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Issues of Image and Performance in the Beatles' Films
“All I’ve got to do is Act Naturally”: Issues of Image and Performance in the Beatles’ Films Submitted by Stephanie Anne Piotrowski, AHEA, to the University of Exeter as a thesis for the degree of Doctor of Philosophy in English (Film Studies), 01 October 2008. This thesis is available for Library use on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. I certify that all material in this thesis which in not my own work has been identified and that no material has previously been submitted and approved for the award of a degree by this or any other University. (signed)…………Stephanie Piotrowski ……………… Piotrowski 2 Abstract In this thesis, I examine the Beatles’ five feature films in order to argue how undermining generic convention and manipulating performance codes allowed the band to control their relationship with their audience and to gain autonomy over their output. Drawing from P. David Marshall’s work on defining performance codes from the music, film, and television industries, I examine film form and style to illustrate how the Beatles’ filmmakers used these codes in different combinations from previous pop and classical musicals in order to illicit certain responses from the audience. In doing so, the role of the audience from passive viewer to active participant changed the way musicians used film to communicate with their fans. I also consider how the Beatles’ image changed throughout their career as reflected in their films as a way of charting the band’s journey from pop stars to musicians, while also considering the social and cultural factors represented in the band’s image. -
George Harrison
COPYRIGHT 4th Estate An imprint of HarperCollinsPublishers 1 London Bridge Street London SE1 9GF www.4thEstate.co.uk This eBook first published in Great Britain by 4th Estate in 2020 Copyright © Craig Brown 2020 Cover design by Jack Smyth Cover image © Michael Ochs Archives/Handout/Getty Images Craig Brown asserts the moral right to be identified as the author of this work A catalogue record for this book is available from the British Library All rights reserved under International and Pan-American Copyright Conventions. By payment of the required fees, you have been granted the non-exclusive, non-transferable right to access and read the text of this e-book on-screen. No part of this text may be reproduced, transmitted, down-loaded, decompiled, reverse engineered, or stored in or introduced into any information storage and retrieval system, in any form or by any means, whether electronic or mechanical, now known or hereinafter invented, without the express written permission of HarperCollins. Source ISBN: 9780008340001 Ebook Edition © April 2020 ISBN: 9780008340025 Version: 2020-03-11 DEDICATION For Frances, Silas, Tallulah and Tom EPIGRAPHS In five-score summers! All new eyes, New minds, new modes, new fools, new wise; New woes to weep, new joys to prize; With nothing left of me and you In that live century’s vivid view Beyond a pinch of dust or two; A century which, if not sublime, Will show, I doubt not, at its prime, A scope above this blinkered time. From ‘1967’, by Thomas Hardy (written in 1867) ‘What a remarkable fifty years they -
Tammy Wynette Without Walls Mp3, Flac, Wma
Tammy Wynette Without Walls mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Funk / Soul / Folk, World, & Country Album: Without Walls Country: UK & Europe Released: 1994 Style: Country MP3 version RAR size: 1807 mb FLAC version RAR size: 1724 mb WMA version RAR size: 1976 mb Rating: 4.3 Votes: 366 Other Formats: AAC AA MP1 MIDI AIFF MP2 MP3 Tracklist Hide Credits If It's The Last Thing I Do Acoustic Guitar – Don PotterBass – Michael RhodesDrums – Owen –Tammy 1 HaleElectric Guitar – Brent Rowan, Dann HuffKeyboards – Barry Beckett, 3:57 Wynette Phil NaishRecorded By – Csaba PetoczRecorded By [Assisted] – Jim DeMainSteel Guitar – Paul FranklinWritten-By – Doug Gill, Phyllis Austin A Woman's Needs Acoustic Guitar – Don PotterBass – Michael RhodesDrums – Eddie –Tammy BayersElectric Guitar – Dann HuffKeyboards – Elton John, Phil 2 Wynette Duet 5:16 NaishRecorded By – Csaba PetoczRecorded By [Assisted] – Jim With Elton John DeMainSteel Guitar – Paul FranklinWritten-By – Elton John & Bernie Taupin Every Breath You Take Acoustic Guitar – Don PotterBass – Michael Rhodes, StingDrums – Eddie –Tammy BayersEdited By [Special Computer] – Marty Williams Electric Guitar – 3 Wynette Duet 4:15 Brent Rowan, Dann HuffKeyboards – Barry Beckett, Phil NaishRecorded With Sting By [Assisted] – Jim DeMainRecorded By, Mixed By – Csaba PetoczWritten- By – Sting If You Were To Wake Up –Tammy Acoustic Guitar – Don PotterBass – Michael RhodesDrums – Eddie Wynette Duet 4 BayersEdited By [Special Computer] – Marty Williams Electric Guitar – 4:24 With Lyle Brent Rowan, -
Letters from Long ‘Un
Letters from Long ‘un Captain Robert James Henderson, MC and Bar 13th Battalion AIF 1915-1918 Bob Henderson in France, winter 1917 Compiled by David Garred Jones 1 ACKNOWLEDGEMENTS This compilation arose out of a wider study into the movements, actions and stories of the “Originals” of the 13th Australian Infantry Battalion in World War 1. Part of that work involved reviewing the hundreds of diaries and thousands of letters that had been donated to the various State libraries and the Australian War Memorial. Much of this first-hand material is now available on-line, and in some cases has been transcribed by the skilled and dedicated staff of those institutions. Amongst that wealth of material are the letters of Captain Robert James Henderson, MC and Bar, of the 13th Battalion. They encapsulate the thoughts and feelings of a man who started in 1915 as a private, saw action in Gallipoli, Fleurbaix, Pozieres, Mouquet Farm, Messines, Passchendaele and Villers-Bretonneux, rising through the ranks to Captain. Henderson’s family donated his letters, postcards, certificates, awards and other ephemera to the Australian War Memorial (“AWM”). They have been digitised and posted on line under the accession code AWM2016.30.1 through to AWM2016.30.9. I am deeply grateful to the AWM for making this valuable historical archive so readily accessible. As well as Henderson’s own photographs, I have included some relevant images from the AWM and other sources, all of which are acknowledged in the captions to the photos. I have also added, in italics, the locations from where each letter was written (if not already included in the original letter). -
John Bull University of Lincoln 'We Cannot All Be Masters, Nor All Masters/Cannot Truly Be Follow'd': Joe Orton's Holida
John Bull University of Lincoln ‘We cannot all be masters, nor all masters/Cannot truly be follow’d’: Joe Orton’s Holiday Camp Bacchae – matters of class, genre and medium in The Erpingham Camp. Joe Orton is thought of largely as a writer for the theatre, and yet three of his plays first appeared on television: as many as first appeared on stage. In what follows I want to consider just one of these, The Erpingham Camp (1967) and, by looking at the way in which it evolved both before and after its first outing on television, to offer to both reposition this play in the oeuvre and to re-open the debate about what Orton was moving towards theatrically.1 Before considering its development, it will be useful first to reflect on the public perception of the young dramatist at the time he started to work on it. From a distance of some fifty years, and in a very different social and cultural climate, it is extremely hard to fully comprehend the kind of impact that Joe Orton’s plays had when first produced: and, concomitantly, it is just about impossible to understand the degree of hostility that they aroused in many quarters, and yet it is important to do so in order to understand how Orton dealt practically with the implications of this hostility. Nor was it confined to sections of the paying public and to newspaper critics, as reaction to the work that caused the greatest furore at the time, Loot (1964), will demonstrate. Examination of the Lord Chamberlain’s archive reveals that there was considerable internal pressure to refuse to grant it a licence at all: a reader’s report by Kyle Fletcher (8 December 1964) argued that the play 1 Work on this article has been greatly aided by research in the following archives: ‘Joe Orton Collection’, University of Leicester; ‘’Lord Chancellor’s Papers’ and ‘Peter Gill Archive’, British Library; ‘Lyndsay Anderson Archive’, University of Stirling; the British Film Institute archive. -
Apartheid Revolutionary Poem-Songs. the Cases of Roger Lucey and Mzwakhe Mbuli
Corso di Laurea magistrale (ordinamento ex D.M. 270/2004) in Lingue e Letterature Europee, Americane e Postcoloniali Apartheid Revolutionary Poem-Songs. The Cases of Roger Lucey and Mzwakhe Mbuli Relatore Ch. Prof. Marco Fazzini Correlatore Ch. Prof. Alessandro Scarsella Laureanda Irene Pozzobon Matricola 828267 Anno Accademico 2013 / 2014 ABSTRACT When a system of segregation tries to oppress individuals and peoples, struggle becomes an important part in order to have social and civil rights back. Revolutionary poem-songs are to be considered as part of that struggle. This dissertation aims at offering an overview on how South African poet-songwriters, in particular the white Roger Lucey and the black Mzwakhe Mbuli, composed poem-songs to fight against apartheid. A secondary purpose of this study is to show how, despite the different ethnicities of these poet-songwriters, similar themes are to be found in their literary works. In order to investigate this topic deeply, an interview with Roger Lucey was recorded and transcribed in September 2014. This work will first take into consideration poem-songs as part of a broader topic called ‘oral literature’. Secondly, it will focus on what revolutionary poem-songs are and it will report examples of poem-songs from the South African apartheid regime (1950s to 1990s). Its third part will explore both the personal and musical background of the two songwriters. Part four, then, will thematically analyse Roger Lucey and Mzwakhe Mbuli’s lyrics composed in that particular moment of history. Finally, an epilogue will show how the two songwriters’ perspectives have evolved in the post-apartheid era. -
Downbeat.Com September 2010 U.K. £3.50
downbeat.com downbeat.com september 2010 2010 september £3.50 U.K. DownBeat esperanza spalDing // Danilo pérez // al Di Meola // Billy ChilDs // artie shaw septeMBer 2010 SEPTEMBER 2010 � Volume 77 – Number 9 President Kevin Maher Publisher Frank Alkyer Editor Ed Enright Associate Editor Aaron Cohen Art Director Ara Tirado Production Associate Andy Williams Bookkeeper Margaret Stevens Circulation Manager Kelly Grosser AdVertisiNg sAles Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] Classified Advertising Sales Sue Mahal 630-941-2030 [email protected] offices 102 N. Haven Road Elmhurst, IL 60126–2970 630-941-2030 Fax: 630-941-3210 http://downbeat.com [email protected] customer serVice 877-904-5299 [email protected] coNtributors Senior Contributors: Michael Bourne, John McDonough, Howard Mandel Atlanta: Jon Ross; Austin: Michael Point; Boston: Fred Bouchard, Frank-John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, How- ard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Robert Doerschuk; New Orleans: Erika Goldring, David Kunian; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D. Jackson, Jimmy Katz, Jim Macnie, Ken Micallef, Jennifer -
If a Thing's Worth Doing, It's Worth Doing on Public Television–Joe Orton's
Middlesex University Research Repository An open access repository of Middlesex University research http://eprints.mdx.ac.uk Charlton, James Martin ORCID: https://orcid.org/0000-0001-9066-4705 (2014) If a thing’s worth doing, it’s worth doing on public television – Joe Orton’s plays on television. In: Theatre and Television: Adaptation, Production, Performance, 19-20 Feb 2015, Alexandra Palace. [Conference or Workshop Item] Final accepted version (with author’s formatting) This version is available at: https://eprints.mdx.ac.uk/18929/ Copyright: Middlesex University Research Repository makes the University’s research available electronically. Copyright and moral rights to this work are retained by the author and/or other copyright owners unless otherwise stated. The work is supplied on the understanding that any use for commercial gain is strictly forbidden. A copy may be downloaded for personal, non-commercial, research or study without prior permission and without charge. Works, including theses and research projects, may not be reproduced in any format or medium, or extensive quotations taken from them, or their content changed in any way, without first obtaining permission in writing from the copyright holder(s). They may not be sold or exploited commercially in any format or medium without the prior written permission of the copyright holder(s). Full bibliographic details must be given when referring to, or quoting from full items including the author’s name, the title of the work, publication details where relevant (place, publisher, date), pag- ination, and for theses or dissertations the awarding institution, the degree type awarded, and the date of the award. -
City of Angels
ZANFAGNA CHRISTINA ZANFAGNA | HOLY HIP HOP IN THE CITY OF ANGELSHOLY IN THE CITY OF ANGELS The publisher gratefully acknowledges the generous support of the Lisa See Endowment Fund in Southern California History and Culture of the University of California Press Foundation. Luminos is the Open Access monograph publishing program from UC Press. Luminos provides a framework for preserving and reinvigorating monograph publishing for the future and increases the reach and visibility of important scholarly work. Titles published in the UC Press Luminos model are published with the same high standards for selection, peer review, production, and marketing as those in our traditional program. www.luminosoa.org Holy Hip Hop in the City of Angels MUSIC OF THE AFRICAN DIASPORA Shana Redmond, Editor Guthrie P. Ramsey, Jr., Editor 1. California Soul: Music of African Americans in the West, edited by Jacqueline Cogdell DjeDje and Eddie S. Meadows 2. William Grant Still: A Study in Contradictions, by Catherine Parsons Smith 3. Jazz on the Road: Don Albert’s Musical Life, by Christopher Wilkinson 4. Harlem in Montmartre: A Paris Jazz Story between the Great Wars, by William A. Shack 5. Dead Man Blues: Jelly Roll Morton Way Out West, by Phil Pastras 6. What Is This Thing Called Jazz?: African American Musicians as Artists, Critics, and Activists, by Eric Porter 7. Race Music: Black Cultures from Bebop to Hip-Hop, by Guthrie P. Ramsey, Jr. 8. Lining Out the Word: Dr. Watts Hymn Singing in the Music of Black Americans, by William T. Dargan 9. Music and Revolution: Cultural Change in Socialist Cuba, by Robin D. -
Roots Report: an Interview with Todd Rundgren
Roots Report: An Interview with Todd Rundgren Okee dokee … I spoke with Todd Rundgren for about an hour last month in advance of his May 14 performance at The Odeum in East Greenwich. Here is the conversation. John Fuzek: Are you in Hawaii? Todd Rundgren: I am at the moment, yes. JF: Are you vacationing or do you live there now? TR: I’ve lived here for about 22 years now. JF: Is that the place that in the “Daryl’s House” video? TR: Yes, it is JF: I actually thought that you lived in upstate NY. TR: I did until the mid ’80s, then I moved the family up to San Francisco. I kept the place in Woodstock for a while and only went back and did projects, and in the mid ’90s we moved here. JF: You’re playing The Odeum on May 14. That’s an intimate venue. Do you choose to play those smaller venues? TR: No, we usually find larger venues to accommodate our production; the smaller venues are “pick up dates” or fill dates. JF: I saw you last year and it seemed pretty straight-forward with just the band; what do you have for production? TR: Last year I was not promoting a new record, I was trying to mollify the fans after a spate of somewhat challenging shows. The tour before last year I was promoting an album called Global, two singer/dancers and a DJ and a lot of lights (laughs). Tour before was me, Kassim, Prairie and Jesse. I was the DJ, and I discovered I couldn’t do all the singing that I needed to do and also DJ. -
A Wizard, a True Star. the Title of Todd Rundgren's 1973 Solo Album Aptly Sums up the Contributions of This Multi-Faceted Artist to State-Of-The-Art Music
TR-i A Wizard, A True Star. The title of Todd Rundgren's 1973 solo album aptly sums up the contributions of this multi-faceted artist to state-of-the-art music. As a songwriter, video pioneer, producer, recording artist, computer software developer, conceptualist, and, most recently, interactive artist (re-designated TR-i), Rundgren has made a lasting impact on both the form and content of popular music. Born and raised in Philadelphia, Rundgren began playing guitar as a teenager, going on to found and front The Nazz, the quintessential `60's cult group. In 1969, he left the band to pursue a solo career, recording his debut offering, the legendary Runt. But it was 1972's seminal Something/Anything?, on which he played all the instruments, sang all the vocal parts, and acted as his own producer, that catapulted Todd into the superstar limelight, prompting the press to unanimously dub him 'Rock's New Wunderkind'. It was followed by such landmark LPs as The Hermit of Mink Hollow and the above mentioned A Wizard, A True Star, as well as such hit singles as I Saw The Light, Hello It's Me, Can We Still Be Friends, and Bang The Drum. In 1974, Todd formed Utopia, an entirely new approach to the concept of interactive musicianship, and embarked on an extensive round of touring and recording. Standout Utopia offerings included Oops! Wrong Planet, Adventures in Utopia, and Oblivion. Along the way, Utopia combined technical virtuosity and creative passion to create music that, for millions, defined the term "progressive rock." Rundgren's myriad production projects include albums by Patti Smith, Cheap Trick, Psychedelic Furs, Meatloaf, XTC, Grand Funk Railroad, and Hall And Oates. -
Rock and Roll Music
Rock & Roll Michael Hardaker, HRDMIC006 A dissertation submitted in fulfilment of the requirements for the award of the degree of Master of Arts specialising in Creative Writing Faculty of the Humanities University of Cape Town 2017 This work has not been previously submitted in whole, or in part, for the award of Universityany degree. It is my ownof work.CapeEach significant Town contribution to, and quotation in, this dissertation from the work, or works, of other people has been attributed, and has been cited and referenced. Signature: Date: 2017-08-21 The copyright of this thesis vests in the author. No quotation from it or information derived from it is to be published without full acknowledgement of the source. The thesis is to be used for private study or non- commercial research purposes only. Published by the University of Cape Town (UCT) in terms of the non-exclusive license granted to UCT by the author. University of Cape Town ABSTRACT Through unfolding, fragmentary memoirs, the disconnected odyssey of Nick Numbers, a rock music critic working in London and LA through the 1970s into the early 1980s, Rock & Roll explores the multiple realities that exist between documentary, documentable fact and supposedly pure fiction. Real people and verifiable occurrences are interwoven with invented characters and situations in a way that blurs any clear distinction between the two. The book also sees how the power of additions such as images and footnotes can add, or perhaps undermine, authority and credibility to a story. Meanwhile, stories connect the twin musical and lyrical strands, black rhythm and blues and the writings of the Beat generation, that somehow merged in the mid-1960s to produce rock music.