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Rubber Souls: Rock and Roll and the Racial Imagination
Rubber Souls: Rock and Roll and the Racial Imagination The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Hamilton, John C. 2013. Rubber Souls: Rock and Roll and the Racial Imagination. Doctoral dissertation, Harvard University. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:11125122 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA Rubber Souls: Rock and Roll and the Racial Imagination A dissertation presented by Jack Hamilton to The Committee on Higher Degrees in American Studies in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the subject of American Studies Harvard University Cambridge, Massachusetts April 2013 © 2013 Jack Hamilton All rights reserved. Professor Werner Sollors Jack Hamilton Professor Carol J. Oja Rubber Souls: Rock and Roll and the Racial Imagination Abstract This dissertation explores the interplay of popular music and racial thought in the 1960s, and asks how, when, and why rock and roll music “became white.” By Jimi Hendrix’s death in 1970 the idea of a black man playing electric lead guitar was considered literally remarkable in ways it had not been for Chuck Berry only ten years earlier: employing an interdisciplinary combination of archival research, musical analysis, and critical race theory, this project explains how this happened, and in doing so tells two stories simultaneously. -
About Astronomers a Listing by Andrew Fraknoi (Fromm Institute, U
Some Plays (and Films) about Astronomers A Listing by Andrew Fraknoi (Fromm Institute, U. of San Francisco) © Copyright 2019 by Andrew Fraknoi. The right to distribute for a non-profit educational purpose, such as a class, is hereby granted. For any other use, contact the author: fraknoi {at} fhda {dot} edu NOTE: This is a first attempt at a list of plays and films about astronomers. No claim is made for completeness and additional suggestions are most welcome. (A list of astronomy operas is included in my topical listing of music inspired by astronomy at: http://bit.ly/astronomymusic ) PLAYS ABOUT (OR FEATURING) ASTRONOMERS: Chemers, Krumholz, and Bierman: Birth of Stars. This experimental play, one of whose authors (Mark Krumholz) is an astronomer, performed at the U. of California, Santa Cruz, has a teenage astronomy prodigy as its protagonist, and deals with her life and her obsession with the lives of stars: https://news.ucsc.edu/2014/10/stars-art-science.html and https://www.cityonahillpress.com/2014/11/14/parallel-lives-of-humans-and-stars/ Hailey Shapiro’s thesis analyzing the play and its educational effects is available: https://escholarship.org/content/qt6tf6c312/qt6tf6c312.pdf Gabridge, Patrick: Reading the Mind of God (a play about Johannes Kepler and Tycho Brahe). The text can be found at: http://webs.wofford.edu/zidessb/Theatrefiles/reading%20the%20mind%20of%20god.pdf A synopsis and history of productions is at: http://www.gabridge.com/full-length-plays/reading-the- mind-of-god/ Goldhaber, Judith & Pennypacker, Carl: Falling through a Hole in the Air (a musical play about Stephen Hawking): http://www.psyclops.com/hawking/ccsf_play/falling.shtml (A song from the play is performed here: http://www.youtube.com/watch?v=UXjwZIqJwos ) Goodwin, Richard The Hinge of the World: In Which Professor Galileo Galilei, Chief Mathematician and Philosopher to His Serene Highness the Grand Duke of Tuscany, and His Holiness Urban VIII Battle for 1 the Soul of the World. -
G O O D Speed M U Sic a Ls
GOODSPEED MUSICALS TEACHER’S INSTRUCTIONAL GUIDE The Max Showalter Centerfor Education inMusical Theatre GOOD NEWS! Goodspeed Opera House April 12 - June 22, 2013 _________ MUSIC AND LYRICS BY B.G. DeSYLVA, LEW BROWN & RAY HENDERSON BOOK BY LAWRENCE SCHWAB, B.G. DESYLVA & FRANK MANDEL Teacher’s Instructional Guide ADAPTED BY TABLE OF CONTENTS JEREMY DESMON How to Use the Guides..........................................................................................3 LIGHTING DESIGN BY CHARLIE MORRISON ABOUT THE SHOW: Show Synopsis............................................................................................4 COSTUME DESIGN BY TRACY CHRISTENSEN Character Summary..............................……….…………………………...6 Meet the Writers..........................................…...………………………..…..7 SCENIC DESIGN BY COURT WATSON Behind the Scenes: Set Design...............................................................9 Behind the Scenes: Costume Design...................................................10 DIRECTED AND CHOREOGRAPHED BY BACKGROUND AND THEMATIC MATERIAL: VINCE PESCE Football in the 1920s................................................................................11 PRODUCED FOR GOODSPEED Sororities and Fraternities in the 1920s....................................................13 MUSICALS BY MICHAEL P. PRICE The Roaring ‘20s: Youth in Society..........................................................14 Presenting a Timeless Trope....................................................................15 LESSONS: Middle School -
AUDIENCE INSIGHTS the Max Showalter Centerfor Education Inmusical Theatre GOOD NEWS!
GOODSPEED MUSICALS AUDIENCE INSIGHTS The Max Showalter Centerfor Education inMusical Theatre GOOD NEWS! Goodspeed Opera House April 12 - June 22, 2013 _________ MUSIC AND LYRICS BY B.G. DE SYLVA, LEW BROWN & RAY HENDERSON BOOK BY LAWRENCE SCHWAB, B.G. DE SYLVA & FRANK MANDEL Audience Insights ADAPTED BY TABLE OF CONTENTS JEREMY DESMON Show Synopsis........................................................................................................3 LIGHTING DESIGN BY CHARLIE MORRISON Character Summary............................……….……………………………………...5 Meet the Writers...............................................………...………………………..…..6 COSTUME DESIGN BY TRACY CHRISTENSEN The Goodspeed Formula..........……........................……………………………….8 Adapting the Good News! Script..........……........................…….………...…….9 SCENIC DESIGN BY COURT WATSON Behind the Scenes: Set Design.........................................................................11 Behind the Scenes: Costume Design...............................................................12 DIRECTED AND CHOREOGRAPHED BY Football in the 1920s............................................................................................13 VINCE PESCE Sororities and Fraternities in the 1920s..............................................................15 PRODUCED FOR GOODSPEED The Roaring 20s: Youth in Society.....................................................................16 MUSICALS BY MICHAEL P. PRICE Resources..................................................………...…………....……………..…17 -
Steve Ross Press
Steve Ross Press STEVE ROSS - C'MON AND HEAR: AN IRVING BERLIN JULY 4th CELEBRATION Birdland, NY A themed evening with Steve Ross is as illuminating as it is entertaining. With cards-face-up fidelity, original embellishment, and the kind of indisputable panache that never sacrifices emotion for sophistication, Ross tonight offers a high-spirited celebration of Irving Berlin, “Russia’s best export after vodka.” As exemplified by a jaunty “Alexander’s Ragtime Band,” Ross’ lucid musicianship, aided by the excellent Jered Egan on bass, is more effective than a full band in capturing the intention of Berlin’s of-the-people oeuvre. The pianist effortlessly delivers light, tangy ragtime. Selective history and anecdotes act as bridges, not filler. Composer/lyricist Israel Isidore Baline (1888 -1989) fled a Russian pogrom, landing on New York’s Lower East Side. After stints as a singing waiter and song plugger, he began to write in earnest, catching ragtime fever. Ross describes the genre as “rhythms that came up the Mississippi to sit on marching tempo,” adroitly demonstrating with “Play a Simple Melody.” We’re treated to excerpts from several vivacious songs, including a percussive “When the Midnight Choo-Choo Leaves for Alabam”’ that appears to have fancy footwork. “I Love a Piano,” one of our host’s favorites, is as dancey as it gets. Ross is able to make exuberanceeloquent. Higher octaves arrive quiet-difficult and effective. “Mandy” is equally infectious. “...so don’t you linger...” he sings boyishly, pointing at/warning the audience. Gestures come easily tonight, drawing us in. “When I Lost You,” Berlin’s first ballad, written upon the devastating, post-honeymoon death of his bride, is melodic, yet profound in its grief: “I lost the sunshine and roses/I lost the heavens so blue/I lost the beautiful rainbow/I lost the morning dew....” “Say It Isn’t So”—moving like chiffon and marabou, and a smoky, sotto voce “How Deep Is the Ocean? (How High Is the Sky)” show mastery of melancholy ardor. -
Broadway Sheet Music Collection Print Collection 31 Finding Aid Prepared by Siduri Beckman
Broadway sheet music collection Print Collection 31 Finding aid prepared by Siduri Beckman. Last updated on July 26, 2016. University of Pennsylvania, Kislak Center for Special Collections, Rare Books and Manuscripts 2016 June 28 Broadway sheet music collection Table of Contents Summary Information....................................................................................................................................3 Biography/History..........................................................................................................................................4 Scope and Contents....................................................................................................................................... 4 Administrative Information........................................................................................................................... 5 Controlled Access Headings..........................................................................................................................5 Collection Inventory...................................................................................................................................... 7 - Page 2 - Broadway sheet music collection Summary Information Repository University of Pennsylvania: Kislak Center for Special Collections, Rare Books and Manuscripts Title Broadway sheet music collection Call number Print Collection 31 Date [inclusive] 1918-1929 Extent 2 linear feet (6 boxes) Language English Language Note The bulk of the material is -
Ray Henderson Music V. Google
Case 5:20-cv-00538 Document 1 Filed 01/23/20 Page 1 of 24 1 Allen Hyman (California State Bar No. 73371) LAW OFFICES OF ALLEN HYMAN 2 10737 Riverside Drive North Hollywood, CA 91602 3 Phone: (818) 763-6289 Fax: (818) 763-4676 4 E-mail: [email protected] 5 Brian S. Levenson * Pro Hac Vice Pending SCHWARTZ, PONTERIO & LEVENSON, PLLC 6 134 West 29th Street, Suite 1006 New York, New York 10001 7 Phone: (212) 714-1200 Fax: (212) 714-1264 8 E-mail: [email protected] 9 Attorneys for Plaintiff 10 UNITED STATES DISTRICT COURT 11 NORTHERN DISTRICT OF CALIFORNIA 12 13 RAY HENDERSON MUSIC CO., INC., 14 15 Plaintiff, COMPLAINT FOR COPYRIGHT INFRINGEMENT 16 v. AND DEMAND FOR JURY TRIAL 17 GOOGLE LLC, VALLEYARM DIGITAL LIMITED, LENANDES LTD, 18 GIACOMO VERANI, and LIMITLESS INT. RECORDINGS, 19 Defendants. 20 21 22 Jurisdiction 23 1. The Court has jurisdiction over the subject matter of this action against 24 Defendants Google LLC, Valleyarm Digital Limited, Lenandes Ltd, Giacomo Verani, 25 and Limitless Int. Recordings pursuant to 28 U.S.C. § 1338(a) because this is an action 26 for copyright infringement arising under the Copyright Act of 1976, 17 U.S.C. §§ 27 101, 106, 115, 501, 602 et seq. 28 1 OMPLAINT OR OPYRIGHT NFRINGEMENT ND EMAND OR URY RIAL C F C I A D F J T Case 5:20-cv-00538 Document 1 Filed 01/23/20 Page 2 of 24 1 Introduction 2 2. Plaintiff is the legal and/or beneficial copyright owner of musical works 3 authored by Ray Henderson one of the premier composers of American music. -
Parody As a Borrowing Practice in American Music, 1965–2015
Parody as a Borrowing Practice in American Music, 1965–2015 A dissertation submitted to the Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Division of Composition, Musicology, and Theory of the College-Conservatory of Music by John P. Thomerson BM, State University of New York at Fredonia, 2008 MM, University of Louisville, 2010 Committee Chair: bruce d. mcclung, PhD ABSTRACT Parody is the most commonly used structural borrowing technique in contemporary American vernacular music. This study investigates parody as a borrowing practice, as a type of humor, as an expression of ethnic identity, and as a response to intellectual trends during the final portion of the twentieth century. This interdisciplinary study blends musicology with humor studies, ethnic studies, and intellectual history, touching on issues ranging from reception history to musical meaning and cultural memory. As a structural borrowing technique, parody often creates incongruity—whether lyrical, stylistic, thematic, evocative, aesthetic, or functional—within a recognized musical style. Parodists combine these musical incongruities with other comic techniques and social conventions to create humor. Parodists also rely on pre-existing music to create, reinforce, and police ethnic boundaries, which function within a racialized discourse through which parodists often negotiate ethnic identities along a white-black binary. Despite parody’s ubiquity in vernacular music and notwithstanding the genre’s resonance with several key themes from the age of fracture, cultivated musicians have generally parody. The genre’s structural borrowing technique limited the identities musicians could perform through parodic borrowings. This study suggests several areas of musicological inquiry that could be enriched through engagement with parody, a genre that offers a vast and largely unexplored repertoire indicating how musical, racial, and cultural ideas can circulate in popular discourse. -
Souvenir Playbill Final3.Pdf
Welcome back, to our extended family of patrons and supporters. We continue to navigate our way forward together and I appreciate your willingness to be part of the journey. This production of Souvenir marks a new chapter for MCT. There are so many changes and accommodations required to produce a live show at present, but the alternative is to turn all the lights off, and I know that many of you, along with our staff, consider MCT as a kind of second home. And in our homes, we keep the lights on for friends and family. We are starting slow with Souvenir, a socially-distanced audience in the theatre, with current safety protocols, as well as the option some of you have selected to view from your home. MCT's mission remains strong, and we are grateful to be able to give our community the joy of live theatre in troubling times. Now our biggest hurdle is to span the time from now until we can gather closer than six feet to enjoy each other’s company and some terrific entertainment. MCT Covering local news has shown the kind of grit and resilience that has allowed us to reach this milestone—our 50th Anniversary year. Maybe this show will act as a from government to business “take away memory” of good times with good friends in this unbalanced world. A “souvenir” if you will. Enjoy the show, whether you watch it with to the environment the house lights off at MCT or on at your home. We look forward to the day we can all enjoy performances together in person at the MCT Center and community voices for the Performing Arts. -
H:\Song History WIP Rev 8-9-2017.Txt
Cotton Candy and Circus Real Name Cotton Candy and a Toy Balloon recorded by Dinah Shore in 1950. Music and Lyrics by Steve Allen and "By" Dunham Crinoline Days and Mary Crinoline Days Written by Irving Berlin and recorded by Paul Whiteman and His Orchestra - Crinoline Days 1922 Mary "Mary (I'm in Love with You)" is an American popular song of 1931, written by J. Fred Coots and Ozzie Nelson. Nelson and his orchestra recorded the song on November 25, 1931 (Brunswick E37427).[1] Wild About Harry and Paddlin Madlin "I'm Just Wild About Harry" is a song written in 1921 with lyrics by Noble Sissle and music by Eubie Blake for the Broadway show Shuffle Along. "I'm Just Wild About Harry" was the most popular number of the production, which was the first financially successful Broadway play to have African-American writers and an all African-American cast. Originally written as a waltz, Blake rewrote the number as a foxtrot at the singer's request. The result was a simple, direct, joyous, and infectious tune enhanced onstage by improvisational dancing. In 1948 Harry S. Truman selected "I'm Just Wild About Harry" as his campaign song for the United States presidential election of 1948.[2] Its success in politics led to a popular revival. Paddlin' Madelin' Home Words and Music by Harry M Woods Recorded in 1925 by Cliff Edwards and i n 1926 by the Ipana Troubadors. Later Recorded by Jackie Gleason. A Long, Long Way From Home and Dream Kisses When you're a long long way from home Writen in 1914 by Henry Burr and recorded by Harry James and Bing Crosy to name a few. -
Happy Reading! Robin & Chrissie
EVERLYPEDIA (formerly The Everly Brothers Index – TEBI) Coordinated by Robin Dunn & Chrissie van Varik A complete (as far as is possible) index/encyclopaedia on every facet of Don & Phil Everly, covering their lives, careers, influences and connections – of course, from us as huge fans, with all due respect to them and their families. For more recording information, see also the various detailed discography lists on the EBI website (Everly.Net); for lyrics to songs, please refer to the Lyric List on the same website (http://www.everly.net/file/disco/disco.htm ). KEY/GLOSSARY/NOTES: • WB: Warner Brothers • EBs: The Everly Brothers • LPs, CDs etc. are generally (but not always) referred to throughout as ‘albums’. • Other than important (re)releases, only the original/initial album release is referred to. • Entries are listed under the first letter, including titles that start with a bracket, e.g. ‘(Why Am I) Chained To A Memory’, but exclude ‘The’ in which case they are listed under the second word. • Surnames or family names come first in the index. • Headings are coloured blue for song and album titles and maroon for everything else. • All words in bold type in the text are cross-references to other main entry headings – although no doubt we’ve missed a few! • Entries are generally aimed to be informative and we have attempted to keep them brief though some are lengthy due to the importance and significance in the life and career of Don and Phil. However, in some cases, due to the limitations of space and the huge volume of material available elsewhere, details have been kept to a bare minimum and relate mainly to the ‘Everly connection’ – e.g. -
Allen Hyman (California State Bar No
Case 5:20-cv-02146-JSC Document 1 Filed 03/30/20 Page 1 of 27 1 Allen Hyman (California State Bar No. 73371) LAW OFFICES OF ALLEN HYMAN 2 10737 Riverside Drive North Hollywood, CA 91602 3 Phone: (818) 763-6289 Fax: (818) 763-4676 4 E-mail: [email protected] 5 Matthew F. Schwartz * Pro Hac Vice Pending SCHWARTZ, PONTERIO & LEVENSON, PLLC 6 134 West 29th Street, Suite 1006 New York, New York 10001 7 Phone: (212) 714-1200 Fax: (212) 714-1264 8 E-mail: [email protected] 9 Attorneys for Plaintiffs 10 UNITED STATES DISTRICT COURT 11 NORTHERN DISTRICT OF CALIFORNIA 12 13 14 SA MUSIC, LLC and WILLIAM KOLBERT, AS TRUSTEE OF THE 15 HAROLD ARLEN TRUST, RAY HENDERSON MUSIC CO., INC., FOUR 16 JAYS MUSIC COMPANY, and JULIA COMPLAINT FOR RIVA, COPYRIGHT INFRINGEMENT 17 AND DEMAND FOR Plaintiffs, JURY TRIAL 18 v. 19 APPLE, INC, and ADASAM LIMITED, 20 Defendants. 21 22 23 Jurisdiction 24 1. The Court has jurisdiction over the subject matter of this action pursuant 25 to 28 U.S.C. § 1338(a) because this is an action for copyright infringement arising 26 under the Copyright Act of 1976, 17 U.S.C. §§ 101, 106, 115, 501, 602 et seq. 27 28 1 OMPLAINT OR OPYRIGHT NFRINGEMENT ND EMAND OR URY RIAL C F C I A D F J T Case 5:20-cv-02146-JSC Document 1 Filed 03/30/20 Page 2 of 27 1 Introduction 2 2. Plaintiffs are the legal and/or beneficial copyright owners of musical 3 works authored by Harold Arlen, Ray Henderson, and Harry Warren, three of the 4 premier composers of American music.