Talent in Action (Continued from Page 24) Ble Histories Before Performing Them

Total Page:16

File Type:pdf, Size:1020Kb

Talent in Action (Continued from Page 24) Ble Histories Before Performing Them Talent in Action (Continued from page 24) ble histories before performing them. Besides his reprise of such hits as "If You Don't Know I Ain't Gonna Tell You," "Abilene," "Break My Mind," and "Early Morning Rain," Hamilton showcased new material from his MCA /Dot album, including "Can't Remember, Can't Forget," a chilling look at old age, and the wist- JOHNNY fully devotional "You're The Best Thing." Carlton, David, and Trent Moody carried their part of the show with ingratiating ease. Their repertoire of classic country and bluegrass songs was astounding for a group so young; and they made their two guitars and a bass the furniture of a complete musical world. Boy's Back. Boy George performs All well, of the Moodys sang but "Move Away," the first single from David's jazzy, meter -stretching Culture Club's "From Luxury To readings of certain limp country lyr- Heartache" album, during a recent ics stood out. taping of "American Bandstand." The In short, the evening's entertain- group is scheduled to play U.S. ment was testimony to the beauty concerts in August to support its latest and vigor of the human voice and Virgin /Epic album, which was co- other instruments. produced ty Arif Mardin and Lew EDWARD MORRIS Hahn. SheRock Will Be Rocking China; ist U.S. Pop Act Visit LOS ANGELES SheRock, a new only, according to the group's all -girl pop quintet, has snared a ca- spokesperson. reer coup by being invited to tour SheRock's China concerts will be the People's Republic of China, televised, with a potential Chinese making it the first U.S. pop group to viewing audience of up to 100 mil- receive that offer. Official confir- lion. Also in negotiation is a satellite mation of the invitation came from feed to the U.S. band representative Tiffany Chu Li- Credited with opening the way ang following a visit to Shanghai. for the tour, sanctioned by the For- S The July 26 to Sept. 1 trip includes eign Affairs Division of the Shang- 13 concerts, with shows set to be hai Bureau of Culture, is conductor held in the cities of Shanghai, Chen Xieyang, director of the Hongzhu, and Canton (Gangzhou). Shanghai Symphony Orchestra, SheRock's Chinese itinerary also who dis'2overed the group via a calls for recording plans; an agree- demo tape. All five members of the ment has reportedly been reached band are classically trained, and between the Shanghai Sound and several have reportedly performed Vision Bureau and Quest For Gold with youth symphony orchestras. Inc., a production company set up Stateside interest in the act is be- by the group's business manager, ing courted here with a scheduled Bill Lichtenstein. industry showcase at the Roxy The- The album, to be produced by Bill atre on May 14. SAM SUTHERLAND Stewart, will be released in China Iglesias Concert To Open Bay Venue Graham Readies Shoreline 8,500 -capacity Concord, which lies BY JACK McDONOUGH 30 miles east of San Francisco. Such SAN FRANCISCO A Julio Iglesias rock acs as Dire Straits and Eric performance will mark the premiere Clapton made their Pavilion debuts of the Shoreline Amphitheatre, a last year; an April 23 Willie Nelson - major venue set to open in the met- Emmylou Harris concert was this ropolitan Bay Area on June 19. Lo- year's season opener. cated in Mountain View, 35 miles The new Shoreline Amphitheatre south of San Francisco, the $18 mil- will have 7,200 reserved seats and lion, 15,000- capacity venue was built will accommodate 8,000 more on a and is operated by Bill Graham lawn area. Corresponding figures at Presents. the Concord are 3,500 and 4,500. Graham says his financial com- John Denver, Jimmy Buffett, the mitment to the theater represents Moody Blues, Culture Club, Merle RETAILING ACROSS "the largest role I've ever taken" in Haggard, the Oak Ridge Boys, Jef- any project during his 20 -year ca- frey Osborne, Manhattan Transfer, AMERICA WITH SALES reer in the entertainment industry. and Mr. Mister have all been booked AND REORDERS THAT A key strategy in booking the for consecutive -night appearances venue will be back -to -back schedul- at the two outdoor venues. KNOW NO BOUNDARIES. ing of acts for one night at Shore- Greg Perloff, a booker with the line and one night at the Concord Graham operation, says he doesn't Pavilion. Graham's organization think the Shoreline will hurt busi- has just entered the second year of ness at the Concord Pavilion. a six -year booking contract with the BILLBOARD MAY 10, 1986 25 www.americanradiohistory.com.
Recommended publications
  • I Want My MTV”: Music Video and the Transformation of the Sights, Sounds and Business of Popular Music
    General Education Course Information Sheet Please submit this sheet for each proposed course Department & Course Number Music History 98T Course Title “I Want My MTV”: Music Video and the Transformation of The Sights, Sounds and Business of Popular Music 1 Check the recommended GE foundation area(s) and subgroups(s) for this course Foundations of the Arts and Humanities • Literary and Cultural Analysis • Philosophic and Linguistic Analysis • Visual and Performance Arts Analysis and Practice X Foundations of Society and Culture • Historical Analysis X • Social Analysis X Foundations of Scientific Inquiry • Physical Science With Laboratory or Demonstration Component must be 5 units (or more) • Life Science With Laboratory or Demonstration Component must be 5 units (or more) 2. Briefly describe the rationale for assignment to foundation area(s) and subgroup(s) chosen. This seminar will trace the historical ‘phenomenon” known as MTV (Music Television) from its premiere in 1981 to its move away from the music video in the late 1990s. The goal of this course is to analyze the critical relationships between music and image in representative videos that premiered on MTV, and to interpret them within a ‘postmodern’ historical and cultural context. 3. "List faculty member(s) who will serve as instructor (give academic rank): Joanna Love-Tulloch, teaching fellow; Dr. Robert Fink, faculty mentor 4. Indicate when do you anticipate teaching this course over the next three years: 2010-2011 Winter Spring X Enrollment Enrollment 5. GE Course Units 5 Proposed Number of Units: Page 1 of 3 6. Please present concise arguments for the GE principles applicable to this course.
    [Show full text]
  • Entire Issue 1
    Bollyville, U.S.A: The Commodification of the Other and MTV’s Construction of the “Ideal Type” Desi Murali Balaji When the Music Television Network launched MTV Desi in 2005, it promised to bridge the divide between South Asian Americans and their counterparts in the Indian subcontinent.1 This study looks at how MTV Desi tried to create an “ideal type” South Asian American through its programming, presenting an image of South Asian Americans as loving “Bhangra but also Shakira… MTV but also Bollywood.” The author seeks to articulate the political economy of identity by describing MTV’s attempts to define and commodify “Desi-ness.” The author also attempts to explain why MTV Desi ultimately failed and how marginalized audiences can resist commodification by rejecting corporate- defined identity. n its 25-plus years of existence, the Music Television Network has been one of the primary forces in shaping global youth culture and cultivating youth identity.2 The Viacom-owned network’s influence has been so expansive that MTV programs are now a staple of youth consumption in every corner of the Iworld. 3 MTV, in many ways, is popular culture, indulging its viewers with the lav- ishness of consumerism and breeding a loyal following among an age group that varies from impressionable pre-teens to middle-age voyeurs. MTV in the United States has traditionally targeted white, suburban teenagers, and as its content para- digm has shifted away from music videos and into new “reality”-based program- ming, the network has expanded its reach into movies and even books. In many ways, the network has evolved into an “all-encompassing ‘lifestyle’ channel for its young targeted audience.”4 MTV’s success in shaping culture has been so prevalent that the network itself is synonymous with cool.
    [Show full text]
  • The Beatles and the Crisis of Self-Identity
    Sosland Journal 77 THE BEATLES AND THE CRISIS OF SELF-IDENTITY Jared Gutzmer “Ringo- a lovely performer. George- a mystical unre- alized talent. But John and Paul, Saints John and Paul, were, and made, and aureoled and beatifi ed and eternalized the concept that shall always be known, remembered and deeply loved as The Beatles” -Leonard Bernstein The Beatles are one of the most popular bands of all time. This is an undisputed fact no matter the location. They were so popular that in America, they had to stop touring due to the screaming fans which caused the band not to be able to hear themselves. Never before was there a group that was so incredibly popular in history. This popularity and other fac- tors led the members of the Beatles to change as individuals and as a group as they matured musically and mentally. Their identity shifted from a group identity to a self-identity. From the Beatles fi rst album, Please Please Me, to their last, Let It Be, the shift in their identity can be seen through their music and the appearances that led to individualism and eventually their downfall. 78 Sosland Journal The Music “It would not seem quite so likely that the accompany- ing fever known as Beatlemania will also be success- fully exported. On this side of the Atlantic it is dazed stuff.” -Jack Gould, New York Times television critic The Beatles music and lyrics changed drastically from their fi rst to last album due to adapting to a changing soci- ety, musical maturity, and their increased popularity.
    [Show full text]
  • Courthouse Square
    Courthouse‘round the Fall 2020 Vol. 31, #4 Wood County Employees square Bowling Green, Ohio www.woodcountyohio.gov/employee BOARD OF ELECTIONS ADJUSTS FOR COVID usy season is here for the early. This year the Atrium is being people participating in the 2020 Wood County Board of utilized to assist with physical election process. B Elections. distancing requirements to ensure Managing Election Day requires Throughout the year staff stay very the safety of voters and staff. crisis management and media busy maintaining 92,257 registered The office also reported mailing relations. When the polls close, voters; processing candidate 19,192 absentee ballots in early tabulation occurs which consists petitions and verifying their October, with mailing to continue of public reporting on the web, qualifications; administering the throughout the month. A larger state reporting, and the unofficial elections; preparing voting units drop box was purchased to count. The official count includes with color touch screen voting; provide adequate space for the the provisional process, as well as coordinating absentee ballots by returned ballots. It is located all properly postmarked ballots mail; and conducting the early in- outside of the main entrance received through the mail during person voting process. The office to the Courthouse. Voters may the 10 days after November 3. also retains campaign finance and also confirm that their absentee The office also maintains a website other public records including ballot was received with a “Track that provides filed candidate lists current information, reference My Ballot” tool on the Board’s and issues, early voting hours, the material, and historical data.
    [Show full text]
  • Meet the Tempe Playlist Musicians
    MEET THE TEMPE PLAYLIST MUSICIANS Adele Etheridge Woodson Song: Morena (Morena feat. Rosita) Visit Website Morena was part of my EP, Sunday in the Park, that was commissioned by the city of Tempe! I wanted to create a fun, catchy track with Portuguese elements to bring fresh variety to the EP! I am a freelance composer and violinist born and raised in Tempe. I feel all of my artistic success is because of the local community and artists I am surrounded by. I currently compose music for film, arrange strings for other bands, and produce. Alex King Song: Dialogue (Inner) Visit Spotify After a spiraling last year and a half I was just trying to be honest with myself about what happened and where I was going. The results were less clear than where they started. Maybe? Not sure… I grew up here. I love this city. Although all the other places I've traveled too and have lived hold dear places in my heart, Tempe will always be my true love! I play drums in a loud band around Tempe infrequently. Alyssa G Song: Let Go Visit Instagram I was in a long and draining relationship for years and when I decided to move on and break it off, I found myself in tears in my friend’s dorm, guitar in hand, and humming to a few chords. I decided to write, record, and complete the song to share with others, in hope that they could see the light at the end of the tunnel when it comes to hard breakups.
    [Show full text]
  • New Directions from the Field PDF Version
    U.S. Department of Justice Office of Justice Programs Office for Victims of Crime New Directions from the Field: Victims’ Rights and Services for the 21st Century NCJ 170600 New Directions from the Field: Victims’ Rights and Services for the 21st Century CONTENTS Foreword ii Executive Summary vii Section I: New Directions in Victims’ Rights 1 Chapter 1: Victims’ Rights 3 Section II: New Directions for Criminal and Juvenile Justice System Agencies 45 Chapter 2: Law Enforcement 47 Chapter 3: Prosecution 73 Chapter 4: Judiciary 97 Chapter 5: Corrections 119 Section III: New Directions for Victim Asssistance and Allied Professions 147 Chapter 6: New Directions for the Victim Assistance Community 149 Chapter 7: The Health Care Community 199 Chapter 8: The Mental Health Community 219 Chapter 9: The Legal Community 249 Chapter 10: The Educational Community 263 Chapter 11: The Faith Community 283 Chapter 12: The Business Community 295 Chapter 13: The News Media Community 313 Section IV: New Directions in Financial Recovery 323 Chapter 14: Crime Victim Compensation 325 Chapter 15: Restitution 355 Chapter 16: Civil Remedies 373 Section V: New Directions for Child Victims 381 Chapter 17: Child Victims 383 Section VI: New Directions in International Victim Assistance 413 Chapter 18: International Perspectives in Victim Services 415 Conclusion 429 Appendix A: Contributors to New Directions A-1 Appendix B: Staff of New Directions B-1 i New Directions from the Field: Victims’ Rights and Services for the 21st Century Foreword Fifteen years have passed
    [Show full text]
  • Synthpop: Into the Digital Age Morrow, C (1999) Stir It Up: Reggae Album Cover Art
    118 POPULAR MUSIC GENRES: AN INTRODUCTION Hebdige, D. (1987) Cut 'n' mix: Identity and Caribbean MUSIc. Comedia. CHAPTER 7 S. (1988) Black Culture, White Youth: The Reggae Tradition/romJA to UK. London: Macmillan. Synthpop: into the digital age Morrow, C (1999) StIr It Up: Reggae Album Cover Art. San Francisco: Chronicle Books. Potash, C (1997) Reggae, Rastafarians, Revolution: Jamaican Musicfrom Ska to Dub. London: Music Sales Limited. Stolzoff, N. C (2000) Wake the Town and Tell the People: Dancehall Culture in Jamaica. Durham, NC, and London: Duke University Press. Recommended listening Antecedents An overview of the genre Various (1989) The Liquidators: Join The Ska Train. In this chapter, we are adopting the term synthpop to deal with an era Various (1998) Trojan Rocksteady Box Set. Trojan. (around 1979-84) and style of music known by several other names. A more widely employed term in pop historiography has been 'New Generic texts Romantic', but this is too narrowly focused on clothing and fashion, Big Youth ( BurI).ing Spear ( and was, as is ever the case, disowned by almost all those supposedly part Alton (1993) Cry Tough. Heartbeat. of the musical 'movement'. The term New Romantic is more usefully King Skitt (1996) Reggae FIre Beat. Jamaican Gold. employed to describe the club scene, subculture and fashion associated K wesi Johnson, Linton (1998) Linton Kwesi Johnson Independam Intavenshan: with certain elements ofearly 1980s' music in Britain. Other terms used to The Island Anthology. Island. describe this genre included 'futurist' and 'peacock punk' (see Rimmer Bob Marley and The Wailers (1972) Catch A Fire.
    [Show full text]
  • Music Television 1/27/03 5:30 PM
    Music Television 1/27/03 5:30 PM MUSIC TELEVISION MTV (Music Television) is the oldest and most influential American cable network specializing in music?related programming. It was launched on August 1, 1981, with the words "Ladies and gentlemen, rock and roll," spoken on camera by John Lack, one of the creators of MTV. This introduction was immediately followed by the music?video clip Video Killed the Radio Star, featuring a band called the Buggles. The title proved somewhat prophetic as MTV greatly transformed the nature of music?industry stardom over the next several years. At the same time, MTV became a major presence in the cable?TV industry and in fact in the overall American cultural landscape. One of the earliest and greatest cable success stories, MTV was established by Warner Amex Satellite Courtesy of MTV Entertainment Company (WASEC) after extensive marketing research. The key to MTV's viability, at least Some of the displaced musical content of MTV, initially, was the availability of low-cost programming in especially soft rock and other "adult" music, has landed the form of music videos. Originally these were provided on VH1 (Video Hits 1), a second video channel owned by free by record companies, which thought of them as MTV. Launched in 1985, VH?1 (hyphenated until 1994) advertising for their records and performers. quickly acquired a reputation as "video valium" for yuppies. Otherwise, the channel has had an indistinct MTV presented one video after another in a constant image and has languished in the shadow of MTV. "flow" that contrasted with the discrete individual Makeovers in 1989 and (especially) 1994 raised the programs found on other television networks.
    [Show full text]
  • BOBBY CHARLES LYRICS Compiled by Robin Dunn & Chrissie Van Varik
    BOBBY CHARLES LYRICS Compiled by Robin Dunn & Chrissie van Varik. Bobby Charles was born Robert Charles Guidry on 21st February 1938 in Abbeville, Louisiana. A native Cajun himself, he recalled that his life “changed for ever” when he re-tuned his parents’ radio set from a local Cajun station to one playing records by Fats Domino. Most successful as a songwriter, he is regarded as one of the founding fathers of swamp pop. His own vocal style was laidback and drawling. His biggest successes were songs other artists covered, such as ‘See You Later Alligator’ by Bill Haley & His Comets; ‘Walking To New Orleans’ by Fats Domino – with whom he recorded a duet of the same song in the 1990s – and ‘(I Don’t Know Why) But I Do’ by Clarence “Frogman” Henry. It allowed him to live off the songwriting royalties for the rest of his life! Two other well-known compositions are ‘The Jealous Kind’, recorded by Joe Cocker, and ‘Tennessee Blues’ which Kris Kristofferson committed to record. Disenchanted with the music business, Bobby disappeared from the music scene in the mid-1960s but returned in 1972 with a self-titled album on the Bearsville label on which he was accompanied by Rick Danko and several other members of the Band and Dr John. Bobby later made a rare live appearance as a guest singer on stage at The Last Waltz, the 1976 farewell concert of the Band, although his contribution was cut from Martin Scorsese’s film of the event. Bobby Charles returned to the studio in later years, recording a European-only album called Clean Water in 1987.
    [Show full text]
  • 11 Relocation of Aboriginal Communities
    Volume 1 - Looking Forward Looking Back PART TWO False Assumptions and a Failed Relationship 11 Relocation of Aboriginal Communities AS EUROPEANS ARRIVED on the shores of North America, one of the principal effects on Aboriginal peoples, almost from the beginning of contact, was physical displacement from their traditional hunting and fishing territories and residential locations. Our overview of the history of Aboriginal/non-Aboriginal relations in Chapters 3 to 6 revealed that geographical displacement took many forms. While the Beothuk are believed to have resisted the earliest incursions on their lands, other Aboriginal peoples gave way and moved to locations more distant from the incoming Europeans. As we have seen, some nations were drawn into French/British, British/American and other conflicts of the 1600s and 1700s, and lost their traditional homelands as a direct or indirect result. As settlers replaced soldiers in their territories — often taking over choice coastal, riverfront and agricultural lands — Aboriginal people had to abandon their traditional hunting, fishing and residential lands. They also saw their homelands restricted and often changed as a result of land purchase agreements, the treaty-making process, and the establishment of reserves. In more recent times, the displacement of Aboriginal people has often taken the form of deliberate initiatives by governments to move particular Aboriginal communities for administrative or development purposes. We use the term 'relocations' to describe these forms of displacement, which are the subject of this chapter. As illustrated by the dramatic relocation of Inuit from Inukjuak, Quebec and Pond Inlet on Baffin Island to the High Arctic in the 1950s, and by the current situation of the Mushuau Innu of Labrador in the province of Newfoundland, the relocation of Aboriginal communities continues to be an issue.
    [Show full text]
  • Gagen, Justin. 2019. Hybrids and Fragments: Music, Genre, Culture and Technology
    Gagen, Justin. 2019. Hybrids and Fragments: Music, Genre, Culture and Technology. Doctoral thesis, Goldsmiths, University of London [Thesis] https://research.gold.ac.uk/id/eprint/28228/ The version presented here may differ from the published, performed or presented work. Please go to the persistent GRO record above for more information. If you believe that any material held in the repository infringes copyright law, please contact the Repository Team at Goldsmiths, University of London via the following email address: [email protected]. The item will be removed from the repository while any claim is being investigated. For more information, please contact the GRO team: [email protected] Hybrids and Fragments Music, Genre, Culture and Technology Author Supervisor Justin Mark GAGEN Dr. Christophe RHODES Thesis submitted for the degree of Doctor of Philosophy in Computer Science GOLDSMITHS,UNIVERSITY OF LONDON DEPARTMENT OF COMPUTING November 18, 2019 1 Declaration of Authorship I, Justin Mark Gagen, declare that the work presented in this thesis is entirely my own. Where I have consulted the work of others, this is clearly stated. Signed: Date: November 18, 2019 2 Acknowledgements I would like to thank my supervisors, Dr. Christophe Rhodes and Dr. Dhiraj Murthy. You have both been invaluable! Thanks are due to Prof. Tim Crawford for initiating the Transforming Musicology project, and providing advice at regular intervals. To my Transforming Musicology compatriots, Richard, David, Ben, Gabin, Daniel, Alan, Laurence, Mark, Kevin, Terhi, Carolin, Geraint, Nick, Ken and Frans: my thanks for all of the useful feedback and advice over the course of the project.
    [Show full text]
  • Culture Club Albums Download Culture Club Albums Download
    culture club albums download Culture club albums download. Completing the CAPTCHA proves you are a human and gives you temporary access to the web property. What can I do to prevent this in the future? If you are on a personal connection, like at home, you can run an anti-virus scan on your device to make sure it is not infected with malware. If you are at an office or shared network, you can ask the network administrator to run a scan across the network looking for misconfigured or infected devices. Another way to prevent getting this page in the future is to use Privacy Pass. You may need to download version 2.0 now from the Chrome Web Store. Cloudflare Ray ID: 67a50360ac74d721 • Your IP : 188.246.226.140 • Performance & security by Cloudflare. Boy George & Culture Club – Studio Albums (1982 – 2013) Boy George & Culture Club – Studio Albums (1982 – 2013) EAC Rip | FLAC Image + Cue + Log | Full Scans @600 dpi, PNG, Included Total Size: 8.93 GB | 3% RAR Recovery Label: EMI, Virgin, High Note, Black Door, Very Me | Genre: Pop. British singer Boy George combined a strong, soulful singing voice with a provocative sense of fashion, both of which were first brought to the attention of English and American audiences in the group Culture Club, for whom he served as lead singer from 1982 to 1986. The group wrote and played impeccable pop music, and Boy George’s androgynous persona — heavy makeup and outrageous costumes — gave the group a distinct video image in the dawn of MTV. That very distinctiveness, however, made the group date quickly, and at the same time Boy George encountered highly publicized personal difficulties.
    [Show full text]