangular news and music despite and individual manifestations. More on these the fact that all three current recording projects by in news and reviews. Bert and John and Jacqui remain works in progress - (see, Rosemary Lane is not the only venture that runs foul of the limitations of one human being!). there’s a piece this time round from a young Nonetheless Bert has in fact recorded around 15 admirer of Bert’s who tells how he sounds to the or 16 tracks from which to choose material and in ears of a teenage fan of the likes of Morrissey and the interview on page 11 - Been On The Road So Pulp. And while many may be busy re-cycling Long! - he gives a few clues as to what the tracks Pentangle recordings, Peter Noad writes on how are and some intriguing comments on the feel of Jacqui and band have been throwing themselves the album. -
16 043539 Bindex.Qxp 10/10/06 8:49 AM Page 176
16_043539 bindex.qxp 10/10/06 8:49 AM Page 176 176 B Boston Public Library, 29–30 Babysitters, 165–166 Boston Public Market, 87 Index Back Bay sights and attrac- Boston Symphony Index See also Accommoda- tions, 68–72 Orchestra, 127 tions and Restaurant Bank of America Pavilion, Boston Tea Party, 43–44 Boston Tea Party Reenact- indexes, below. 126, 130 The Bar at the Ritz-Carlton, ment, 161–162 114, 118 Brattle, William, House A Barbara Krakow Gallery, (Cambridge), 62 Abiel Smith School, 49 78–79 Brattle Book Shop, 80 Abodeon, 85 Barnes & Noble, 79–80 Brattle Street (Cambridge), Access America, 167 Barneys New York, 83 62 Accommodations, 134–146. Bars, 118–119 Brattle Theatre (Cambridge), See also Accommodations best, 114 126, 129 Index gay and lesbian, 120 Bridge (Public Garden), 92 best bets, 134 sports, 122 The Bristol, 121 toll-free numbers and Bartholdi, Frédéric Brookline Booksmith, 80 websites, 175 Auguste, 70 Brooks Brothers, 83 Acorn Street, 49 Beacon Hill, 4 Bulfinch, Charles, 7, 9, 40, African Americans, 7 sights and attractions, 47, 52, 63, 67, 173 Black Nativity, 162 46–49 Bunker Hill Monument, 59 Museum of Afro-Ameri- Berklee Performance Center, Burleigh House (Cambridge), can History, 49 130 62 African Meeting House, 49 Berk’s Shoes (Cambridge), Burrage Mansion, 71 Agganis Arena, 130 83 Bus travel, 164, 165 Air travel, 163 Big Dig, 174 airline numbers and Black Ink, 85 C websites, 174–175 Black Nativity, 162 Calliope (Cambridge), 81 Alcott, Louisa May, 48, 149 The Black Rose, 122 Cambridge Common, 61 Alpha Gallery, 78 Blackstone -
Round Dances Scot Byars Started Dancing in 1965 in the San Francisco Bay Area
Syllabus of Dance Descriptions STOCKTON FOLK DANCE CAMP – 2016 – FINAL 7/31/2016 In Memoriam Floyd Davis 1927 – 2016 Floyd Davis was born and raised in Modesto. He started dancing in the Modesto/Turlock area in 1947, became one of the teachers for the Modesto Folk Dancers in 1955, and was eventually awarded the Lifetime Achievement Award for dance by the Stanislaus Arts Council. Floyd loved to bake and was famous for his Chocolate Kahlua cake, which he made every year to auction off at the Stockton Folk Dance Camp Wednesday auction. Floyd was tireless in promoting folk dancing and usually danced three times a week – with the Del Valle Folk Dancers in Livermore, the Modesto Folk Dancers and the Village Dancers. In his last years, Alzheimer’s disease robbed him of his extensive knowledge and memory of hundreds, if not thousands, of folk dances. A celebration for his 89th birthday was held at the Carnegie Arts Center in Turlock on January 29 and was attended by many of his well-wishers from all over northern California. Although Floyd could not attend, a DVD was made of the event and he was able to view it and he enjoyed seeing familiar faces from his dancing days. He died less than a month later. Floyd missed attending Stockton Folk Dance Camp only once between 1970 and 2013. Sidney Messer 1926 – 2015 Sidney Messer died in November, 2015, at the age of 89. Many California folk dancers will remember his name because theny sent checks for their Federation membership to him for nine years. -
Irish Bands of the 60S & 70S | Sample Answer
Irish Bands of the 60s & 70s | Sample answer Ceoltóiri Cualann was an Irish group formed by Sean O’Riada in 1961. O’Riada had the idea of forming Ceoltóiri Cualann following the success of a group he had put together to perform music for the play “The Song of the Anvil” in 1960. Ceoltóiri Cualann would be a group to play Irish traditional songs with accompaniment and traditional dance tunes and slow airs. All folk music recorded before that time had been highly orchestrated and done in a classical way. Another aim of O’Riada’s was to revitalise the work of harpist and composer Turlough O’Carolan. Ceoltóiri Cualann was launched during a festival in Dublin in 1960 at an event called Recaireacht an Riadaigh and was an immediate success in Dublin. The group mainly played the music of O’Carolan, sean nós style songs and Irish traditional tunes, and O’Riada introduced the bodhrán as a percussion instrument. Ceoltóiri Cualann had ceased playing with any regularity by 1969 but reunited to record “O’Riada” and “O’Riada Sa Gaiety” that year. “O’Riada Sa Gaiety” was not released until after O’Riada’s death in 1971. The members of Ceoltóiri Cualann, some of whom went on to form “The Chieftains” in 1963 were O’Riada (harpsichord and bodhrán), Martin Fay, John Kelly (both fiddle), Paddy Moloney (uilleann pipes), Michael Turbidy (flute), Sonny Brogan, Éamon de Buitléir (both accordian), Ronnie Mc Shane (bones), Peadar Mercer (bodhrán), Seán Ó Sé (tenor voice) and Darach Ó Cathain (sean nós singer. Some examples of their tunes are “O’ Carolan’s Concerto” and “Planxty Irwin”. -
BOSTON IRISH Reporter Bostonirish.Com
March 2016 Boston’s hometown VOL. 27 #3 journal of Irish culture. $2.00 Worldwide at All contents copyright © 2016 Boston Neighborhood News, Inc. bostonirish.com THE SEISÚN Painting by Vincent Crotty A RISING TIDE OF REBELLION Parade, breakfast In March 1916, Boston’s Irish were divided over the move toward armed revolt in Dublin set for March 20 By JennIFer SmIth By Peter F. StevenS House, and everywhere else the local rePorter StaFF BIr StaFF Irish gathered. Many members of The South Boston St. Patrick’s Day Parade will likely Third in a four-part series. the A.O.H. (Ancient Order of Hiber- march along its normal route on March 20th, organizers In Boston and other Irish-Amer- nians) and especially Clan-na-Gael said, returning to the longer trek after snow clogged ican centers in March 1916, few urged insurrection against Britain. the city and shortened the parade last year. knew how close to armed rebellion More conservative organizations According to the website of the South Boston Allied the Irish Republican Brotherhood such as the United Irish League of War Veterans Council, which puts on the parade, and an array of other Irish men and America and the Charitable Irish the route will work east from West Broadway near women in Ireland stood. National- Society – the oldest Irish group in Broadway Station deep into Southie. After moving ists, socialists, workers, intellectu- America – cautioned that blood- along East Broadway, it will turn south on P Street als, and proponents of women’s shed would lead only to disaster and reverse course, heading past Thomas Park and on rights – all had their own agendas, for Ireland, as it had in 1798 – “the down Dorchester Street to end near Andrew Station. -
BBC Music Booklet Celebrating 80 Years of Music.Pdf
Celebrating Years of Music A Serenade to Music “We are the music-makers And we are the dreamers of dreams…” (Arthur William Edgar O’Shaughnessy, Ode) The story of BBC Northern Ireland’s involvement in nurturing and broadcasting local musical talent is still in the making. This exhibition provides a revealing glimpse of work in progress at the BBC’s Community Archive in documenting the programmes and personalities who have brought music in all its different forms to life, and looks at how today’s broadcasters are responding to the musical styles and opportunities of a new century. It celebrates BBC NI’s role in supporting musical diversity and creative excellence and reflects changes in fashion, technology and society across 80 years of local broadcasting. “ Let us celebrate the way we were and the way we live now. Much has been achieved since 2BE’s first faltering (and scarcely heard) musical broadcast in 1924. Innovation has Let us celebrate the ways we will be... been a defining feature of every decade from early radio concerts in regional towns and country halls to the pioneering work of Sean O’Boyle in recording traditional music and Sam Hanna Bell’s 1950s programmes of Belfast’s Let us count the ways to celebrate. street songs.The broadcasts of the BBC Wireless Orchestra and its successors find their contemporary echo in the world-class performances of the Ulster Orchestra and BBC NI’s radio and television schedules continue to Let us celebrate.” reverberate to the diverse sounds of local jazz, traditional and country music, religious services, brass bands, choirs, (Roger McGough - Poems of Celebration) contemporary rock, pop and dance music. -
Be Square Caller’S Handbook
TAble of Contents Introduction p. 3 Caller’s Workshops and Weekends p. 4 Resources: Articles, Videos, etc p. 5 Bill Martin’s Teaching Tips p. 6 How to Start a Scene p. 8 American Set Dance Timeline of Trends p. 10 What to Call It p. 12 Where People Dance(d) p. 12 A Way to Begin an Evening p. 13 How to Choreograph an Evening (Programming) p. 14 Politics of Square Dance p. 15 Non-White Past, Present, Future p. 17 Squeer Danz p. 19 Patriarchy p. 20 Debby’s Downers p. 21 City Dance p. 22 Traveling, Money, & Venues p. 23 Old Time Music and Working with Bands p. 25 Square Dance Types and Terminology p. 26 Small Sets p. 27 Break Figures p. 42 Introduction Welcome to the Dare To Be Square Caller’s handbook. You may be curious about starting or resuscitating social music and dance culture in your area. Read this to gain some context about different types of square dancing, bits of history, and some ideas for it’s future. The main purpose of the book is to show basic figures, calling techniques, and dance event organizing tips to begin or further your journey as a caller. You may not be particularly interested in calling, you might just want to play dance music or dance more regularly. The hard truth is that if you want trad squares in your area, with few ex- ceptions, someone will have to learn to call. There are few active callers and even fewer surviving or revival square dances out there. -
Boston Performing Arts Facility Assessment
Boston Performing Arts Facility Assessment DRAFT FOR PUBLIC COMMENT July 2017 Authors: Christopher Perez, Vice President Susan Nelson, Executive Vice President Elizabeth Wiesner, Senior Associate Prepared by TDC Table of Contents I. About TDC....................................................................................................................... 3 II. Acknowledgments............................................................................................................ 3 III. Introduction ...................................................................................................................... 4 IV. Methodology .................................................................................................................... 6 V. Definitions........................................................................................................................ 7 VI. What is the demand for spaces serving performing arts? .............................................. 10 A. What does the landscape look like? ............................................................................... 10 B. How do organizations and artists operate within the landscape? ................................... 11 C. What concerns or barriers were expressed? ................................................................... 13 VII. What is the supply of spaces that serve performing arts? .............................................. 16 A. What does the landscape look like? .............................................................................. -
Guitar Week, July 24-30, 2016 7:30- 8:30 Breakfast
JULY 3 - AUGUST 6, 2016 AT WARREN WILSON COLLEGE, ASHEVILLE, NC The Swannanoa Gathering Warren Wilson College, PO Box 9000, Asheville, NC 28815-9000 phone/fax: (828) 298-3434 email: [email protected] • website: www.swangathering.com shipping address: The Swannanoa Gathering, 701 Warren Wilson Rd., Swannanoa, NC 28778 For college admission information contact: [email protected] or 1-800-934-3536 WARREN WILSON COLLEGE CLASS INFORMATION President Dr. Steven L. Solnick The workshops take place at various sites around the Warren Wilson Vice President and Dean of the College Dr. Paula Garrett campus and environs, (contact: [email protected] or 1-800-934-3536 Vice President for Administration and Finance Stephanie Owens for college admission information) including classrooms, Kittredge Theatre, our Vice President of Advancement K. Johnson Bowles Bryson Gym dancehall and campus Pavilion, the campus gardens and patios, Vice President for Enrollment and Marketing Janelle Holmboe Dean of Student Life Paul Perrine and our own jam session tents. Each year we offer over 150 classes. Students are Dean of Service Learning Cathy Kramer free to create their own curriculum from any of the classes in any programs offered Dean of Work Ian Robertson for each week. Students may list a class choice and an alternate for each of our scheduled class periods, but concentration on two, or perhaps three classes is THE SWANNANOA GATHERING strongly recommended, and class selections are required for registration. We ask that you be thoughtful in making your selections, since we will consider Director Jim Magill them to be binding choices for which we will reserve you space. -
What's It Like to Be Black and Irish?
“What’s it like to be black and Irish?” “Like a pint of Guinness.” The above quote is taken from an interview with Phil Lynott, the charismatic lead singer of the Celtic rock band Thin Lizzy, on Gay Byrne’s ‘The Late Late Show’. Lynott’s often playful and bold responses to such questions about his identity served to mask his overwhelming feelings of insecurity and ambivalent sense of belonging. As an illegitimate black child brought up in the 1950s in a strict Catholic family in Crumlin, a working-class district of Dublin, Lynott was seen to have a “paradoxical personality” (Bridgeman, qtd. in Thomson 4): his upbringing imbued him “with an acute sense of national and gender identity” (Smyth 39), yet his skin color and illegitimacy made him the target of racial and social abuse in a predominantly white and conservative Ireland. For Lynott, becoming a rockstar offered an opportunity to reinvent himself and be whoever he wanted to be. While he played up to the rock and roll lifestyle in which he was embedded, Lynott is often considered to have been a man trapped inside a caricature (Thomson 301). Geldof (qtd. in Putterford 182) believes that this rocker persona was Lynott’s ultimate downfall and led to his untimely death at just 36 years of age in 1986. For all his swagger and bravado, behind the mask, Lynott was a troubled, young man searching for a place to belong. While many books have been written about the life of Phil Lynott (e.g. Putterford; Lynott; Thomson), few have drawn attention to the notion of identity and the way in which music provided Lynott with an outlet to explore his self.