Fall Folk Music Weekend
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Tony Visconti: the Autobiography: Bowie, Bolan and the Brooklyn Boy Pdf, Epub, Ebook
TONY VISCONTI: THE AUTOBIOGRAPHY: BOWIE, BOLAN AND THE BROOKLYN BOY PDF, EPUB, EBOOK Tony Visconti,Morrissey | 400 pages | 28 Apr 2008 | HarperCollins Publishers | 9780007229451 | English | London, United Kingdom Tony Visconti: the Autobiography: Bowie, Bolan and the Brooklyn Boy PDF Book Enlarge cover. The beginning of his career is fascinating, but -- like many rock bios -- the book begins to drag when Visconti exciting early years are over. Viscontis early years especially were exciting and enviable if you lived the music of that time. Through this, he met British producer Denny Cordell in while he was working as Richmond's in-house music producer. He has also collaborated as co-writer and producer on the album project by Richard Barone. We get inside the studio with some technical info that is hard to decipher and some more personal remembrances. For some fiction about this period, try Stairway to Hell by Charlie Williams. We learn very little about the birth of glam rock, but Visconti does mention that when he ran into Nathalie Merchant in , she served him a tuna wrap. It was a variation on Air on a G String I had paid attention during music appreciation classes in high school. Bill o'Reilly's Killing Ser. Click here to go to Subscribe page. This book provides a first-hand account of the London music scene of the s and 70s, from a man who helped to shape pop history. They inspire and encourage; their names are in small print, if they appear at all. Tony Visconti. Add to cart. Viconti has his tongue so far up the ass of certain living show business figures that his ghost writer's turdy tongue speaks with their voice - and in particular with the inflections of the tedious David Bowie. -
Download a PDF of the Press Kit Here
THE BRILLIANT MISTAKES [email protected] • 917.821.6262 THE BRILLIANT MISTAKES’ “DISTANT DRUMMING” SET FOR RELEASE OCTOBER 7 The Brilliant Mistakes—the New York City based band lauded for “restlessy catchy hooks, a clever turn of phrase and frothy, piano-driven pop with heart, soul and smarts” (The Boston Globe) are ready to unveil Distant Drumming, their new album set for release on October 7 on the band’s own Aunt Mimi’s Records. The album was produced by bassist Lincoln Schleifer (Levon Helm, Buddy Miller) and recorded at Lincoln’s Log Cabin in The Bronx, features guest musicians Mike Viola (The Candy Butchers, Walk Hard), Larry Campbell (Bob Dylan, Paul Simon) and Marc Shulman (Suzanne Vega) and was mastered by Fred Kevorkian (Ryan Adams, The White Stripes) in Hell’s Kitchen in Manhattan. Songwriter-bassist Erik Philbrook describes Distant Drumming as an album that musically and lyrically is about “finding and following the rhythms of your own life.” To that end the band sought to create a more organic album and delved deeper in the studio, experimenting with dynamics, arrangements, atmosphere, instrumentation and grooves to create music not only rich in meaning and emotion, but one that mixes blasts of majestic rock with meditative and moody acoustic pop and folk. The result is a ruthlessly thrilling album by a band that has long flown beneath the radar of the mainstream but are kindred spirits with such contemporaryAmericana envelope- pushers as Wilco, My Morning Jacket and Spoon. Distant Drumming benefits from the evolution of the band’s two songwriters—Alan Walker and Erik Philbrook— into separate but equally provocative lyricists. -
Michael Grace / Tapeop Behind the Gear
was getting pretty busy at night building custom mic Behind The Gear preamps for people, so I quit working for that company This Issue’s Prince of Preamps and started out on my own. That remained a garage operation for several years until my brother Eben and I Michael Grace joined forces and became partners. We decided we by Walt Szalva wanted to start a manufacturing company and build preamps on a larger scale so we could take advantage of the economies of scale, being able to buy better components and build things that were not absolutely stressed in terms of cost. That was almost twelve years ago when we came out with the first official Grace Design product, which was the 801 preamp. What kind of problems does a small manufacturer like yourself encounter in terms of designing and building Michael Grace started Grace feedback amplifier, or a trans-impedance amp, and something that a larger manufacturer Design in 1994, a boutique pro these types of amplifiers use a different kind of might not encounter? audio company located in Boulder, negative feedback in the current domain instead of the CO. The story of his rise as a Quality control is the top issue for any manufacturing designer is one born from a love voltage domain. They are able to track really complex company. Being a boutique manufacturer, most of our of music. His need for a preamp to waveforms, resolve rich harmonic structures and track products are fairly expensive and not something that record Grateful Dead concerts transients without the various aberrations of slew rate someone just plunks down on a credit card on a whim drove him to design his first limiting and things that are associated with textbook for their studio. -
The Place of Music, Race and Gender in Producing Appalachian Space
University of Kentucky UKnowledge Theses and Dissertations--Geography Geography 2012 PERFORMING COMMUNITY: THE PLACE OF MUSIC, RACE AND GENDER IN PRODUCING APPALACHIAN SPACE Deborah J. Thompson University of Kentucky, [email protected] Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Thompson, Deborah J., "PERFORMING COMMUNITY: THE PLACE OF MUSIC, RACE AND GENDER IN PRODUCING APPALACHIAN SPACE" (2012). Theses and Dissertations--Geography. 1. https://uknowledge.uky.edu/geography_etds/1 This Doctoral Dissertation is brought to you for free and open access by the Geography at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Geography by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained and attached hereto needed written permission statements(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine). I hereby grant to The University of Kentucky and its agents the non-exclusive license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. I agree that the document mentioned above may be made available immediately for worldwide access unless a preapproved embargo applies. -
Method to Our Madness As a New Beginning for Method to Our Madness Let Me Down Hard
The last few years have been busy ones for Frankenstein 3000. After promoting their third full-length release, the well-received Where Do We Go From Here, for the good part of 2009, culminating with the band headlining the Love & Rockets Tribute CD Release Party, they spent a few months working on their second covers album and things did not slow down in 2010. Early in the year Frankenstein 3000 unleashed They’ll Be Waking Up Soon to more positive reviews; they served as the back-up band for legendary Dead Boys guitarist Cheetah Chrome as well as ex-Bongos leader Richard Barone; they put their unique stamp on songs by Queen, Devo, The Cars and Alice Cooper for a tributes on Main Man Records; they played numerous shows with David Johansen, recent Rock And Roll Hall Of Fame inductee Dennis Dunaway, The Batusis, Steve Conte & The Crazy Truth, Skid Row, Blue Coupe and a highly successful benefit show headlined by members of Bon Jovi; and front-man Keith Roth landed the lead role in an independent film, Let Me Down Hard. Throughout it all Frankenstein 3000 still found the time to record their strongest collection of songs yet. Method To Our Madness features 16 tracks, some of which have been revisited from earlier releases. Long-time fans may recognize titles like “Going Away”, “Everybody Else” and “Panic In Needle Park”, but the band feels that this is the first time these songs are being properly represented. “We decided to polish up some old gems, quite a few we had played live for a long time but never released” says guitarist/vocalist Keith Roth. -
Song Stories
Song Stories Music That Brings Back Memories and Emotions (Vol. 1) Kyle Bylin Song Stories Music That Brings Back Memories and Emotions (Vol. 1) Kyle Bylin © 2016 Kyle Bylin Contents CONTENTS 1 Introduction By Kyle Bylin Songs become a part of the story of our lives — something we take with us wherever we go. Inside of us, in our hearts and minds, their lyrics linger. We recall those words, but what we remember isn’t what they meant to the artist who wrote them. It’s what they mean to us. We interject ourselves into their songs, and it feels as though they mirror our own memories and emotions. Songs give us insight into those around us — those we love and hate. We see dysfunction in our relationships, come to understand the beauty and the darkness of our love, and gain empathy for the true nature of the human condition. Some songs make us happy, while others bring sadness. Some songs connect with our present, and others bring us back to the past. They help us recall the memories we have long forgotten. Some songs we simply enjoy because they don’t remind us of anyone or anything. Songs are tied to our personal identity and to particular moments in our lives. The more charged with emotion a chapter becomes, the more likely it is that a song will be associated with our memories of it. And not only with our memories of the events themselves, but with how we remember feeling. This is what music does for us. It connects with the stories of our lives. -
Missouri Folklore Society Journal
Missouri Folklore Society Journal Special Issue: Songs and Ballads Volumes 27 - 28 2005 - 2006 Cover illustration: Anonymous 19th-century woodcut used by designer Mia Tea for the cover of a CD titled Folk Songs & Ballads by Mark T. Permission for MFS to use a modified version of the image for the cover of this journal was granted by Circle of Sound Folk and Community Music Projects. The Mia Tea version of the woodcut is available at http://www.circleofsound.co.uk; acc. 6/6/15. Missouri Folklore Society Journal Volumes 27 - 28 2005 - 2006 Special Issue Editor Lyn Wolz University of Kansas Assistant Editor Elizabeth Freise University of Kansas General Editors Dr. Jim Vandergriff (Ret.) Dr. Donna Jurich University of Arizona Review Editor Dr. Jim Vandergriff Missouri Folklore Society P. O. Box 1757 Columbia, MO 65205 This issue of the Missouri Folklore Society Journal was published by Naciketas Press, 715 E. McPherson, Kirksville, Missouri, 63501 ISSN: 0731-2946; ISBN: 978-1-936135-17-2 (1-936135-17-5) The Missouri Folklore Society Journal is indexed in: The Hathi Trust Digital Library Vols. 4-24, 26; 1982-2002, 2004 Essentially acts as an online keyword indexing tool; only allows users to search by keyword and only within one year of the journal at a time. The result is a list of page numbers where the search words appear. No abstracts or full-text incl. (Available free at http://catalog.hathitrust.org/Search/Advanced). The MLA International Bibliography Vols. 1-26, 1979-2004 Searchable by keyword, author, and journal title. The result is a list of article citations; it does not include abstracts or full-text. -
PRESS RELEASE; for IMMEDIATE RELEASE Contact Linda Adams
PRESS RELEASE; FOR IMMEDIATE RELEASE Contact Linda Adams: 909-925-7337 PHIL YEH, GODFATHER OF THE AMERICAN GRAPHIC NOVEL, SIMPSONS’ CARTOONIST PHIL ORTIZ TO PAINT A MURAL AT NEW YORK’S HOTEL PENNSYLVANIA ON MAY 27 AND AT BOOKEXPOAMERICA ON MAY 29-31, 2009 Phil Yeh, often called the Godfather of the modern American Graphic Novel, will paint a new mural promoting literacy and the arts in the lobby of Hotel Pennsylvania on Wednesday, May 27, from 11 am to 6 pm. The historic Hotel Penn is located across the street from Madison Square Garden at 401 Seventh Avenue. Phil Ortiz, one of the original artists behind the Simpsons, will join Yeh in creating this work of art, which will be donated to the city’s schools and libraries after the event. The two artists will also paint a second mural at the BookExpoAmerica trade show at the Javits Convention Center from May 29-31. Yeh will be giving away copies of a special collector’s preview edition of his new Dinosaurs Across New York comic book at both events. Everyone is invited to help create the mural for the City of New York on May 27 at the Hotel Pennsylvania. These family friendly mural events are sponsored by The Hotel Penn- sylvania, BookExpoAmerica, ComiXpress, The Palm Restaurants, Brother Jimmy’s BBQue, and Mustang Harry’s Restaurant. Legendary musician Candy John, (drummer for Donovan from 1966 -1970), will be at the Hotel Penn- sylvania event to play a few songs. His percussion work was also featured on Donovan’s “Beat Café” concert series at Joe’s Pub, with Richard Barone at Joe’s Pub, the Marc Bolan 40th Anniversary Tribute in Central Park, and with Denny Laine (Moody Blues & Wings) at the Cutting Room for May Pang’s birth- day celebration. -
2015 Conference
37th annual September 10–13, 2015 Thursday, September 10 Saturday, September 12 The Lyric Theatre, 300 East 3rd Street, downtown Lexington All daytime sessions are held a The Carnegie Center for Literacy and Learning, 251 West 2nd Street. 6:00–8:00 p.m. BadddDDD Sonia Sanchez: a new documentary film and conversation with Sonia Sanchez and Patrice Muhammad 8:00–9:00 a.m. Small Group Workshops, 2:00–4:15 p.m. Free and open to the public registration and complimentary continental breakfast by reservation only Writing Lives: Loud and Quiet 9:00–10:00 a.m., plenary session biography/nonfiction workshop with Emily Bingham, part 2 What I Think I’m Doing by reservation only, lower level, Sexton Room fiction craft talk by Ann Beattie Friday, September 11 open to all registrants, first floor, Stuart Room Self-Exposure vs. Self-Examination All daytime sessions are held a The Carnegie Center for Literacy and Learning, 251 West 2nd Street. workshop in memoir and personal essay 10:15 a.m.–12:30 p.m., small group workshops with Meghan Daum, part 2 by reservation only by reservation only, second floor, Allen Room The Obstructions 8:00–9:00 a.m. by reservation only workshop in poetry with Angela Ball, part 2 Road Trip: Finding Inspiration in Place registration and complimentary continental breakfast Writing Lives: Loud and Quiet by reservation only, lower level, Caudill Room workshop in playwriting with Carson Kreitzer, part 2 biography/nonfiction workshop with Emily Bingham, part 1 by reservation only, lower level, Brown Room 9:00–10:00 a.m., plenary session by reservation only, lower level, Sexton Room One Poem, Two Attitudes reading by Sonia Sanchez, with introduction and Q &A by workshop in poetry with Kathleen Driskell, part 2 From “What If?” to “What Now?” to “What Just Happened?” DaMaris Hill Self-Exposure vs. -
COVER STORY Introduction Peermusic Was Founded in 1928 By
COVER STORY Introduction Peermusic was founded in 1928 by Ralph S. Peer and continues to be privately owned by the Peer family. In 1923, working for the Okeh Record Company Ralph S. Peer made the first recording of a black artist performing the blues, "Crazy Blues" by Mamie Smith. It was the first R&B recording in the country and Ralph became a specialist in the music of the South, where he traveled as a talent scout. A year later he recorded Fiddlin'John Carson playing "Little Old Log Cabin Down The Lane," generally regarded as the first commercial country recording. Peer left Okeh when it was sold to the American Phonograph Company (later CBS) in 1927. When the Victor Talking Machine Company couldn't match his previous salary, together they formed a publishing company which held the copyrights of the songs he was recording. Two of his major finds were the Carter Family and also Jimmy Rodgers. In the 1930's he went to Puerto Rico and recorded Pedro Flores and Ralph Hernandez. In Mexico he discovered a new style of music called 'bolero' and signed the material of Augustin Lara. Peer then began traveling throughout South America finding music he then had his staff in the U.S. obtain English lyrics to and present to the big bands of the day. These Latin melodies quickly became standard repertoire for the big bands. Ralph's next move was to London in 1932, where he opened an office to establish a European operation. Offices then opened throughout the world from this base. -
A Conversation with Amy Rigby by Frank Goodman
A Conversation with Amy Rigby by Frank Goodman (Puremusic.com 5/2003) One of our main missions at Puremusic.com is discovering and proliferating what we feel is good pop music for grownups. Frequently these acts may have a retro sound of one era or another, sometimes several eras in a given record. Because only AAA radio will play a given percentage of these artists, many of them are flying under the radar. Some tour as bands, others make produced records and hit the road as solo artists in singer songwriter type venues, and open up shows or even tours for bands when opportunity knocks. One of the best and highest profile examples of this is Amy Rigby. If there is a woman out there writing funnier songs than Amy, we want to hear about it. Bittersweet, poignant—sure, she’s all that, too. But as the writer of “Tonight I’m Gonna Give the Drummer Some,” “I Hate Every Bone in Your Body But Mine” and “Are We Ever Gonna Have Sex Again?” she towers above the supposedly funny songwriters we’ve come across, especially the silly or overstated variety. Although she has brilliant and subtle songwriting cohorts in the likes of Bill DeMain, Steve Allen, and Bill Lloyd, she can and mostly does do it all by herself. Consider the first chorus on her new record Til The Wheels Fall Off (on Signature Sounds), from the song “Why Do I”: Why do I pull wings off butterflies Look for things that hurt my eyes I kiss the boys but I’m the one who cries Why do I get off on misery Loneliness feels good to me I’m happy when I’m all hung out to dry Why do I But when I call her funny, I’m also underselling her, because her keen vision into the fragility and fragmentation of the grownup condition goes beyond that. -
The Real Y'alternative
v i b e s THE REAL Y’ALTERNATIVE NYC string band navigates the ebony and irony of Americana BY KANDIA CRAZY HORSE version of “Dueling Banjos (Black to the Future mix)” anytime soon. owboy Troy, the long, tall Texas country- The Ebony Hillbillies’ own extant CDs will rapper, is the nation’s leading proponent of have to tide y’all over until the eventual sepia hick-hopC — or rather the most prominent one. His twang revolution (don’t tell Diddy!). Sabrina’s heavily rotated CMT clip for the infectious, fiddle- Holiday and I Thought You Knew (forthcoming and-banjo-fueled single “I Play Chicken with the on Lincolnton-based Gaff Records) provide a Train” features a curiously integrated audience great introduction to a largely forgotten African “raising the roof” to lyrics like “I’m big and black, American cultural legacy. The trio’s take on classic clickety-clack/And I made the train jump the track black string-band repertoire includes “Cotton- like that.” A tepid rap boast, indeed. Eyed Joe,” “Sugar in the Gourd,” “Hell Among How much cooler would Cowboy Troy’s the Yearlings” and “Yellow Rose of Texas,” a tune challenge to Music Row be if he had enlisted New originating from a black minstrel show which is York’s Ebony Hillbillies, three urban hipsters who actually an ode to the singer’s “sweetest girl of play the subway stations and city streets as the self- color a fella ever knew.” proclaimed “last black string band in America”? Head Hillbilly Enrique Prince certainly has the chops to back anyone.