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Wavelength (December 1981)
University of New Orleans ScholarWorks@UNO Wavelength Midlo Center for New Orleans Studies 12-1981 Wavelength (December 1981) Connie Atkinson University of New Orleans Follow this and additional works at: https://scholarworks.uno.edu/wavelength Recommended Citation Wavelength (December 1981) 14 https://scholarworks.uno.edu/wavelength/14 This Book is brought to you for free and open access by the Midlo Center for New Orleans Studies at ScholarWorks@UNO. It has been accepted for inclusion in Wavelength by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. ML I .~jq Lc. Coli. Easy Christmas Shopping Send a year's worth of New Orleans music. to your friends. Send $10 for each subscription to Wavelength, P.O. Box 15667, New Orleans, LA 10115 ·--------------------------------------------------r-----------------------------------------------------· Name ___ Name Address Address City, State, Zip ___ City, State, Zip ---- Gift From Gift From ISSUE NO. 14 • DECEMBER 1981 SONYA JBL "I'm not sure, but I'm almost positive, that all music came from New Orleans. " meets West to bring you the Ernie K-Doe, 1979 East best in high-fideUty reproduction. Features What's Old? What's New ..... 12 Vinyl Junkie . ............... 13 Inflation In Music Business ..... 14 Reggae .............. .. ...... 15 New New Orleans Releases ..... 17 Jed Palmer .................. 2 3 A Night At Jed's ............. 25 Mr. Google Eyes . ............. 26 Toots . ..................... 35 AFO ....................... 37 Wavelength Band Guide . ...... 39 Columns Letters ............. ....... .. 7 Top20 ....................... 9 December ................ ... 11 Books ...................... 47 Rare Record ........... ...... 48 Jazz ....... .... ............. 49 Reviews ..................... 51 Classifieds ................... 61 Last Page ................... 62 Cover illustration by Skip Bolen. Publlsller, Patrick Berry. Editor, Connie Atkinson. -
MEIEA 2010.Indd
Journal of the Music & Entertainment Industry Educators Association Volume 10, Number 1 (2010) Bruce Ronkin, Editor Northeastern University Published with Support from Reviews Monica A. Coates. The Beginner’s Guide to the Gospel Music Indus- try: A Handbook for Aspiring Artists and Industry Executives. Franklin, Tenn.: Paul Marchell Publishing, 2009. www.moni- cacoates.com. As a veteran of the Gospel music industry—including stints at EMI Gospel and Verity, and experience in artist management, publicity, radio promotions, and A&R—Monica Coates is well positioned to enlighten the reader about the workings of the Gospel music industry, as well as comment on the mindset and motivation within the Gospel music genre. Through her explanations and examples, any student of the music industry will recognize that many business practices of the genre are common to other genres. For those who have had little exposure to the Gospel mu- sic industry, Coates supplies insight to its unique aspects such as viewing one’s job more as a calling, or encouraging artists to defi ne not only their sound, but their ministry. Those readers more steeped in the genre will appreciate the real-world examples using contemporary Gospel artists, as well as the application of scripture. Throughout the 216 pages of the book, her tone is inspirational and the content accessible, applicable, and infor- mative. The book is divided into four parts: Part I: The Basics; Part II: For the Aspiring Artist; Part III: For the Aspiring Industry Executive; and Part IV: Changing Times. To begin her book, Coates’ preface succinctly introduces and defi nes key terms and concepts encountered throughout the work. -
Wavelength (November 1984)
University of New Orleans ScholarWorks@UNO Wavelength Midlo Center for New Orleans Studies 11-1984 Wavelength (November 1984) Connie Atkinson University of New Orleans Follow this and additional works at: https://scholarworks.uno.edu/wavelength Recommended Citation Wavelength (November 1984) 49 https://scholarworks.uno.edu/wavelength/49 This Book is brought to you for free and open access by the Midlo Center for New Orleans Studies at ScholarWorks@UNO. It has been accepted for inclusion in Wavelength by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. I I ~N0 . 49 n N<MMBER · 1984 ...) ;.~ ·........ , 'I ~- . '· .... ,, . ----' . ~ ~'.J ··~... ..... 1be First Song • t "•·..· ofRock W, Roll • The Singer .: ~~-4 • The Songwriter The Band ,. · ... r tucp c .once,.ts PROUDLY PR·ESENTS ••••••••• • • • • • • • •• • • • • • • • • • • • • • • ••••••••• • • • • • • • •• • • • • • • • • • • • • • •• • • • • • • • • • • • ••••••••••• • •• • • • • • • • ••• •• • • • • • •• •• • •• • • • •• ••• •• • • •• •••• ••• •• ••••••••••• •••••••••••• • • • •••• • ••••••••••••••• • • • • • ••• • •••••••••••••••• •••••• •••••••• •••••• •• ••••••••••••••• •••••••• •••• .• .••••••••••••••••••:·.···············•·····•••·• ·!'··············:·••• •••••••••••• • • • • • • • ...........• • ••••••••••••• .....•••••••••••••••·.········:· • ·.·········· .....·.·········· ..............••••••••••••••••·.·········· ............ '!.·······•.:..• ... :-=~=···· ····:·:·• • •• • •• • • • •• • • • • • •••••• • • • •• • -
By David Kunian, 2013 All Rights Reserved Table of Contents
Copyright by David Kunian, 2013 All Rights Reserved Table of Contents Chapter INTRODUCTION ....................................................................................... 1 1. JAZZ AND JAZZ IN NEW ORLEANS: A BACKGROUND ................ 3 2. ECONOMICS AND POPULARITY OF MODERN JAZZ IN NEW ORLEANS 8 3. MODERN JAZZ RECORDINGS IN NEW ORLEANS …..................... 22 4. ALL FOR ONE RECORDS AND HAROLD BATTISTE: A CASE STUDY …................................................................................................................. 38 CONCLUSION …........................................................................................ 48 BIBLIOGRAPHY ….................................................................................... 50 i 1 Introduction Modern jazz has always been artistically alive and creative in New Orleans, even if it is not as well known or commercially successful as traditional jazz. Both outsiders coming to New Orleans such as Ornette Coleman and Cannonball Adderley and locally born musicians such as Alvin Battiste, Ellis Marsalis, and James Black have contributed to this music. These musicians have influenced later players like Steve Masakowski, Shannon Powell, and Johnny Vidacovich up to more current musicians like Terence Blanchard, Donald Harrison, and Christian Scott. There are multiple reasons why New Orleans modern jazz has not had a greater profile. Some of these reasons relate to the economic considerations of modern jazz. It is difficult for anyone involved in modern jazz, whether musicians, record -
Session Abstracts (Final)
2010 ARSC Conference [FINAL] A&R: JAZZ Thursday 11:15a-12:30p Session 1 Session Abstracts for Thursday Hidden Gems: Preserving the Benny Carter and Benny Goodman Collections Ed- ward Berger, Vincent Pelote, and Seth Winner, Institute of Jazz Studies, Rutgers University, THE SOUNDS OF NEW ORLEANS Newark, NJ Thursday 8:45a-10:45a Plenary Session In 2009 the Institute of Jazz Studies received a major grant from the Andrew W. Mellon Foundation to digitize two of its most significant bodies of sound recordings: the Benny WELCOME David Seubert, President, ARSC Carter and Benny Goodman Collections. The Carter Collection comprises the multi- The opening session introduces us to the music of New Orleans and the rich history of instrumentalist/arranger/composer’s personal archive and contains many unique perform- recording in the city. ances, interviews, and documentation of events in Carter’s professional life. Many of these tapes and discs were donated by Carter himself, and the remainder by his wife, Hilma, shortly after Carter’s death in 2003. The Goodman Collection consists of reel-to- RECORD MAKERS AND BREAKERS: NEW ORLEANS AND SOUTH LOUISIANA, 1940S- reel tapes compiled by Goodman biographer/discographer D. Russell Connor over four 1960S: RESEARCHING A REGION'S MUSIC John Broven, East Setauket, NY decades and donated by him in 2006. It represents the most complete collection of This presentation will be based on Broven’s three books: Walking to New Orleans: The Goodman recordings anywhere. As friend and confidant to Goodman, Connor had access Story of New Orleans R&B (1974, republished as Rhythm & Blues in New Orleans in to the clarinetist’s personal archive, as well as those of many Goodman researchers and 1978), South to Louisiana: The Music of the Cajun Bayous (1983), and Record Makers collectors worldwide. -
Issue 04 2019
CRACCUM ISSUE 04, 2019 They Are Us 360 International Fair Wednesday 3 April 2019 10am to 2pm OGGB Business School, Level 0 Come along to our 360 International Fair and learn about the overseas opportunities the University has to offer. Learn about: • Semester and year-long exchange Take • Winter and summer schools • Global internship programmes yourself • Partners and providers • Scholarships/funding options global. Michaella, Tainui Semester in the UK auckland.ac.nz/360 [email protected] 04 EDITORIAL 06 NEWS SUMMARY contents 08 NEWS LONGFORM 10 CHRISTCHURCH 16 THINGS DO WHEN FACEBOOK AND INSTAGRAM ARE DOWN 20 ROBINSON 24 REVIEWS 26 SPOTLIGHT 32 LIFESTYLE 32 TINDER HORROR STORIES 34 FOOD REVIEW 36 QUIZ WANT TO CONTRIBUTE? 37 HOROSCOPES Send your ideas to: 38 THE PEOPLE TO BLAME. News [email protected] Features [email protected] Arts [email protected] Community and Lifestyle [email protected] Illustration [email protected] Need feedback on what you’re working on? [email protected] Hot tips on stories [email protected] Your 1 0 0 % s t u d e n t o w n e d u b i q . c o . n z bookstore on campus! 03 editorial. Jokes Aside, Be Kind to One Another BY BAILLEY VERRY Each week Craccum’s esteemed Editor-in-Chief writes their editorial 10 minutes before deadline and this is the product of that. When putting together Craccum, we are one week be- solidarity that the country has already shown is heart- hind the news cycle between the time we go to print and warming. -
Xavier Newswire Volume XCV Published Since 1915 by the Students of Xavier University Issue 21
Xavier University Exhibit All Xavier Student Newspapers Xavier Student Newspapers 2010-02-17 Xavier University Newswire Xavier University (Cincinnati, Ohio) Follow this and additional works at: https://www.exhibit.xavier.edu/student_newspaper Recommended Citation Xavier University (Cincinnati, Ohio), "Xavier University Newswire" (2010). All Xavier Student Newspapers. 585. https://www.exhibit.xavier.edu/student_newspaper/585 This Book is brought to you for free and open access by the Xavier Student Newspapers at Exhibit. It has been accepted for inclusion in All Xavier Student Newspapers by an authorized administrator of Exhibit. For more information, please contact [email protected]. February 17, 2010 XAVIER NEWSWIRE Volume XCV Published since 1915 by the students of Xavier University Issue 21 Spring break flow chart Crawford, Love’s draft stocks Having trouble finalizing your Read NBA Draft expert Joel Steiner’s ALwaYS ONLINE: Spring Break plans? Amy thoughts about Jordan Crawford and Jason Windhorst is here to help. Sort of. Love playing professionally. xavier.edu/ FEATURE, pg 12 SPORTS, pg 9 newswire inside @ Changes coming SGA executive elections to core curriculum Wednesday Feb. 17 - Thursday Feb. 18 BY SARAH WIETEN “It’s not a light-switch, a quick This year, three tickets are vying for Student dential candidate Emily Dougherty, legislative Campus News Editor fix, but it is a way for the academy Government Association executives. All three vice president Abdullah Alkoblan and admin- to contribute,” Heydt said. tickets are from within SGA. istrative vice president Katie Heinert. Future classes at Xavier The change is not retroactive. The elections are held Wednesday, Feb. All the tickets want to get students more University will face a different EPU will continue for current stu- 17 and Thursday, Feb. -
The Golden Age of Rock 'N' Roll
The Golden Age of Rock ’n’ Roll Week 5, March 19, 2018 1956 (part 2): Elvis, Fats, Little Richard Assignment: “The Story of Blue Suede Shoes” http://www.rebeatmag.com/carl-perkins-elvis-blue-suede-shoes-story/ Rolling Stone: “The Rope: The Forgotten History of Segregated Rock & Roll Concerts” http://www.rollingstone.com/music/features/rocks-early-segregated-days-the- forgotten-history-w509481 Little Richard profile with rare photos: http://www.history-of-rock.com/richard.htm Listen to: Church Bells May Ring, The Willows, 1956 (#62 Pop, #12 R&B) https://www.youtube.com/watch?v=tLl1eDAWMeA [optional] Compare: The Diamonds, 1956 (#14 Pop) https://www.youtube.com/watch?v=IdBN-hOmtVE Fever, Little Willie John, 1956 (#1 R&B) https://www.youtube.com/watch?v=i93-hlwULUk [optional] Compare: Peggy Lee, 1956 https://www.youtube.com/watch?v=Kjy2sZ8yBGQ Be-Bop-A-Lula, Gene Vincent, 1956 https://www.youtube.com/watch?v=O4_5593-skQ Page !1 Oh What a Night, The Dells, 1956 https://www.youtube.com/watch?v=Z1ozQT8yQXA I Walk the Line, Johnny Cash, 1956 (#1 Country; #19 Pop) https://www.youtube.com/watch?v=Lq0fUa0vW_E There is a key change between each of the five verses, and Cash hums the new root note before singing each verse. The final verse, a reprise of the first, is sung a full octave lower than the first verse. My Blue Heaven, Fats Domino, 1956 https://www.youtube.com/watch?v=CS75X7perbI Sold over 5 million copies in 1928 as recorded by Gene Austin. Money Honey, Elvis Presley, 1956 https://www.youtube.com/watch?v=R-4KROtI1yM Compare: The Drifters (McPhatter) (1953) https://youtu.be/N8oNHMNCSjQ Roll Over Beethoven, Chuck Berry, 1956 https://www.youtube.com/watch?v=zD80CostTV0 The Magic Touch, The Platters, 1956 https://www.youtube.com/watch?v=iVX6f3OZ35o * * * * Some notes (to be discussed in class): FATS DOMINO -Born in New Orleans. -
JAMES BROWN Tennessee (1928) Or Georgia (1933) ¡©Si
r ; k Jf ||p ji „ > ■ Ip > V - » I ■ JAMES BROWN Tennessee (1928) or Georgia (1933) ¡©Si- James Brown once said of Elvis Presley, “He recorded at Harlem’s Apollo Theater on September taught white America to get down.” Brown himself 24th, 1962, sold a million copies and remained on did Elvis one better in that regard: he encouraged ev the Billboard charts for more than a year, an unprec eryone to do it. Brown, an indefatigable performer edented achievement for a hard-core R&B album. In who still maintains a grading touring schedule for has 1965, with the success of “Papa’s Got a Brand New fine-tuned funk revue, has earned many tides over the Bag” and “I Got You (I Feel Good),” Brown proceed years. ed to break his sound down to a groove as basic and He’s been called “the Hardest-Working Man in bad as you could get. That same year, rock and roll Show Business.” As an impoverished child of the De fans were willingly hoodwinked by the slickly re pression, Brown picked cotton, shined shoes and hearsed drama of Brown’s fainting-and-reviving ritual danced for spare change on the streets. He also during “Please Please Please” in The TAJUJ. Show. served time in a reform atory and tried his hand at He’s been called “Soul Brother Number One” for boxing and baseball. When a leg injury put an end to his willingness to “say it loud, I’m black and I’m his big-league pitching aspirations, Brown turned to proud.” In 1968, when he was addressing black so music. -
Wavelength (December 1984)
University of New Orleans ScholarWorks@UNO Wavelength Midlo Center for New Orleans Studies 12-1984 Wavelength (December 1984) Connie Atkinson University of New Orleans Follow this and additional works at: https://scholarworks.uno.edu/wavelength Recommended Citation Wavelength (December 1984) 50 https://scholarworks.uno.edu/wavelength/50 This Book is brought to you for free and open access by the Midlo Center for New Orleans Studies at ScholarWorks@UNO. It has been accepted for inclusion in Wavelength by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. UNIVERSITY OF NEW ORLEANS EARL K LONG LIBRARY ACQUISITIONS DEPT NEW ORLEANS. LA 70148 1101 S.PETERS PHVSALIA PRODUCTION PRESENTATION NOONE UNOER18 ADMITTED ISSUE NO. 50 e DECEMBER 1984 "''m not sure, but I'm almost she1o's positive, that all music came from New Orleans." -Ernie K-Doe, 1979 D EPARTMENTS LIVE BANDS EVERY December News .... .... .. .. ... 4 Golden Moments . ........... ..... 8 NIGHT OF THE WEEK Flip City . ......... ............. 8 (NO COVER EVER!!!) New Bands ....... ..... .. ... 10 Caribbean . .. .. ........ ... .. .. 12 ENTRANCE ON SOUTH PETERS BETWEEN JULIA & ST. JOSEPH Dinette Set . ......... ............ 14 Rare Record . .. .... .. .. ... ... 16 Reviews . .. ...... ..... ... ... 16 shei Ia's features local, national, Listings . .. ........... .. .. .. 23 and international groups such as ... Last Page . ....................... 30 FEATURES Number 50 . 19 Dear Santa .. .... .. .. .. .. 22 Lady Rae New Orleans 1984 .... .. .. .. ... 25 Neville Brothers The Cold Records .. ........ ... .. ...... 31 One-Stops . .. .. ..... .. .. .. 35 Radia!ors HooDoo Guru's Hanoi Rocks Tim Shaw Cover design by Steve St. Germam. For informa Belfegore Java tion on purchasing cover art, ca/1 504/895-2342. John Fred & The Playboys Mrolberof f Habit JD & The Jammers Force o . -
Specialty Records Early Discography
Specialty Records Early Discography Ben Siegel and Art Rupe started with Premier Records in Los Angeles in late 1943, where Siegel co- authored songs for such rising stars as Nat “King” Cole. The label released three singles during the first half of 1944 and then experienced trouble. In late September, Premier announced that it was becoming Atlas Records, while Siegel and Rupe started up a company together. Juke Box Records was formally a label associated with the United Record Company – no doubt leaving room for expansion. Juke Box released just one single near the end of the year, and that one came out with no fanfare. “Boogie #1” / “When He Comes Home to Me” Sepia Tones Juke Box UR-100 Recorded on August 21, 1944, and released: late 1944 The first pressing sported a white label with red print – a combination that only appeared on this particular single. Before the end of the year, Juke Box had switched to a black label with silver print. As the year’s end, United decided to promote their record nationally. As they did so, they traded the B- side in for a song with “Blues” in the title. “Boogie #1” / “Sophisticated Blues” The Sepia Tones Juke Box UR-100 First Appearance in Trade Magazines: January 13, 1945 The first pressing with the new B-side promoted the artist in large, bold type. Despite lackluster reviews, the single continued to sell. Juke Box billed it as being part of a “Hot Classic Series.” They also added their address to the label. The next pressing reduced the size of the artist name. -
Families, Students Reunite
Free ‘Survivor’ still surviving Thursday By Tim Simpson Read more on 6 September 25, 2008 THE STUDENT VOICE OF THE UNIVERSITY OF SCRANTON University to host priceless Families, students reunite lecture from BY ASHLey teatuM ent “Scranton 101: Everything You Managing Editor Would Like to Know about ‘The Harvard prof Electric City,’” which Adams said Weekend Schedule For the past few years, Family was “the most popular event this Weekend has been a time when year, according to what people by ELIZABETH KotZ families visited their respective have signed up for online.” Pre-registration required events Staff Writer students and attended a few fun Sister Mary Anne Foley, C.N.D., events on campus. will facilitate a student panel on Friday Robert J. Barro, Ph.D., will be However, this year presents the first-years’ summer reading 8 p.m. discussing the topic “Macroeco- a revamped version of Family book, “Coyotes: A Journey across “I Hate Hamlet” by University Players nomic Disasters since 1870” at the Weekend, with 30 percent more Borders with America’s Illegal Im- McDade CLP, Royal Theatre University’s 23rd Annual Henry events than previous years, ac- migrants,” written by Ted Con- George Lecture, 7:30 p.m. Sept. 30 cording to Christopher Adams, over. Saturday in the fourth floor ballroom of the projects coordinator in the presi- “Father Pilarz wanted to make 9 a.m. – 10 a.m. Patrick and Margaret DeNaples dent’s office. it a special priority to foster more Morning Session I: Broadening Horizons, various locations Center. Students and their families interaction between families, fac- Dr.