Clsicl the Topical Song Magazine SEPTEMBER , 1967
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Excesss Karaoke Master by Artist
XS Master by ARTIST Artist Song Title Artist Song Title (hed) Planet Earth Bartender TOOTIMETOOTIMETOOTIM ? & The Mysterians 96 Tears E 10 Years Beautiful UGH! Wasteland 1999 Man United Squad Lift It High (All About 10,000 Maniacs Candy Everybody Wants Belief) More Than This 2 Chainz Bigger Than You (feat. Drake & Quavo) [clean] Trouble Me I'm Different 100 Proof Aged In Soul Somebody's Been Sleeping I'm Different (explicit) 10cc Donna 2 Chainz & Chris Brown Countdown Dreadlock Holiday 2 Chainz & Kendrick Fuckin' Problems I'm Mandy Fly Me Lamar I'm Not In Love 2 Chainz & Pharrell Feds Watching (explicit) Rubber Bullets 2 Chainz feat Drake No Lie (explicit) Things We Do For Love, 2 Chainz feat Kanye West Birthday Song (explicit) The 2 Evisa Oh La La La Wall Street Shuffle 2 Live Crew Do Wah Diddy Diddy 112 Dance With Me Me So Horny It's Over Now We Want Some Pussy Peaches & Cream 2 Pac California Love U Already Know Changes 112 feat Mase Puff Daddy Only You & Notorious B.I.G. Dear Mama 12 Gauge Dunkie Butt I Get Around 12 Stones We Are One Thugz Mansion 1910 Fruitgum Co. Simon Says Until The End Of Time 1975, The Chocolate 2 Pistols & Ray J You Know Me City, The 2 Pistols & T-Pain & Tay She Got It Dizm Girls (clean) 2 Unlimited No Limits If You're Too Shy (Let Me Know) 20 Fingers Short Dick Man If You're Too Shy (Let Me 21 Savage & Offset &Metro Ghostface Killers Know) Boomin & Travis Scott It's Not Living (If It's Not 21st Century Girls 21st Century Girls With You 2am Club Too Fucked Up To Call It's Not Living (If It's Not 2AM Club Not -
PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 and 1991 Bradley C. Klypchak a Dissertation Submitted to the Graduate
PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 AND 1991 Bradley C. Klypchak A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2007 Committee: Dr. Jeffrey A. Brown, Advisor Dr. John Makay Graduate Faculty Representative Dr. Ron E. Shields Dr. Don McQuarie © 2007 Bradley C. Klypchak All Rights Reserved iii ABSTRACT Dr. Jeffrey A. Brown, Advisor Between 1984 and 1991, heavy metal became one of the most publicly popular and commercially successful rock music subgenres. The focus of this dissertation is to explore the following research questions: How did the subculture of heavy metal music between 1984 and 1991 evolve and what meanings can be derived from this ongoing process? How did the contextual circumstances surrounding heavy metal music during this period impact the performative choices exhibited by artists, and from a position of retrospection, what lasting significance does this particular era of heavy metal merit today? A textual analysis of metal- related materials fostered the development of themes relating to the selective choices made and performances enacted by metal artists. These themes were then considered in terms of gender, sexuality, race, and age constructions as well as the ongoing negotiations of the metal artist within multiple performative realms. Occurring at the juncture of art and commerce, heavy metal music is a purposeful construction. Metal musicians made performative choices for serving particular aims, be it fame, wealth, or art. These same individuals worked within a greater system of influence. Metal bands were the contracted employees of record labels whose own corporate aims needed to be recognized. -
Stardigio Program
スターデジオ チャンネル:450 洋楽アーティスト特集 放送日:2019/11/25~2019/12/01 「番組案内 (8時間サイクル)」 開始時間:4:00~/12:00~/20:00~ 楽曲タイトル 演奏者名 ■CHRIS BROWN 特集 (1) Run It! [Main Version] Chris Brown Yo (Excuse Me Miss) [Main Version] Chris Brown Gimme That Chris Brown Say Goodbye (Main) Chris Brown Poppin' [Main] Chris Brown Shortie Like Mine (Radio Edit) Bow Wow Feat. Chris Brown & Johnta Austin Wall To Wall Chris Brown Kiss Kiss Chris Brown feat. T-Pain WITH YOU [MAIN VERSION] Chris Brown TAKE YOU DOWN Chris Brown FOREVER Chris Brown SUPER HUMAN Chris Brown feat. Keri Hilson I Can Transform Ya Chris Brown feat. Lil Wayne & Swizz Beatz Crawl Chris Brown DREAMER Chris Brown ■CHRIS BROWN 特集 (2) DEUCES CHRIS BROWN feat. TYGA & KEVIN McCALL YEAH 3X Chris Brown NO BS Chris Brown feat. Kevin McCall LOOK AT ME NOW Chris Brown feat. Lil Wayne & Busta Rhymes BEAUTIFUL PEOPLE Chris Brown feat. Benny Benassi SHE AIN'T YOU Chris Brown NEXT TO YOU Chris Brown feat. Justin Bieber WET THE BED Chris Brown feat. Ludacris SHOW ME KID INK feat. CHRIS BROWN STRIP Chris Brown feat. Kevin McCall TURN UP THE MUSIC Chris Brown SWEET LOVE Chris Brown TILL I DIE Chris Brown feat. Big Sean & Wiz Khalifa DON'T WAKE ME UP Chris Brown DON'T JUDGE ME Chris Brown ■CHRIS BROWN 特集 (3) X Chris Brown FINE CHINA Chris Brown SONGS ON 12 PLAY Chris Brown feat. Trey Songz CAME TO DO Chris Brown feat. Akon DON'T THINK THEY KNOW Chris Brown feat. Aaliyah LOVE MORE [CLEAN] CHRIS BROWN feat. -
Diana Davies Photograph Collection Finding Aid
Diana Davies Photograph Collection Finding Aid Collection summary Prepared by Stephanie Smith, Joyce Capper, Jillian Foley, and Meaghan McCarthy 2004-2005. Creator: Diana Davies Title: The Diana Davies Photograph Collection Extent: 8 binders containing contact sheets, slides, and prints; 7 boxes (8.5”x10.75”x2.5”) of 35 mm negatives; 2 binders of 35 mm and 120 format negatives; and 1 box of 11 oversize prints. Abstract: Original photographs, negatives, and color slides taken by Diana Davies. Date span: 1963-present. Bulk dates: Newport Folk Festival, 1963-1969, 1987, 1992; Philadelphia Folk Festival, 1967-1968, 1987. Provenance The Smithsonian Ralph Rinzler Folklife Archives and Collections acquired portions of the Diana Davies Photograph Collection in the late 1960s and early 1970s, when Ms. Davies photographed for the Festival of American Folklife. More materials came to the Archives circa 1989 or 1990. Archivist Stephanie Smith visited her in 1998 and 2004, and brought back additional materials which Ms. Davies wanted to donate to the Ralph Rinzler Folklife Archives. In a letter dated 12 March 2002, Ms. Davies gave full discretion to the Center for Folklife and Cultural Heritage to grant permission for both internal and external use of her photographs, with the proviso that her work be credited “photo by Diana Davies.” Restrictions Permission for the duplication or publication of items in the Diana Davies Photograph Collection must be obtained from the Ralph Rinzler Folklife Archives and Collections. Consult the archivists for further information. Scope and Content Note The Davies photographs already held by the Rinzler Archives have been supplemented by two more recent donations (1998 and 2004) of additional photographs (contact sheets, prints, and slides) of the Newport Folk Festival, the Philadelphia Folk Festival, the Poor People's March on Washington, the Civil Rights Movement, the Georgia Sea Islands, and miscellaneous personalities of the American folk revival. -
Bob Dylan Performs “It's Alright, Ma (I'm Only Bleeding),” 1964–2009
Volume 19, Number 4, December 2013 Copyright © 2013 Society for Music Theory A Foreign Sound to Your Ear: Bob Dylan Performs “It’s Alright, Ma (I’m Only Bleeding),” 1964–2009 * Steven Rings NOTE: The examples for the (text-only) PDF version of this item are available online at: http://www.mtosmt.org/issues/mto.13.19.4/mto.13.19.4.rings.php KEYWORDS: Bob Dylan, performance, analysis, genre, improvisation, voice, schema, code ABSTRACT: This article presents a “longitudinal” study of Bob Dylan’s performances of the song “It’s Alright, Ma (I’m Only Bleeding)” over a 45-year period, from 1964 until 2009. The song makes for a vivid case study in Dylanesque reinvention: over nearly 800 performances, Dylan has played it solo and with a band (acoustic and electric); in five different keys; in diverse meters and tempos; and in arrangements that index a dizzying array of genres (folk, blues, country, rockabilly, soul, arena rock, etc.). This is to say nothing of the countless performative inflections in each evening’s rendering, especially in Dylan’s singing, which varies widely as regards phrasing, rhythm, pitch, articulation, and timbre. How can music theorists engage analytically with such a moving target, and what insights into Dylan’s music and its meanings might such a study reveal? The present article proposes one set of answers to these questions. First, by deploying a range of analytical techniques—from spectrographic analysis to schema theory—it demonstrates that the analytical challenges raised by Dylan’s performances are not as insurmountable as they might at first appear, especially when approached with a strategic and flexible methodological pluralism. -
The Association for Diplomatic Studies and Training Foreign Affairs Oral History Project
The Association for Diplomatic Studies and Training Foreign Affairs Oral History Project PETER KOVACH Interviewed by: Charles Stuart Kennedy Initial Interview Date: April 18, 2012 Copyright 2015 ADST Q: Today is the 18th of April, 2012. Do you know ‘Twas the 18th of April in ‘75’? KOVACH: Hardly a man is now alive that remembers that famous day and year. I grew up in Lexington, Massachusetts. Q: We are talking about the ride of Paul Revere. KOVACH: I am a son of Massachusetts but the first born child of either side of my family born in the United States; and a son of Massachusetts. Q: Today again is 18 April, 2012. This is an interview with Peter Kovach. This is being done on behalf of the Association for Diplomatic Studies and I am Charles Stuart Kennedy. You go by Peter? KOVACH: Peter is fine. Q: Let s start at the beginning. When and where were you born? KOVACH: I was born in Worcester, Massachusetts three days after World War II ended, August the 18th, 1945. Q: Let s talk about on your father s side first. What do you know about the Kovaches? KOVACH: The Kovaches are a typically mixed Hapsburg family; some from Slovakia, some from Hungary, some from Austria, some from Northern Germany and probably some from what is now western Romania. Predominantly Jewish in background though not practice with some Catholic intermarriage and Muslim conversion. Q: Let s take grandfather on the Kovach side. Where did he come from? KOVACH: He was born I think in 1873 or so. -
01 Prelude | | |--02 City of Refuge | | |--03 Bring Me My Queen
|--Abigail Washburn | |--City of Refuge | | |--01 Prelude | | |--02 City of Refuge | | |--03 Bring Me My Queen | | |--04 Chains | | |--05 Ballad of Treason | | |--06 Last Train | | |--07 Burn Thru | | |--08 Corner Girl | | |--09 Dreams Of Nectar | | |--10 Divine Bell | | |--11 Bright Morning Stars | | |--cover | | `--folder | |--Daytrotter Studio | | |--01 City of Refuge | | |--02 Taiyang Chulai | | |--03 Bring Me My Queen | | |--04 Chains | | |--06 What Are They Doing | | `--07 Keys to the Kingdom | |--Live at Ancramdale | | |--01 Main Stageam Set | | |--02 Intro | | |--03 Fall On My Knees | | |--04 Coffee’s Cold | | |--05 Eve Stole The Apple | | |--06 Red & Blazey | | |--07 Journey Home | | |--08 Key To The Kingdom | | |--09 Sometime | | |--10 Abigail talks about the trip to Tibet | | |--11 Song Of The Traveling Daughter | | |--12 Crowd _ Band Intros | | |--13 The Sparrow Watches Over Me | | |--14 Outro | | |--15 Master's Workshop Stage pm Set | | |--16 Tuning, Intro | | |--17 Track 17 of 24 | | |--18 Story about Learning Chinese | | |--19 The Lost Lamb | | |--20 Story About Chinese Reality TV Show | | |--21 Deep In The Night | | |--22 Q & A | | |--23 We’re Happy Working Under The Sun | | |--24 Story About Trip To China | | |--index | | `--washburn2006-07-15 | |--Live at Ballard | | |--01 Introduction | | |--02 Red And Blazing | | |--03 Eve Stole The Apple | | |--04 Free Internet | | |--05 Backstep Cindy_Purple Bamboo | | |--06 Intro. To The Lost Lamb | | |--07 The Lost Lamb | | |--08 Fall On My Knees | | |--Aw2005-10-09 | | `--Index -
Cross of Glory Worship Bulletin
Lent 3 Sunday, March 15, 2020 Full Script Cross of Glory Lutheran Church & School 623-224-8839 www.crossofglory.org Rev. John Ehlers, Pastor Rev. Benjamin Foxen, Pastor Jomax Campus Vistancia Campus 10111 W Jomax Road, Lake Pleasant Elementary School Peoria, AZ 85383 31501 N. Westland Road Sat. 6pm and Sun. 9am Worship Peoria, AZ 85383 Sun. 9:30am Worship Welcome to our Worship Center! God defines a church as people gathering around Word and Sacrament. As you join us in this gathering, we pray that Jesus’ peace and power will fill you. Families with children: ◼ Restrooms with changing tables located in lobby . ◼ Nursery for toddlers 2 years and younger ac- companied by adult guardian. th ◼ We invite children (ages 3 to 4 grade) to take part in our “Children in Church” pro- gram. Worship is a family affair, something that children best learn from their parents. So, for the beginning and end of the service, we encourage parents to guide their children through the service. At the indicated time, children can come forward to hear a special children’s message at the feet of the pastor. If parents wish, the children can then sit in the ar- ea set up for them at the front-right section of the worship hall, where they will find age- appropriate and spiritually focused activities to work on during the regular sermon. At the time of the offering, children return to sit with their parents. Let’s work together to bring up the next generation in the Word of the Lord! Special needs: ◼ Large print bulletin available from usher ◼ Seats with armrests available Worship On Ash Wednesday, we began our forty day journey to the cross, a journey of repentance and prayer, of remembrance and renewal of our baptism. -
Understanding Rational Egoism
Understanding Rational Egoism CRAIG BIDDLE Copyright © 2018 by The Objective Standard. All rights reserved. The Rational Alternative to “Liberalism” and Conservatism OBAMACARE v. GOVERNMENT’S ASSAULT ANDY KESSLER ON Ayn Rand THE BRILLIANCE THE CONSTITUTION (p.11) ON CAREER COLLEGES (p.53) “EATING PEOPLE” (p.75) Contra Nietzsche CEO Jim Brown’s Vision OF LOUIS PASTEURTHE OBJECTIVE STANDARD THE WAR BETWEEN STANDARD OBJECTIVE THE for the Ayn Rand Institute EDUCATION IN INTELLECTUALS AND CAPITALISM Capitalism A FREE SOCIETY Because Science Alex Epstein on How to The Objective StandardVOL. 6, NO. 2 • SUMMER 2011 THE OBJECTIVE STANDARD The Objective Standard Improve Your World – 2014 VOL. 8, NO. 4 • WINTER 2013 Robin Field on Objectivism Forand theProfit Performing Arts The Objective Standard VOL. 12, NO. 1 • SPRING 2017 “Ayn Rand Said” Libertarianism It is Is Not an Argument VOL. 11, NO. 2 • SUMMER 2016 vs. THE OBJECTIVE STANDARD Time: The Objective Standard Radical Capitalism America CONSERVATIVES’FAULT at Her The Iranian & Saudi Regimes Best Plus: Is SPRING 2017 ∙ VOL. 12, NO. 1 NO. 12, VOL. ∙ 2017 SPRING (p.19) SUMMER 2011 ∙ VOL. 6, NO. 2 NO. 6, ∙ VOL. SUMMER 2011 MUST GO WINTER 2013–2014 ∙ VOL. 8, NO. 4 Plus: Ex-CIA Spy Reza Kahlili on Iran’s Evil Regime (p.24)Hamiltonian Ribbon, Orange Crate, and Votive Holder, 14” x 18” Historian John D. Lewis on U.S. Foreign Policy (p.38) LINDA MANN Still Lifes in Oil SUMMER 2016 ∙ VOL. 11, NO. 2 lindamann.com ∙ 425.644.9952 WWW.CAPITALISTPIG.COM POB 1658 Chicago, IL 60658 An actively managed hedge fund. -
List of Additional Human Rights Songs
THE POWER OF OUR VOICES LIST OF ADDITIONAL HUMAN RIGHTS SONGS This is a list of additional songs linked to human rights issues for teachers who want to expand the topics covered in the lessons. Joan Baez and Mimi Farina The Clash Bread and roses (1976) Know your rights (1982) Women’s liberation song, inspired by the ‘Know your rights all 3 of them… women textile workers’ strike in Massachusetts Number three: You have the right to free in 1912. Speech as long as you’re not Dumb enough to actually try it. Band Aid Know your rights Do they know it’s Christmas? (1984) These are your rights’ Song to raise money for the 1983-1985 famine in Ethiopia. Sam Cooke A change is gonna come (1964) Ludwig van Beethoven On discrimination and racism in 1960s USA. O Welche Lust (1775) The prisoner’s chorus from his opera about a Dire Straits prisoner of conscience jailed for his ideas. Brothers in arms (1985) Anti-war song. Billy Bragg Between the wars (1984) Bob Dylan Song about class division. Only a pawn in their game (1963) Which side are you on? (1984) Song about the racist murder of Medgar Evans, A version of a traditional union song. civil rights campaigner in Mississippi. Joe Hill (1990) Hurricane (1966) Song about a murdered union organiser. Song about Rubin ‘Hurricane’ Carter, a boxer who spent 19 years in jail for a murder Dylan felt Big Bill Broonzy he did not commit. Black, brown and white blues (1939) Masters of war (1966) Song about racial discrimination in the jobs Song against war and the power of the military- market. -
Olivia Just for You Ong
OLIVIA JUST FOR YOU ONG All Rights Reserved, National Library Board, Singapore OLIVIA JUST FOR YOU ONG All Rights Reserved, National Library Board, Singapore DISC 1 01. It's Real 07. Fall in Step With Me Lyrics: Olivia Ong Lyrics: Olivia Ong Music: GEE & Satoshi Hidaka(GTS) Musk: SiZK Sound Produce & Programming By: Sound Produce & Programming By: SiZK Satoshi Hidaka(GTS) Guitar: Hiroshi Nakemura OP: © S2S Pte Ltd OP: © S2S Pte Ltd ISRC: SG-A50-10-12631 ISRC: SG-A50-10-12637 02. Make It Mutual 08. Hesitation Lyrics: Olivia Ong Lyrics: Olivia Ong Music: Ken Arai (eighteen degrees) Music: Hisashi Newata Sound Producers & Programming By: Sound Produce & Programming By: Hisashi Newata Ken Arai (eighteen degrees) OP: © S2S Pte Ltd OP: © S2S Pte Ltd ISRC: SG-A50-10-12638 ISRC: SG-A50-10-12632 09. 2Nite Is The Nite 03. I'll Move On Lyrics: Olivia Ong Lyrics: Sizk/Vivi Music: Hisashi Newata Sound Produce & Programming By: Sizlc Sound Produce & Programming By: Hisashi Newata OP: © S2S Pte Ltd OP: © S2S Pte Ltd ISRC: SG-A50-10-12633 ISRC: SG-A50-10-12639 04. Like A New Beginning 10. In My Heart Lyrics: Olivia Ong Lyrics: Olivia Ong Music: SiZK Music: Ken Arai (eighteen degrees) Sound Produce & Programming By: SiZK Sound Producers & Programming By: OP: © S2S Pte Ltd Ken Arai (eighteen degrees) ISRC: SG-A50-10-12634 OP: © S2S Pte Ltd ISRC: SG-A50-10-12640 05. Fade Away Lyrics: Olivia Ong 11. Look Up Music: Ryuichiro Yamaki Lyrics: Olivia Ong Sound Produce & Programming By: Music: Ken Arai (eighteen degrees) Ryuichiro Yamaki Sound Producers & Programming By: OP: © S2S Pte Ltd Ken Arai (eighteen degrees) ISRC: SG-A50-10-12635 OP: © S2S Pte Ltd ISRC: SG-A50-10-12641 06. -
Bound for Glory Bob Dylan 1962
BOUND FOR GLORY BOB DYLAN 1962 by Olof Björner A SUMMARY OF RECORDING & CONCERT ACTIVITIES, RELEASES, TAPES & BOOKS. © 2001 by Olof Björner All Rights Reserved. This text may be reproduced, re-transmitted, redistributed and otherwise propagated at will, provided that this notice remains intact and in place. Bound For Glory — Bob Dylan 1962 page 2 CONTENTS: 1 INTRODUCTION..................................................................................................................... 3 2 YEAR AT A GLANCE ............................................................................................................. 3 3 CALENDAR .............................................................................................................................. 3 4 RECORDINGS ......................................................................................................................... 7 5 SONGS 1962 .............................................................................................................................. 7 6 SOURCES .................................................................................................................................. 9 7 SUGGESTED READINGS .................................................................................................... 10 7.1 GENERAL BACKGROUND .................................................................................................... 10 7.2 ARTICLE COMPILATIONS ...................................................................................................