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BTS Blasts Onto Hot 100 at No. 1 with 'Permission To
Bulletin YOUR DAILY ENTERTAINMENT NEWS UPDATE JULY 19, 2021 Page 1 of 31 INSIDE BTS Blasts Onto Hot 100 • Olivia Rodrigo’s at No. 1 With ‘Permission to Dance,’ ‘Sour’ Spends Fourth Week at No. The Kid LAROI & Justin Bieber 1 on Billboard 200 Albums Chart Bow at No. 3 With ‘Stay’ • Billboard’s U.S. Money Makers: BY GARY TRUST The Top Paid Musicians of 2020 TS bounds onto the Billboard Hot top. Here’s a deeper look at its entrance. 100 songs chart at No. 1 with its new Streams, airplay & sales: Following its July 9 • Billboard’s 2020 Global Money single “Permission to Dance.” The South release, “Dance” drew 15.9 million U.S. streams and Makers: The 5 Korean septet supplants itself at the top 1.1 million radio airplay audience impressions and sold Top Highest Bspot, as the group’s own “Butter” falls to No. 7 after 140,100 downloads (via its original and instrumental Paid Musicians seven weeks at No. 1. “Dance” launches as the group’s digital versions, each on sale for 69 cents) in the week • Bill Ackman SPAC fifth Hot 100 leader. ending July 15, according to MRC Data. Drops Plan to Buy Plus, The Kid LAROI and Justin Bieber debut on The track debuts atop the Digital Song Sales chart, 10% UMG Stake the Hot 100 at No. 3 with “Stay.” The song marks the where it’s BTS’ eighth No. 1, extending the act’s record former’s second top 10, and a new career high, and the for the most among groups. -
Table of Contents
1 •••I I Table of Contents Freebies! 3 Rock 55 New Spring Titles 3 R&B it Rap * Dance 59 Women's Spirituality * New Age 12 Gospel 60 Recovery 24 Blues 61 Women's Music *• Feminist Music 25 Jazz 62 Comedy 37 Classical 63 Ladyslipper Top 40 37 Spoken 65 African 38 Babyslipper Catalog 66 Arabic * Middle Eastern 39 "Mehn's Music' 70 Asian 39 Videos 72 Celtic * British Isles 40 Kids'Videos 76 European 43 Songbooks, Posters 77 Latin American _ 43 Jewelry, Books 78 Native American 44 Cards, T-Shirts 80 Jewish 46 Ordering Information 84 Reggae 47 Donor Discount Club 84 Country 48 Order Blank 85 Folk * Traditional 49 Artist Index 86 Art exhibit at Horace Williams House spurs bride to change reception plans By Jennifer Brett FROM OUR "CONTROVERSIAL- SUffWriter COVER ARTIST, When Julie Wyne became engaged, she and her fiance planned to hold (heir SUDIE RAKUSIN wedding reception at the historic Horace Williams House on Rosemary Street. The Sabbats Series Notecards sOk But a controversial art exhibit dis A spectacular set of 8 color notecards^^ played in the house prompted Wyne to reproductions of original oil paintings by Sudie change her plans and move the Feb. IS Rakusin. Each personifies one Sabbat and holds the reception to the Siena Hotel. symbols, phase of the moon, the feeling of the season, The exhibit, by Hillsborough artist what is growing and being harvested...against a Sudie Rakusin, includes paintings of background color of the corresponding chakra. The 8 scantily clad and bare-breasted women. Sabbats are Winter Solstice, Candelmas, Spring "I have no problem with the gallery Equinox, Beltane/May Eve, Summer Solstice, showing the paintings," Wyne told The Lammas, Autumn Equinox, and Hallomas. -
Billboard Magazine
/4 SOON TO COME MARK SCHULTZ All Things Possible II SEPT.4 FAIR TRADE SERVICES THE GAITHER VOCAL BAND Pure and Simple SEPTA SPRING HILL MUSIC GROUP GROUP I CREW Fearless 11 SEPTA FERVENT RECORDS MATTHEW WEST Into the Light 11 SEPT. 25 SPARROW RECORDS JONATHAN BUTLER Grace 4. MercyhSEPT.25 RENDEZVOUS BRANDON HEATH Blue Mountain 11 OCT. 9 REUNION RECORDS LECRAE to say it in a different way is really exciting," Third Day lead vocalist Mac Gravity 11 SEPT.4 REACH RECORDS Rock OfAges Powell says. "It's invigorated us as a band." Since debuting in 1996 with its self -titled album, the Georgia -based rockers (Powell, Mark Lee, Tai Ander- PERCY BADY son and David Carr) have won four Grammys and 24 Gospel Music Assn. TBLOOCT 23 Third Day teams with producer Brendan Dove Awards, and become a mainstay on Christian radio. The band will MARANATRA MUSIC preview Miracle with lead single "I Need a Miracle," a song Powell penned O'Brienfor 12th studio release KURT CARR & THE KURT after a couple told them their son was about to commit suicide and changed CARR SINGERS FOR MIRACLE, THE FOLLOW-UP TOits hit 2010 effort, Move (No. 9 his mind when he turned on the radio and heard Third Day's "Cry Out to TBDHNOV.13 on the Billboard 200, No. 1 on Top Christian Albums), Third Jesus." "I'm super proud of it," O'Brien says of the new album, the band's VERITY GOSPEL MUSIC GROUP Day teamed with producer Brendan O'Brien (Pearl Jam, Bruce 12th studio release. -
Steve Anderson Full Discography
Steve Anderson - Complete Discography Artist Album or Project Description Label Format A Man Called Adam Bread Love And Dreams Remixer Big Life CD Single ABC The Look Of Love Remixer DMC DMC Mix ABC Viva Love Remixer DeConstruction CD Single Adeva It Should Have Been Me Remixer DMC DMC Mix Alanis Morrisette Uninvited Remixer DMC White Label Alexander O’Neal If You Were Here Tonight Remixer DMC DMC Mix Alexander O’Neal Love Makes No Sense Remixer A+M CD Single Alison Limerick And Still I Rise Producer/Co-writer Arista Album Alison Limerick Getting It Right Producer/Co-writer Arista Album Track Alison Limerick Hear My Call Producer/Co-writer Arista CD Single Alison Limerick Make It On My Own Producer/Co-writer Arista CD Single Alison Limerick The Difference Is You Producer/Co-writer Arista Album Track Alison Limerick Trouble Producer/Co-writer Arista Album Track Alison Limerick Where Love Lives Remixer Arista CD Single Alison Limerick You And I Producer/Co-writer Arista Album Track Alyson WIlliams My Love Is So Raw Remixer DMC DMC Mix Amy Grant Baby Baby Remixer A+M CD Single Amy Grant Good For You Remixer A+M CD Single Angel Baby Format 2.1 Producer/Co-writer DMC Album Track Art Of Noise Beatbox Remixer DMC DMC Mix Art Of Noise Dream In Color Remixer ZTT CD Single Asia Blue Escaping Remixer A+M CD Single Atomic Kitten Feels So Good Producer/Co-writer Innocent Album Track Bas Noir I’m Glad You Came To Me Remixer Virgin CD Single Basic Black Whatever It Takes Remixer Motown CD Single Billie Ray Martin Imitation Of Life Remixer East West -
1. Monsters of Indie Retail
1. MONSTERS OF INDIE RETAIL ALL KILLER, r NO FILLER ' THE ST I POWE:. i THE G.' EST HITS UM NOVEMBER 27, 2010 www.bii°Iboard.com wwv billboard iz US $6.99 cAN $8 ; $' çs 699000 ZOV£-L0806 VJ H3V38 9N01 3AV N13 OPLE V # V100 A1N3309 AINOW 1111111111111'1111111111111'lllllllllll Z00/000 Z-V1-V 100 ZLaVW#6/83/88N£6IOZi # L06 1I9I0-£ HJS************************* 3313F003# c 71 `/ V Y I L V J Y u Or i Bi' OR 7(ìl0 LATIN G RAMMY "WINNERS ,, nl, ,1'4 r:figrat";vJUAN LUIS GUERRA a\ ALBUM OF THE YEAR I 1 ;I ,BEST CONTEMPORARY TROPICAL ALBUM -417,V 41.i BEST TROPICAL SONG 4.1 11Nf; GILBERTO GIL BEST MPB ALBUM BEST NATIVE BRAZILIAN ROOTS ALEX `CHINO Y NACHO CUBA BEST URBAN MUSIC ALBUM ,SOCAN; BEST NEW ARTIST Pitt e f t 4, ELIDA REYNA Y AVANTE BEST TEJANO ALBUM BANDA EL RECODO FERNANDO OTERO BEST BANDA ALBUM BEST CLASSICAL ALBUM RAFAELLL'AZZiARO ALBUM OF THE YEAR SEBASTIAN PACO LUGO KRYS BEST REGIONAL aj BEST ENGINEERED MEXICAN SONG ALBUM LALOrSCHIFRIN BEST CLASSICAL \ CONTEMPORARY COMPOSITION GRUPO PESADO BEST NORTEÑO ALBUM JULIETA\VENEGÄS BEST SHORT FORM MUSIC JOAO`DONATORTRIO BEST LATIN JAZZ ALBUM S 4 I bmi.com j VOZ VEIS 1 1100.1",. BEST LONGFORM MUSIC VIDEO a ` 1 .%. .4 Billboard 1 ON THE CHARTS ALBUMS PAGE ARTIST /TITLE THE S YLE, BILLBOARD 200 32 THE GIFTIFT JASON A / TOP INDEPENDENT 34 MV KINDA PARTY KIDCUDI/ TOP DIGITAL 34 MAN ON THE MOON It THE LEGEND OF MR. RAGER 34 SUSAN BOYLE / TOP INTERNET TnE GIFT OCEAN WAY / HEATSEEKERS ALBUMS 35 OCEAN WAY SESSIONS (EP) TAYLOR WIFT / TOP COUNTRY 39 SPEAK NOW DIERKS BENTLEY / TOP BLUEGRASS 39 UPON THE RIDGE KID / TOP R &B /HIP -HOP 40 MAN ON THE MOON II'. -
Oh Happy Day” – the Edwin Hawkins Singers (1968) Added to the National Registry: 2005 Essay by Bill Carpenter (Guest Post)*
“Oh Happy Day” – The Edwin Hawkins Singers (1968) Added to the National Registry: 2005 Essay by Bill Carpenter (guest post)* Original label The Edwin Hawkins Singers If four-time Grammy Award winning singer, songwriter and choirmaster Edwin Hawkins had been a record label executive and had to pick his own radio singles, then his multi- million selling 1968 recording of “Oh, Happy Day” probably would not have become the global anthem that it became in the heart of the counterculture, civil rights and Jesus movements in the late sixties and early seventies. “My mother had an old hymnal and I had a knack for rearranging hymns,” Hawkins says of the song that first surfaced on his custom-made LP “Let Us Go into the House of the Lord.” The song was recorded at the Ephesians Church of God in Christ (COGIC) in his hometown of Oakland, CA to raise money for the church’s 40+-member youth choir to attend a convention. “‘Oh Happy Day’ was an old hymn and I rearranged it. It was actually one of the least likely songs to become a hit. There were some much stronger songs on there. We were going to hand-sell the album in the Bay Area. We ordered 500 copies. Lamont Bench, a Mormon guy, recorded that album on a two-track system. All 500 copies sold.” One of those albums fell into the hands of Abe “Voco” Keshishian, an influential DJ at KSAN 94.9 FM in the Bay area, who started to play “Oh Happy Day” on his “Lights Out San Francisco” blues and rock program in early 1969. -
Recordings by Women Table of Contents
'• ••':.•.• %*__*& -• '*r-f ":# fc** Si* o. •_ V -;r>"".y:'>^. f/i Anniversary Editi Recordings By Women table of contents Ordering Information 2 Reggae * Calypso 44 Order Blank 3 Rock 45 About Ladyslipper 4 Punk * NewWave 47 Musical Month Club 5 Soul * R&B * Rap * Dance 49 Donor Discount Club 5 Gospel 50 Gift Order Blank 6 Country 50 Gift Certificates 6 Folk * Traditional 52 Free Gifts 7 Blues 58 Be A Slipper Supporter 7 Jazz ; 60 Ladyslipper Especially Recommends 8 Classical 62 Women's Spirituality * New Age 9 Spoken 64 Recovery 22 Children's 65 Women's Music * Feminist Music 23 "Mehn's Music". 70 Comedy 35 Videos 71 Holiday 35 Kids'Videos 75 International: African 37 Songbooks, Books, Posters 76 Arabic * Middle Eastern 38 Calendars, Cards, T-shirts, Grab-bag 77 Asian 39 Jewelry 78 European 40 Ladyslipper Mailing List 79 Latin American 40 Ladyslipper's Top 40 79 Native American 42 Resources 80 Jewish 43 Readers' Comments 86 Artist Index 86 MAIL: Ladyslipper, PO Box 3124-R, Durham, NC 27715 ORDERS: 800-634-6044 M-F 9-6 INQUIRIES: 919-683-1570 M-F 9-6 ordering information FAX: 919-682-5601 Anytime! PAYMENT: Orders can be prepaid or charged (we BACK ORDERS AND ALTERNATIVES: If we are tem CATALOG EXPIRATION AND PRICES: We will honor don't bill or ship C.O.D. except to stores, libraries and porarily out of stock on a title, we will automatically prices in this catalog (except in cases of dramatic schools). Make check or money order payable to back-order it unless you include alternatives (should increase) until September. -
Artist Song Album Blue Collar Down to the Line Four Wheel Drive
Artist Song Album (BTO) Bachman-Turner Overdrive Blue Collar Best Of BTO (BTO) Bachman-Turner Overdrive Down To The Line Best Of BTO (BTO) Bachman-Turner Overdrive Four Wheel Drive Best Of BTO (BTO) Bachman-Turner Overdrive Free Wheelin' Best Of BTO (BTO) Bachman-Turner Overdrive Gimme Your Money Please Best Of BTO (BTO) Bachman-Turner Overdrive Hey You Best Of BTO (BTO) Bachman-Turner Overdrive Let It Ride Best Of BTO (BTO) Bachman-Turner Overdrive Lookin' Out For #1 Best Of BTO (BTO) Bachman-Turner Overdrive Roll On Down The Highway Best Of BTO (BTO) Bachman-Turner Overdrive Take It Like A Man Best Of BTO (BTO) Bachman-Turner Overdrive Takin' Care Of Business Best Of BTO (BTO) Bachman-Turner Overdrive You Ain't Seen Nothing Yet Best Of BTO (BTO) Bachman-Turner Overdrive Takin' Care Of Business Hits of 1974 (BTO) Bachman-Turner Overdrive You Ain't Seen Nothin' Yet Hits of 1974 (ELO) Electric Light Orchestra Can't Get It Out Of My Head Greatest Hits of ELO (ELO) Electric Light Orchestra Evil Woman Greatest Hits of ELO (ELO) Electric Light Orchestra Livin' Thing Greatest Hits of ELO (ELO) Electric Light Orchestra Ma-Ma-Ma Belle Greatest Hits of ELO (ELO) Electric Light Orchestra Mr. Blue Sky Greatest Hits of ELO (ELO) Electric Light Orchestra Rockaria Greatest Hits of ELO (ELO) Electric Light Orchestra Showdown Greatest Hits of ELO (ELO) Electric Light Orchestra Strange Magic Greatest Hits of ELO (ELO) Electric Light Orchestra Sweet Talkin' Woman Greatest Hits of ELO (ELO) Electric Light Orchestra Telephone Line Greatest Hits of ELO (ELO) Electric Light Orchestra Turn To Stone Greatest Hits of ELO (ELO) Electric Light Orchestra Can't Get It Out Of My Head Greatest Hits of ELO (ELO) Electric Light Orchestra Evil Woman Greatest Hits of ELO (ELO) Electric Light Orchestra Livin' Thing Greatest Hits of ELO (ELO) Electric Light Orchestra Ma-Ma-Ma Belle Greatest Hits of ELO (ELO) Electric Light Orchestra Mr. -
Like a Wrecking Ball: Gillian Welch and the Modern South
LIKE A WRECKING BALL: GILLIAN WELCH AND THE MODERN SOUTH Jason Kirby A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS August 2006 Committee: Dr. Jeremy Wallach, Advisor Dr. Bill Albertini ii ABSTRACT Dr. Jeremy Wallach, Advisor This thesis explores the work of “alternative country” music performer Gillian Welch in the context of modern-day Southeastern American regional identity. Gillian Welch, along with her accompanist and songwriting partner David Rawlings, has been known since the mid-1990s for making spare acoustic music which incorporates elements of early country and string-band music, bluegrass, gospel, rock, punk, and folk music. Her songs’ lyrics obliquely address themes of change and continuity central to the Southern roots music she draws upon. Welch has been celebrated as an innovator in the “alt.country” scene, but her detractors have labeled her as inauthentic, due to her status as a woman raised in privilege in California performing music most commonly associated with Southern working-class people. The authenticity debate surrounding Welch is particularly relevant considering the shifting boundaries of Southern regional identity following latter 20th century industrialization and re-migration to the area. Having first established the social and historical context to the debate, in this thesis I argue that Gillian Welch’s music opens up traditionally limited definitions of what it means to be Southern in modern America. Welch’s work proves that it is possible to use the region’s past as a tool to understand its present situation, without sinking into a sort of white nostalgia. -
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. -
The Eureka Moment: Embracing the New Paradigm of Musical Sounds Through Alternative Pedagogy and Curriculum in the Music Classroom
TOJNED : The Online Journal Of New Horizons In Education - January 2012, Volume 2, Issue 1 THE EUREKA MOMENT: EMBRACING THE NEW PARADIGM OF MUSICAL SOUNDS THROUGH ALTERNATIVE PEDAGOGY AND CURRICULUM IN THE MUSIC CLASSROOM Dr. John L. Vitale Assistant Professor of Education Schulich School of Education Nipissing University Brantford Campus 50 Wellington St. Brantford, Ontario, Canada [email protected] Abstract: Within seconds of opening the package to a brand new MP3 player, my 8-year-old son installed the batteries, connected his headphones and starting searching for songs. He soon realized that there was no music and said: “Dad, the store ripped us off, they sold us an MP3 player with no music on it.” This was a Eureka moment for me when I truly realized that a major paradigm shift in music listening had transpired -- a new digital paradigm where musical sounds are expected to be ubiquitous and gratis. This principal aim of this article, therefore, is threefold: (a) to highlight the new paradigm of musical sounds rooted in the new age of digital music, (b) to contend that the new paradigm requires alternative approaches to pedagogy in the music classroom embedded in the principles of holistic and democratic education, and (c) to encourage music teachers to adopt alternative curriculum methods entrenched in the new paradigm. Prior to addressing these issues, however, a contextual and theoretical framework that explores the relationship between sound and music is provided. Introduction: Contextual and Theoretical Framework of Sound and Music The boundary between sound and music has been debated amongst musicians, composers, and music scholars for many decades. -
WDAM Radio's History of Elvis Presley
Listeners Guide To WDAM Radio’s History of Elvis Presley This is the most comprehensive collection ever assembled of Elvis Presley’s “charted” hit singles, including the original versions of songs he covered, as well as other artists’ hit covers of songs first recorded by Elvis plus songs parodying, saluting, or just mentioning Elvis! More than a decade in the making and an ongoing work-in-progress for the coming decades, this collection includes many WDAM Radio exclusives – songs you likely will not find anywhere else on this planet. Some of these, such as the original version of Muss I Denn (later recorded by Elvis as Wooden Heart) and Liebestraum No. 3 later recorded by Elvis as Today, Tomorrow And Forever) were provided by academicians, scholars, and collectors from cylinders or 78s known to be the only copies in the world. Once they heard about this WDAM Radio project, they graciously donated dubs for this archive – with the caveat that they would never be duplicated for commercial use and restricted only to musicologists and scholarly purposes. This collection is divided into four parts: (1) All of Elvis Presley’s charted U S singles hits in chronological order – (2) All of Elvis Presley’s charted U S and U K singles, the original versions of these songs by other artists, and hit versions by other artists of songs that Elvis Presley recorded first or had a cover hit – in chronological order, along with relevant parody/answer tunes – (3) Songs parodying, saluting, or just mentioning Elvis Presley – mostly, but not all in chronological order – and (4) X-rated or “adult-themed” songs parodying, saluting, or just mentioning Elvis Presley.