Memorabilia-Tour-Rock-Walk.Pdf

Total Page:16

File Type:pdf, Size:1020Kb

Memorabilia-Tour-Rock-Walk.Pdf MEMORABILIA ROCK WALK SELF-GUIDED TOUR | SEMINOLE HARD ROCK HOTEL & CASINO TAMPA CONTENTS CARL PERKINS JIMI HENDRIX CARRIE CHER BEYONCÉ NICKI MINAJ THE ROLLING RUSH RUSH STEVIE NICKS UNDERWOOD STONES BLUE SUEDE SHOES PALE PASTEL BLACK GOWN WITH KNIT PONCHO WITH BLACK LACE PINK JUMPSUIT YELLOW JACKET BLACK TIME MACHINE WHITE CORSET STAGE SCARF EMBELLISHED BOD GREY PANTS BODY SUIT AND BRA WITH RHINESTONES RICKENBACKER AMPLIFIERS DRESS 4001 BASS 1 2 3 4 5 6 7 8 9 10 1 CARL PERKINS Tiptonville, Tennessee’s Carl Lee Perkins walked off the farm and into Sun Studios in 1955 to record what would become perhaps the most iconic song in rock – “Blue Suede Shoes.” With its driving beat and shout of “go cat go!”, this ode to youthful swagger is the very definition of cool. These blue suede shoes belonged to Carl himself. Blue Suede Shoes VIDEO 2 JIMI HENDRIX This colorful scarf was owned and worn by Jimi Hendrix in the late ‘60s – including at his career-making appearance at the Monterey Pop Festival in 1967. Pale Pastel Stage Scarf VIDEO 3 CARRIE UNDERWOOD Country chanteuse Carrie Underwood is undeniably the most successful artist to emerge from the ‘American Idol’ program and is now a true global superstar. She wore this Eco Couture dress when she appeared on the American Music Awards broadcast in 2012. Black Gown with Embellished Bod VIDEO 4 CHER The one and only Cher owned and wore this incredible knit poncho outfit. Nearly as famous in the world of fashion as in the music world, Cher has served as muse for a number of major designers – most notably Bob Mackie. Knit Poncho with Grey Pants VIDEO 5 BEYONCÉ The first true global superstar of the 21st century, Beyoncé Knowles has matured into an artist of undeniable power and influence. She wore this LaQuan Smith-designed outfit to the launch event for Jay Z’s music streaming service, Tidal. Black Lace Body Suit VIDEO 6 NICKI MINAJ Hip hop megastar Nicki Minaj wore this sequined jumpsuit on stage during her ‘Pinkprint’ world tour in 2015. Pink Jumpsuit and Bra VIDEO 7 THE ROLLING STONES This extraordinary jacket belonged to the one and only Keith Richards of the Rolling Stones. It’s a genuine Nudie jacket from Nudie’s Rodeo Tailors in California and was originally made for country star Jimmie Walker. Keith bought it second hand from Nudie Cohn himself. Yellow Jacket with Rhinestones VIDEO 8 RUSH For over 40 years, Canadian trio Rush has been at the forefront of progressive rock and have influenced generations of musicians with their incredible virtuosity and intellectual approach. Bassist Geddy Lee is widely regarded as one of the best players to ever pick up the instrument. This Rickenbacker 4001 bass is from his arsenal. Black Rickenbacker 4001 Bass VIDEO 9 RUSH In addition to being a virtuoso bassist and the band’s lead singer, Geddy Lee of Rush is the primary keyboardist of the group. Watching him perform is like seeing one man do the work of three. It’s incredibly impressive. Geddy used this Oberheim OBX synthesizer on stage. Time Machine Amplifiers VIDEO 10 STEVIE NICKS Legendary Fleetwood Mac vocalist and solo superstar Stevie Nicks owned and wore this corseted dress. She bought it from a shop owned by her mother. White Corset Dress VIDEO.
Recommended publications
  • What the Fleetwood Mac Case Can Tell You About Pa. Partnerships | the Legal Intellige
    What the Fleetwood Mac Case Can Tell You About Pa. Partnerships | The Legal Intellige... Page 1 of 6 (/thelegalintelligencer/) Menu My Acco POWERED BY LAW.COM (/) Search (HTTPS://STORE.LAW.COM/REGISTRA (/thelegalintelligencer/search/) SOURCE=HTTPS%3A%2F% 2FTHELEGALINTELLIGENCER% 2FWHAT-THE-FLEETWOOD-MAC ABOUT-PA- Publications (/publications/) Law Topics (/topics/) Surveys & Rankings (/rankings/) Cases & Verdicts People & Community ROOMS FROM $34 BOOK NOW Commentary (/thelegalintelligencer/commentary/) What the Fleetwood Mac Case Can Tell You About Pa. Partnerships It’s official. The remaining major members of the renowned rock and roll band Fleetwood Mac, Mick Fleetwood, Stev Nicks, Christine McVie and John McVie, have gone their own way from bandmate Lindsey Buckingham. By Andrew J. DeFalco | November 20, 2018 at 04:02 PM Trending Stories +èÓ9Ô (http://www.almreprints.com) It’s official. The remaining major members of the 1 Meet the In-House National renowned rock and roll band Fleetwood Mac, Mick Women in Law Honorees Fleetwood, Stevie Nicks, Christine McVie and John (https://www.law.com/corpco the-in-house-national-women McVie, have gone their own way from bandmate in-law-honorees/) Lindsey Buckingham. According to Buckingham, after CORPORATE COUNSEL planning a world tour for 2018 and 2019, he was (/CORPCOUNSEL/) unceremoniously kicked out of the band, which will 2 Law Prof Who Exposed Big prevent him from earning an anticipated $12 million Law's Mandatory Arbitration Focus of Misconduct Probe cut of the proceeds from the tour. (https://www.law.com/2018/ prof-who-exposed-big-laws- Not surprisingly, Buckingham was peeved and saw mandatory-arbitration-is- focus-of-misconduct-probe/) Andrew J.
    [Show full text]
  • Rush Three of Them Decided to - Geddy Recieved a Phone Reform Rush but Without Call from Alex
    history portraits J , • • • discography •M!.. ..45 I geddylee J bliss,s nth.slzers. vDcals neil pearl: percussion • alex liFesDn guitars. synt.hesizers plcs: Relay Photos Ltd (8); Mark Weiss (2); Tom Farrington (1): Georg Chin (1) called Gary Lee, generally the rhythm 'n' blues known as 'Geddy' be­ combo Ogilvie, who cause of his Polish/Jewish shortly afterwards also roots, and a bassist rarely changed their me to seen playing anything JUdd, splitting up in Sep­ other than a Yardbirds bass tember of the sa'l1le year. line. John and Alex, w. 0 were In September of the same in Hadrian, contacted year The Projection had Geddy again, and the renamed themselves Rush three of them decided to - Geddy recieved a phone reform Rush but without call from Alex. who was in Lindy Young, who had deep trouble. Jeff Jones started his niversity was nowhere to be found, course by then. In Autumn although a gig was 1969 the first Led Zeppelin planned for that evening. LP was released, and it hit Because the band badly Alex, Geddy an(i John like needed the money, Geddy a hammer. Rush shut them­ helped them out, not just selves away in their rehe­ providing his amp, but also arsal rooms, tUfned up the jumping in at short notice amp and discovered the to play bass and sing. He fascination of heavy was familiar with the Rush metaL. set alreadY, as they only The following months played well-known cover were going toJprove tough versions, and with his high for the three fYoung musi­ voice reminiscent of Ro­ cians who were either still bert Plant, he comple­ at school or at work.
    [Show full text]
  • Distinguished Artists Concert Series
    Supervisor JOSEPH SALADINO presents 2018 - 2019 Distinguished Artists Concert Series Co-Sponsoring Libraries Bethpage • Farmingdale • Hicksville • Jericho • Locust Valley Massapequa • Plainview-Old Bethpage • Syosset A Message from Joseph Saladino Town Supervisor Dear Neighbor, The Town of Oyster Bay2018-2019 Distinguished Artists Concert series will, once again, offer a diverse season of musical programs, which will kick off in October. Whatever your musical taste, Opera, Pop, Jazz, Classical or anything in between, there is something for everyone. The concert season begins on Sunday, October 7, 2018 at the Locust Valley Library with Mambo Loco performing Old-School Latin & Latin Jazz and continues through Sunday, May 19, 2019 culminating with a performance by Just Sixties - a multi-media retrospective of the 1960’s. This season’s lineup also includes The Hambones - Country/Rockabilly, River of Dreams - a tribute to the music of Billy Joel, The Tribunes - authentic Street Corner Harmony, New Vintage Orchestra performing Swing & Jazz Hits of a Lifetime, and Sasha Papernik & Her Band - an homage to Burt Bacharach & Hal David, just to name a few. My fellow Town Board members and I are proud to provide residents with some of the very finest cultural and performing arts entertainment available. All concerts are free of charge and are held at conveniently-located local libraries throughout the Town. Please take a few moments to glance through the brochure and begin planning your entertainment schedule. We look forward to seeing you at the
    [Show full text]
  • Presenting Our 29Th Season
    PRESENTING OUR 29TH SEASON DEC 7-8 This December, it’s a Queen City Christmas! From Ruth Lyons to Doris Day to Rosemary Clooney, the tri-state has a rich history of brilliant artists worthy of celebrating. Join us as we pay tribute to our ADVERTISER FACTSHEET hometown heroes! For 29 years the Cincinnati Men’s Chorus has provided a non-confrontational voice to the issues of the GBTLQ+ community. One of the key sources of revenue that allows us to continue this important mission is the sale of APR 4-5 advertising in our Concert Programs. In spring, we’ll hop across the pond for God Save the Queens! The Beatles, Blur, the Spice Girls, Little To celebrate our 29th season of music we bring you THE SEASON OF THE Mix, Dusty Springfield, Adele, Elton John, George QUEENS! Performing in iconic locations throughout our Queen City. Kicking Michael, Sam Smith, Benjamin Britten: these artists off our concerts will be Queen City Christmas in the beginning of December continue to define the British Invasion! This trip will at The Carnegie in Covington, KY. Secondly as the seasons change our leave you feeling jolly good, without a hint of jetlag! spring concert, God Save the Queens will be held at the historic Walnut Hills High School, Westheimer Auditorium. June = Pride. We are hosting our first ever Big Gay Sing with Dancing Queens at Memorial Hall in Over the Rhine. JUN 20-21 Each of our concert weekends bring a diverse group of over 600 audience members, volunteers and performers into downtown and expose them to the Finally, for our Pride concert, CMC brings you our first companies and brands that support the CMC by advertising in our Concert Big Gay Sing with Dancing Queens! What’s a Big Gay Programs.
    [Show full text]
  • Geddy Lee DI-2112 Signature
    POWER REQUIREMENTS •Utilizes two (2) standard 9V alkaline batteries (not included). NOTE: Input jack activates batteries. To conserve energy, unplug when not in use. Power Consumption: approx. 55mA. Geddy Lee Signature •USE DC POWER SUPPLY ONLY! Failure to do so may damage the unit and void warranty. DC Power Supply Specifications: SansAmp DI-2112 -18V DC regulated or unregulated, 100mA minimum; -2.1mm female plug, center negative (-). •Refer to “Power Considerations” in Noteworthy Notes on page 8. WARNINGS: • Attempting to repair unit is not recommended and may void warranty. • Missing or altered serial numbers automatically void warranty. For your own protection: be sure serial number labels on the unit’s back plate and exterior box are intact, and return your warranty registration card. ONE YEAR LIMITED WARRANTY. PROOF OF PURCHASE REQUIRED. Manufacturer warrants unit to be free from defects in materials and workmanship for one (1) year from date of purchase to the original pur - chaser and is not transferable. This warranty does not include damage resulting from accident, misuse, abuse, alteration, or incorrect current or voltage. If unit becomes defective within warranty period, Tech 21 will repair or replace it free of charge. After expiration, Tech 21 will repair defective unit for a fee. ALL REPAIRS for residents of U.S. and Canada: Call Tech 21 for Return Authorization Number . Manufacturer will not accept packages without prior authorization, pre-paid freight (UPS preferred) and proper insurance. FOR PERSONAL ASSISTANCE & SERVICE: Contact Tech 21 weekdays from 9:00 AM to 5:00 PM, EST. Hand-built in the U.S.A.
    [Show full text]
  • Hht Kicks Off Season Three with Tribute to Madonna
    PRESS RELEASE – August 5, 2019 Susan Carrier (951) 551-5363 [email protected] STEVIE NICKS TRIBUTE HITS THE STAGE AT HHT On Saturday August 17th, the Historic Hemet Theatre will host a tribute to the iconic Stevie Nicks and the British-American rock band, Fleetwood Mac. During the 1970's, Fleetwood Mac became a music sensation, topping the record chart and winning awards around the world. Their 1978 album, Rumours, became the eighth-highest-selling album in history. As a member of Fleetwood Mac and as a solo artist, Stevie Nicks has produced over 40 top hits and sold more than 140 million records. This year, she became the first woman ever to be inducted into the Rock and Roll Hall of Fame twice (in 1998 with Fleetwood Mac and in 2019 as a solo artist). She has also been named one of the 100 Greatest Songwriters of All Time. Top hits by Fleetwood Mac and Stevie Nicks include, "Stop Dragging My Heart Around," "Leather and Lace," "Silver Springs," "Gold Dust Woman," "Talk to Me" and "Seventeen. The L.A. based band, GYPSY, performs a Tribute to Stevie Nicks and Fleetwood Mac that is a dynamic rock concert experience. The show includes elaborate costumes and captivating storytelling as well as world-class musicians fronted by the amazing vocals of Lisa McCormick. Even Stevie Nicks has remarked on the similarities between Lisa and herself. This concert replaces the Tribute to Tom Petty that was canceled due to a scheduling conflict. Patrons holding tickets to the Petty concert need to exchange their tickets as soon as possible to ensure availability for this show.
    [Show full text]
  • Smoothing the Wrinkles Hollywood, “Successful Aging” and the New Visibility of Older Female Stars Josephine Dolan
    Template: Royal A, Font: , Date: 07/09/2013; 3B2 version: 9.1.406/W Unicode (May 24 2007) (APS_OT) Dir: //integrafs1/kcg/2-Pagination/TandF/GEN_RAPS/ApplicationFiles/9780415527699.3d 31 Smoothing the wrinkles Hollywood, “successful aging” and the new visibility of older female stars Josephine Dolan For decades, feminist scholarship has consistently critiqued the patriarchal underpinnings of Hollywood’s relationship with women, in terms of both its industrial practices and its representational systems. During its pioneering era, Hollywood was dominated by women who occupied every aspect of the filmmaking process, both off and on screen; but the consolidation of the studio system in the 1920s and 1930s served to reduce the scope of opportunities for women working in off-screen roles. Off screen, a pattern of gendered employment was effectively established, one that continues to confine women to so-called “feminine” crafts such as scriptwriting and costume. Celebrated exceptions like Ida Lupino, Dorothy Arzner, Norah Ephron, Nancy Meyers, and Katherine Bigelow have found various ways to succeed as producers and directors in Hollywood’s continuing male-dominated culture. More typically, as recently as 2011, “women comprised only 18% of directors, executive producers, cinematographers and editors working on the top 250 domestic grossing films” (Lauzen 2012: 1). At the same time, on-screen representations came to be increasingly predicated on a gendered star system that privileges hetero-masculine desires, and are dominated by historically specific discourses of idealized and fetishized feminine beauty that, in turn, severely limit the number and types of roles available to women. As far back as 1973 Molly Haskell observed that the elision of beauty and youth that underpins Hollywood casting impacted upon the professional longevity of female stars, who, at the first visible signs of aging, were deemed “too old or over-ripe for a part,” except as a marginalized mother or older sister.
    [Show full text]
  • MTO 21.1: Hough, Elements of Style in Stevie Nicks
    Volume 21, Number 1, March 2015 Copyright © 2015 Society for Music Theory Elements of Style in Three Demo Recordings by Stevie Nicks Matthew T. Hough NOTE: The examples for the (text-only) PDF version of this item are available online at: http://www.mtosmt.org/issues/mto.15.21.1/mto.15.21.1.hough.php KEYWORDS: rock, pop, harmony, composition, Stevie Nicks, Fleetwood Mac ABSTRACT: This article examines demo recordings of three songs by Stevie Nicks in terms of compositional style and in relation to conventions of rock harmony. Sections from two of Nicks’ unreleased solo demo recordings are compared to publicly released versions of the same songs, revealing distinctive stylistic elements and their subsequent normalization. Compositional applications for rock music based on structural and contrapuntal techniques found in these demo recordings are also presented. Received January 2015 Introduction [1.1] Stephanie “Stevie” Nicks (b. 1948 in Phoenix, Arizona) is one of rock’s best known female performers of the last fifty years. Despite her many decades of fame, investigation into Nicks’ work as a composer remains scarce. This is perhaps not due to a lack of interest; her close association with numerous collaborators—most notably, guitarist Lindsey Buckingham and other members of the band Fleetwood Mac—often makes pinpointing Nicks’ individual compositional traits difficult. As released to the public, Nicks’ songs invariably contain significant contributions from these collaborators in the form of instrumental or vocal arrangements and production. Recently, examples of Nicks’ unreleased demo recordings have begun to appear on YouTube and various file-sharing sites. In many of these recordings, Nicks is heard singing and playing a keyboard instrument without additional accompaniment.
    [Show full text]
  • Tom Petty and the Heartbreakers' Mike Campbell
    Mike & Marcie Campbell Tom Petty and The Heartbreakers Mike Campbell and Wife Marcie ‘Won’t Back Down for the Animals’ By Melissa Maroff If life mirrors song, Mike Campbell “got lucky babe” when he found his wife Marcie. Before he went on to fame as lead guitarist for one of the world’s greatest rock bands, Tom Petty and The Heartbreakers, Mike met Marcie -- literally because of a dog. It was in 1974 at an LA Halloween party where Marcie brought her dog Medena; Mike mistakenly called Medena “Daisy,” the name of the host’s dog. Marcie had to set him straight -- and the rest as they say, is rock and roll history. “I connected with the dog and then found out the dog came with her,” Mike says. “If it weren’t for the dog, we probably wouldn’t have met.” And for two dog lovers it was “something very good from the get go,” they admit. After 34 years of marriage, the love is still strong, which is evident the minute you see them together. They compliment each other; both have a sense of humor, don’t take themselves too seriously and love their family, which extends to their animal family -- and other animals as well. Mike Campbell has a resume that speaks for itself. In addition to playing on and co- producing Tom Petty and The Heatbreakers albums and co-writing some of their biggest hits, he has also co-penned other classics like Stop Draggin’ My Heart Around (Petty’s duet with Stevie Nicks) and Don Henley’s iconic Boys of Summer, which ranks among Rolling Stone’s 500 Greatest Songs of All Time.
    [Show full text]
  • GEDDY EASTON 'LEE Master of the ,Hook Bass + Power = Progressive Pop ERIC 'JOHNSON the Wat M Tone of a TEXAS TWISTER
    - 802135 MAY 1986 $2.50 Inside This Issue: A SPECIAL Billy Idol's STEVE STEVENS (not -so-secret) CASSETTE Secret See Page 54 Weapon For Details THE CARS' RUSH'S ELLIOT GEDDY EASTON 'LEE Master Of The ,Hook Bass + Power = Progressive Pop ERIC 'JOHNSON The Wat m Tone Of A TEXAS TWISTER PLUS: Lonnie Mack Albert Collins Roy Buchanan , 'Tony MacAlpine o Curtis Mayfield MORE BASS, MORE SPACE IN THE MODERN WORLD Power Windows is the best Rush albutn in years because the band ----and the bass---- has returned to the roots of its sound ... tneticulously. BY JOHN SWENSON It has been a long, vertiginous and damn exciting roller coaster ride for Rush over the past decade-and-a-half. The group has gone from being unabashed Led Zeppelinites to kings of the concept album to the thinking man's heavy metal band to an uneasy combination of eighties record­ ing styles and seventies relentlessness. One thing Rush has never done is rest on its collective laurels-bassist Geddy Lee, guitarist Alex Lifeson and drummer Neil Peart have always been the first to point out the band's shortcomings when they feel legitimate deficiencies have surfaced. Accordingly, Lee was quick to admit his dissatisfaction with the band's last album, Grace Under Pressure , even though the record , which went platinum, has con­ solidated the band's position as one of Mercury/Polygram's most important acts. "We realized with Grace Under Pres­ sure ," said Lee on completion of the new album , Power Windows, "that we were not a techno-pop band.
    [Show full text]
  • The Spirit of May '97
    the spirit of May '97 Issue 38 . • • ..• ..• • ..• Editor/ill Hello and welcome to yet once again agreed to supply us now and it improves with every another action packed issue of with a selection of items, for use listen (check out how to order a The Spirit of Rush. We have in the raffle/auction part of the copy direct on the inside back tried to get this issue to you as event. Some ofthe confirmed cover)-any news of a UK! soon as we could after no.37 in items are as follow ... Roll the European release Chris? From case any of you were planning Bones - Award Plaque. the opening fusion sounding Editorial Address: a trip to North America to catch Complete sets of the re­ "Patterns" through the epic nd the band on the 2 leg of the mastered albums, Tour closing number 23 Garden Close, t4e tour. You should have Merchandise & some other "Checkerboards" Tiles cover all ChinbrookRoad, picked this issue up in mid-May surprises. As you can see the the bases, why this band are Grove Park,· from your doormat (if all went band and their management not signed to a major label is London, SE12 9TG. well between here and the have been very generous once beyond belief. Personal England printers). As you read this only again. Many, many thanks to favourites include "Anothers a couple of weeks of the 2nd leg them. Hand" and It's marvellous mid­ would have taken place and section extended instrumental North America with the tour running until the We have included a page or two passage.
    [Show full text]
  • Rush's Lyrical Rhetoric of Oppression and Liberation
    Relevant Rhetoric, Vol. 7 (2016): Rush’s Lyrical Rhetoric of Oppression and Liberation Rush’s Lyrical Rhetoric of Oppression and Liberation: Extending “Freedom Songs” into the Progressive Rock Genre Brett A. Barnett Associate Professor of Communication Slippery Rock University of Pennsylvania [email protected] Relevant Rhetoric, Vol. 7 (2016): Rush’s Lyrical Rhetoric of Oppression and Liberation 2 On April 18, 2013, members of the Canadian power trio Rush were among the artists inducted into the Rock and Roll Hall of Fame, a well-deserved honor that was long overdue. Formed in August 1968, Rush would join artists like Pink Floyd and Yes in shaping the music movement that would come to be categorized as “progressive” rock, or “prog rock,” a rock music sub-genre that Rush. Photo credit: By Enrico Frangi (Uploaded by User:Jonasz) [Public domain], via Wikimedia Commons also developed in the late 1960s.1 As reflected in the music of Rush, progressive rock involves more advanced musical forms, including an expanded instrumental palette and increased com- plexity in terms of instrumentation, as well as more sophisticated lyrical themes ranging from unconventional subject matter to increased social commentary. After years playing on the Toronto music scene, Rush formed their own label, Moon Records, and shortly thereafter released their first album, Rush, in 1974.2 Rush’s self-titled debut album did not garner much attention until Cleveland’s WMMS (100.7 FM), widely regarded as one of the most influential rock radio stations in North America,
    [Show full text]