DOCSLIB.ORG

Smash Hits Volume 39

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

S if iiS \i riiiiiii^ n InTheKi THE SF ORCHE HOT CI DExrs incoloiir SJ^gjggpMSiffljJilfJ!?^ iBiiliiMiiiBiiillMM^^^ lllliiliH 2 SMASH HITS ,^^ May 29-June 11 1980 Vol.2No.1T NO SELF CONTROL Peter Gabriel Fancy watching John Peel eat his 4 dinner? No, come on, we're RESCUE serious — it's our special prize Echo &The Bunnymen ^^or part of it, anyway) for our 4 " competition this issue. If you still WE ARE GLASS don't believe us, turn to page 28 Gary Numan where the grisly details will be 5 revealed. Other notable notables MESSAGES in this issue include your last Orchestral Manoeuvres In The Dark 7 chance to win a mini-TV with the crossword competition, our THE BUCKET OF WATER SONG special T-shirt offer (that's on The Four Bucketeers 8 page 36) and finally a big welcome to Marie Casto, whose RAT RACE illustrations have been appearing The Specials 13 on the past few issues' singles reviews. Mark starts his own JUST CAN'T GIVE YOU UP Editor' comic strip this week and you IwtCranna Mystic Merlin 14 can find him on page 26. That's it for now — see you in two YOU GAVE ME LOVE Features Editor weeks . David Hepworth Crown Heights Affair 14 LET'S GET SERIOUS Design Editor Steve Bush Jermaine Jackson 19 MIDNITE DYNAMOS Editorial Assistants Matchbox BevHillier 24 Linda Duff LET'S GO ROUND AGAIN Average White Band Contributors 25 Robin Katz THIS TOWN AIN'T BIG ENOUGH Red Starr i Sodrks ^1 Fred Dellar w Mike Stand ^ PULLING MUSSELS FROM A SHELL Kelly Pike Squeeze 32 Jill Furmanovsky Mark Casto IN THE KITCHEN AT PARTIES Steve Taylor I Jona Lewie 32 Advertisement Manager I'M ALIVE Rod Sopp Electric Light Orchestra 39 (Tel: 01-439 8801) Assistant ORCHESTRAL MANOEUVRES: Feature.6/7 Adre Harper THE SPECIALS: Feature 12/13 Managing Editoii NEW MUSIK: Colour Centrespread ... 20/21 Nick Logan -x HOT CHOCOLATE: Feature 22/23 Publisher SPARKS: Colour Photos 31 Peter Strong THE HUMAN LEAGUE: Colour Poster 40 NEXT ISSUE Editorial and Advertising address: Smash Hits, Lisa ON SALE BITZ 9/10/11 House, 52-55 Carnaby Street, LETTERS 36/37 London WtV tl*. I PRIZE CROSSWORD 16 GIGZ 38 This magazine is published DISCO 19 by EMAP National Publications COMIC STRIP 26 SMASH HITS SUBSCRIPTIONS Ltd, Peterborough, and is STAR TEASER 28 Home and Overseas (Surface primed by East Midland Litho mail): £10 Printetb. Peterborough. COMPETITION 28 (Airmail rates on application). Copyright exists on all songs REVIEWS 28/29 Europe (airmail): £14.40 appearing in Smash Hits. They INDEPENDENT Write to : Park House, 11 7 Park must not be reproduced LABELS 34/35 Road, Peterborough PE1 2DS. without the consent of the copyright holders. J mONJ COVER PIC: PAUL COX/L SMASH HITS 3 1 Got to get some steep I'm so nervous in the night But I don't know how to stop I don't know how to stop Chorus ('Cos) I don't know how to stop I don't know how to stop If I said I'd lost mv way sympathise? Would you I got to pick up a phone Could you sympathise? I will call any number I'm jumbled up I will talk to anyone I'm losing my touch Maybe I know I've gone too jumbled up far I'm Much too far I've touch gone this time Maybe I'm losing my Don t want to think what I've done have it anyway But you know I didn't Repeat chorus Chorus Won't you come on down to my There are always hidden silences you come on down to my rescue? Won't Waiting behind the chair They come out Things are wrong When the coast is clear Things are going wrong They eat anything that moves you tell that in our song? Can I go shaky at the knees what I want anymore Don't know l-'ghts go out First I want a kiss Stars come down like a swarm of it all bees And then I want No self control chorus Repeat Repeat 10 times Rescue, rescue, rescue You know I hate to hurt you Things are wrong I hate to see your pain Things are going wrong But I don't know how to stop I don't Can you tell that in our song? know how to stop Losing sense of those harder things Street Is this the blues I'm singing? after street Is this the blues I'm singing? Night after night I walk Is this the blues I'm singing? on through the rain I walk Is this the blues I'm singing? on through the rain Repeat chorus and ad lib to fade Repeat chorus to fade Words and music by McCullough/ Sergeant/De Freitas/Pattinson Words and music by Peter Reproduced by permission Reproduced Gabriel by permission ClioLe Ltd Music Ltd. /Hit &\Run Music Zoo Music/Warner Bros. PuhUsltirq 1. SMASH NflS 5 — The Acceptable Face Of Synthesisers Steve 1ayk)r meets Orchestral Manoeuvres In The Dark T'S A Friday night at a typical stupid. So w« formMl tMt sffteMt th* olootrlc piano. think). "After a year of it being college gig somewhara naar rook bM4 mNmI TH* M MNl just the two of us on stage it London's Elephant & Caatla. )teV04 iMol ymitii oluko. lljMwt "ILICTmCITY" attracted the became boring for us so we virtually live." / The customary sweaty room It Ml tllM IMIff Mil ilM WVl iMr9# lorfor roaerd eompanlas' decided to play '^ five of full of studious-looking types tinMo wo poifonwi i ««oro ot Intoroot aa dM tha novel way "Now only songs out downing gassy beer and going KrMS |S fSfllMi UWf MM f#WI thoy parformod, Andy tang and fifteen use tape — things like through the ritual Itnown as dub wMali — aooiNMowaiv atnimmod hit batt, Paul fiddled Mystereality', because none of Waiting For The Band. hat boon fortod to alooo wMi a foMy w*ody-looklng us can play sax, or others where Eventually four rather neat rooowtlvl. koyboord and Winaton tha tape it's too difficult to change the young men take the stage. Two "Roflor and Hto, who ran tti* rooerdor tat at tho back of tha synthesiser settings between station themselves behind club, llkod ut a let, woro ttaga playing guitar, aloetronlc songs. I guess we've been spoilt nifty-looking metal frames which Intorottod In our mutle to whon poreuaalon, OKtra keyboard parts by being able to do most of it support various keyboards and wo ttartod OMO thoy gavo ut our — even a saxophone. (Such a before hand in the past." Habitat-style reading lamps. firttgigthoro." versatile chap.) The third guy stands in the Partly through living on thi Soma of the audience, THE FINAL stimulus to change middle at the front, bass and Wirral, which kopt th* pair however, couldn't take it. came towards the end of last microphone at the ready. The separata from tha mora "We put him clearly on stage in year when OMD were invited to last lad sits down behind a thowblzzy ambltlont of young full view so that no-one thought support Gary Numan (gasp!!) on drumkit which appears to have mutlclant over the water and we were cheating," the band his first British tour: been attacked by thieves on the partly through their musical explain, "But people still felt it "Gary heard our single at way to the gig; hardly any drums tastes, th* original idea of OMD wasn't right, that it should be Beggar's Banquet (the record that is on) left. took shape. live." shop/label Numan and These are Orchestral "I was vary Interested in The emphasis on recording really liked It, came to see us play liked Manoeuvres In The Dark and Kraftwerk and similar German meant that Orchestral at the Nashville and that they proceed to pump out an synthesiser bands like Neu and Manoeuvres were looking for too, so he got his manager to extremely tasty set of songs; so on," Paul says. "Andy and I something rather special from a ring us up and ask us to do the bouncy, danceworthy bass and heard Kraftwerk's 'Autobahn' record company. tour. electronic percussion (hence the and thought it was so exciting — "We've always wanted the "We did really well on that mini-kit) with strong vocal why play rock and roll when money to build our own studio. tour. His fans seemed to take to very easily, which surprised us melodies and a lacing of there's something that different We need to get into a studio to us rf»i,-^v -C economically used synthesisers. and exciting?" work out our ideas properly, but 'cos our music is very different. No guitar, but no doomy Paul had played piano in The Id don't like working in somebody "We travelled in the same Teutonic dirges either. Just in '77 — it was the first proper else's because then you have to coach as him between gigs. He's healthy '80s pop with an instrument he's bought — and he book time and you've got your a very shy person. He thought we enjoyable imput of technology. began experimenting with two days or so to record a single didn't like him for the first week writing actual tunes. and if it's not quite right by the and didn't talk to us. Once he OUR LAST encounter with OMD "W* wanted to make end, that's it!" realised that wasn't true, he was — as they shall be referred to highlights In all these electronic OMITD didn't have to wrangle very friendly.
Recommended publications
  • Download (2399Kb)

    Download (2399Kb)

    A Thesis Submitted for the Degree of PhD at the University of Warwick Permanent WRAP URL: http://wrap.warwick.ac.uk/ 84893 Copyright and reuse: This thesis is made available online and is protected by original copyright. Please scroll down to view the document itself. Please refer to the repository record for this item for information to help you to cite it. Our policy information is available from the repository home page. For more information, please contact the WRAP Team at: [email protected] warwick.ac.uk/lib-publications Culture is a Weapon: Popular Music, Protest and Opposition to Apartheid in Britain David Toulson A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy in History University of Warwick Department of History January 2016 Table of Contents Acknowledgements………………………………………………………………...iv Declaration………………………………………………………………………….v Abstract…………………………………………………………………………….vi Introduction………………………………………………………………………..1 ‘A rock concert with a cause’……………………………………………………….1 Come Together……………………………………………………………………...7 Methodology………………………………………………………………………13 Research Questions and Structure…………………………………………………22 1)“Culture is a weapon that we can use against the apartheid regime”……...25 The Cultural Boycott and the Anti-Apartheid Movement…………………………25 ‘The Times They Are A Changing’………………………………………………..34 ‘Culture is a weapon of struggle’………………………………………………….47 Rock Against Racism……………………………………………………………...54 ‘We need less airy fairy freedom music and more action.’………………………..72 2) ‘The Myth
  • BHLHS Gazette March and April 2014

    BHLHS Gazette March and April 2014

    THE GAZETTE APRIL 2014 CHRIS SUTTON: St. Paul’s Trust, Hertford St, Balsall Heath, B12 8NJ. Tel: 0121 464 1890 Email: [email protected] Web: balsallheathhistory.co.uk & www.digitalbalsallheath.org.uk Facebook: Balsall Heath Local History Society The Balsall Heath Local History Society was founded in 1979 with the aim of promoting interest in our local history. We feel pride in our area and value its strengths – past and present. To meet our aims we work with local schools and community groups organising exhibitions and events. We have also produced several publications. We are a registered charity and rely on grants and donations to achieve our aims. For more information on our work, or to volunteer and help please contact us. MEMORY LANE WAS A RIOT! BEWARE THE IDES OF “A wonderfully MARCH entertaining and enjoyable There was no issue of this newsletter in March due to production” my unexpectedly booking into Solihull and Heartlands hospitals! Thanks to all who sent their best wishes. WEEKEND WARRIORS: Chris,Derek and Raj go on the warpath The Birmingham History Theatre company production “Memory Lane” delighted audiences over three performances in March at St Paul’s Trust. It was inspired by Thankfully normal service is the successful Ladypool Road trail which we put on last year. This was a walking now resumed! The picture is trail along the road stopping for historic interludes showcasing the rich heritage of me as the Inspector of the road through hundreds of years. Val Hart worked on an adaption of that trail Nuisances from the Balsall for the stage with the central framework being herself as a speaker giving a talk on Heath Board of Health, Ladypool Road.
  • Chart Book Template

    Chart Book Template

    Real Chart Page 1 become a problem, since each track can sometimes be released as a separate download. CHART LOG - F However if it is known that a track is being released on 'hard copy' as a AA side, then the tracks will be grouped as one, or as soon as known. Symbol Explanations s j For the above reasons many remixed songs are listed as re-entries, however if the title is Top Ten Hit Number One hit. altered to reflect the remix it will be listed as would a new song by the act. This does not apply ± Indicates that the record probably sold more than 250K. Only used on unsorted charts. to records still in the chart and the sales of the mix would be added to the track in the chart. Unsorted chart hits will have no position, but if they are black in colour than the record made the Real Chart. Green coloured records might not This may push singles back up the chart or keep them around for longer, nevertheless the have made the Real Chart. The same applies to the red coulered hits, these are known to have made the USA charts, so could have been chart is a sales chart and NOT a popularity chart on people’s favourite songs or acts. Due to released in the UK, or imported here. encryption decoding errors some artists/titles may be spelt wrong, I apologise for any inconvenience this may cause. The chart statistics were compiled only from sales of SINGLES each week. Not only that but Date of Entry every single sale no matter where it occurred! Format rules, used by other charts, where unnecessary and therefore ignored, so you will see EP’s that charted and other strange The Charts were produced on a Sunday and the sales were from the previous seven days, with records selling more than other charts.
  • Smash Hits Volume 34

    Smash Hits Volume 34

    \ ^^9^^ 30p FORTNlGHTiy March 20-Aprii 2 1980 Words t0^ TOPr includi Ator-* Hap House €oir Underground to GAR! SKias in coioui GfiRR/£V£f/ mjlt< H/Kim TEEIM THAT TU/W imv UGCfMONSTERS/ J /f yO(/ WOULD LIKE A FREE COLOUR POSTER COPY OF THIS ADVERTISEMENT, FILL IN THE COUPON AND RETURN IT TO: HULK POSTER, PO BOXt, SUDBURY, SUFFOLK C010 6SL. I AGE (PLEASE TICK THE APPROPRIATE SOX) UNDER 13[JI3-f7\JlS AND OVER U OFFER CLOSES ON APRIL 30TH 1980 ALLOW 28 DAYS FOR DELIVERY (swcKCAmisMASi) I I I iNAME ADDRESS.. SHt ' -*^' L.-**^ ¥• Mar 20-April 2 1980 Vol 2 No. 6 ECHO BEACH Martha Muffins 4 First of all, a big hi to all new &The readers of Smash Hits, and ANOTHER NAIL IN MY HEART welcome to the magazine that Squeeze 4 brings your vinyl alive! A warm welcome back too to all our much GOING UNDERGROUND loved regular readers. In addition The Jam 5 to all your usual news, features and chart songwords, we've got ATOMIC some extras for you — your free Blondie 6 record, a mini-P/ as crossword prize — as well as an extra song HELLO I AM YOUR HEART and revamping our Bette Bright 13 reviews/opinion section. We've also got a brand new regular ROSIE feature starting this issue — Joan Armatrading 13 regular coverage of the independent label scene (on page Managing Editor KOOL IN THE KAFTAN Nick Logan 26) plus the results of the Smash B. A. Robertson 16 Hits Readers Poll which are on Editor pages 1 4 and 1 5.
  • Interpretação Em Tempo Real Sobre Material Sonoro Pré-Gravado

    Interpretação Em Tempo Real Sobre Material Sonoro Pré-Gravado

    Interpretação em tempo real sobre material sonoro pré-gravado JOÃO PEDRO MARTINS MEALHA DOS SANTOS Mestrado em Multimédia da Universidade do Porto Dissertação realizada sob a orientação do Professor José Alberto Gomes da Universidade Católica Portuguesa - Escola das Artes Julho de 2014 2 Agradecimentos Em primeiro lugar quero agradecer aos meus pais, por todo o apoio e ajuda desde sempre. Ao orientador José Alberto Gomes, um agradecimento muito especial por toda a paciência e ajuda prestada nesta dissertação. Pelo apoio, incentivo, e ajuda à Sara Esteves, Inês Santos, Manuel Molarinho, Carlos Casaleiro, Luís Salgado e todos os outros amigos que apesar de se encontraram fisicamente ausentes, estão sempre presentes. A todos, muito obrigado! 3 Resumo Esta dissertação tem como foco principal a abordagem à interpretação em tempo real sobre material sonoro pré-gravado, num contexto performativo. Neste caso particular, material sonoro é entendido como música, que consiste numa pulsação regular e definida. O objetivo desta investigação é compreender os diferentes modelos de organização referentes a esse material e, consequentemente, apresentar uma solução em forma de uma aplicação orientada para a performance ao vivo intitulada Reap. Importa referir que o material sonoro utilizado no software aqui apresentado é composto por músicas inteiras, em oposição às pequenas amostras (samples) recorrentes em muitas aplicações já existentes. No desenvolvimento da aplicação foi adotada a análise estatística de descritores aplicada ao material sonoro pré-gravado, de maneira a retirar segmentos que permitem uma nova reorganização da informação sequencial originalmente contida numa música. Através da utilização de controladores de matriz com feedback visual, o arranjo e distribuição destes segmentos são alterados e reorganizados de forma mais simplificada.
  • English Beat: in Concert at the Royal Festival Hall DVD Reviewed on Audiovideorevolution.Com

    English Beat: in Concert at the Royal Festival Hall DVD Reviewed on Audiovideorevolution.Com

    English Beat: In Concert at the Royal Festival Hall DVD Reviewed on AudioVideoRevolution.com title: English Beat: In Concert at the Royal Festival Hall studio: Secret Films MPAA rating: Not Rated starring: English Beat DVD release 2005 year: film rating: Three Stars sound/picture: Three Stars reviewed by: Dan MacIntosh When you break it right down, there’s nothing particularly English about The English Beat. You may recall how the group was once lumped in with the whole ska movement back in the ‘80s, mainly because it was on the 2 Tone Records label, along with The Specials and The Selector. But if you listen closely, you hear very little actual ska (which is not exactly a British export in the first place) in the group’s songs. For instance, the only horn player in this outfit is the ancient Saxa, who would much rather play mellow jazz than skanking beats anyhow. Furthermore, the group’s repertoire contains a bounteous supply of reggae – both fast and slow – as well as other dance grooves. But no matter the style, all of these elements support this act’s punkish political attitude, which is possibly its lone true English attribute. This show, which was filmed at The Royal Festival Hall in London, England, features quite a few of the band’s original members. These players include the two front people, Ranking Roger and Dave Wakeling, as well as Saxa and drummer Everett Morton. And except for Saxa, of course, all of these musicians still look incredibly young. Better yet, they also sound great.
  • Connecticut College Alumni Magazine, Fall 1974 Connecticut College

    Connecticut College Alumni Magazine, Fall 1974 Connecticut College

    Connecticut College Digital Commons @ Connecticut College Linda Lear Center for Special Collections & Alumni News Archives Fall 1974 Connecticut College Alumni Magazine, Fall 1974 Connecticut College Follow this and additional works at: http://digitalcommons.conncoll.edu/alumnews Recommended Citation Connecticut College, "Connecticut College Alumni Magazine, Fall 1974" (1974). Alumni News. Paper 188. http://digitalcommons.conncoll.edu/alumnews/188 This Magazine is brought to you for free and open access by the Linda Lear Center for Special Collections & Archives at Digital Commons @ Connecticut College. It has been accepted for inclusion in Alumni News by an authorized administrator of Digital Commons @ Connecticut College. For more information, please contact [email protected]. The views expressed in this paper are solely those of the author. .. .,..... ... ' ... .,-..... '"' .. .~. ' . ..... .' " ~.. - .,- ~il -,'; .. .- - • , -; " ... Connecticut College Alumni Magazine VOLUME 51, NUMBER 4, FALL 1974 The Ames Way: Introducing Our New President by Allen Carroll '73 2 At Home With Power Helen F. Mulvey 7 Home: Love Is All You Need David Case II History in Your Own Backyard: A Study of Homes Carol Broggini Catlin '60 12 The House You Call Home Sarah W. Wing '53 14 Homes For Sale-Real Estate, Everyone's Career Lotta Hess Ackerman '28 17 Sharing the Experience Katherine Meili Anderton '40 18 ROUND&ABOUT 22 In the Mailbox 25 What Do the Following Occupations Have in Common? 25 Class Notes Marion Vibert Clark '24 28 List of Class Correspondents 44 COVER: Rita Daly M.A. '71 PHOTOGRAPHS AND ILLUSTRATIONS: pp. 1,2 Constance Avery-Clark '75: pp. 3, 4, 5, 6 the Oakes Ames family: pp. [4, 15 Rita Daly '71: p.
  • THE PRESS in CROWN HEIGHTS by Carol B. Conaway

    THE PRESS in CROWN HEIGHTS by Carol B. Conaway

    FRAMING IDENTITY : THE PRESS IN CROWN HEIGHTS by Carol B. Conaway The Joan Shorenstein Center PRESS ■ POLI TICS Research Paper R-16 November 1996 ■ PUBLIC POLICY ■ Harvard University John F. Kennedy School of Government FRAMING IDENTITY: THE PRESS IN CROWN HEIGHTS Prologue 1 On the evening of August 19, 1991, the Grand Bystanders quickly formed a crowd around the Rebbe of the Chabad Lubavitch was returning car with the three Lubavitcher men, and several from his weekly visit to the cemetery. Each among them attempted to pull the car off of the week Rabbi Menachem Schneerson, leader of the Cato children and extricate them. Lifsh tried to worldwide community of Lubavitch Hasidic help, but he was attacked by the crowd, consist- Jews, visited the graves of his wife and his ing predominately of the Caribbean- and Afri- father-in-law, the former Grand Rebbe. The car can-Americans who lived on the street. One of he was in headed for the international headquar- the Mercury’s riders tried to call 911 on a ters of the Lubavitchers on Eastern Parkway in portable phone, but he said that the crowd Crown Heights, a neighborhood in the heart of attacked him before he could complete the call. Brooklyn, New York. As usual, the car carrying He was rescued by an unidentified bystander. the Rebbe was preceded by an unmarked car At 8:22 PM two police officers from the 71st from the 71st Precinct of the New York City Precinct were dispatched to the scene of the Police Department. The third and final car in accident.
  • 100 Years: a Century of Song 1970S

    100 Years: a Century of Song 1970S

    100 Years: A Century of Song 1970s Page 130 | 100 Years: A Century of song 1970 25 Or 6 To 4 Everything Is Beautiful Lady D’Arbanville Chicago Ray Stevens Cat Stevens Abraham, Martin And John Farewell Is A Lonely Sound Leavin’ On A Jet Plane Marvin Gaye Jimmy Ruffin Peter Paul & Mary Ain’t No Mountain Gimme Dat Ding Let It Be High Enough The Pipkins The Beatles Diana Ross Give Me Just A Let’s Work Together All I Have To Do Is Dream Little More Time Canned Heat Bobbie Gentry Chairmen Of The Board Lola & Glen Campbell Goodbye Sam Hello The Kinks All Kinds Of Everything Samantha Love Grows (Where Dana Cliff Richard My Rosemary Grows) All Right Now Groovin’ With Mr Bloe Edison Lighthouse Free Mr Bloe Love Is Life Back Home Honey Come Back Hot Chocolate England World Cup Squad Glen Campbell Love Like A Man Ball Of Confusion House Of The Rising Sun Ten Years After (That’s What The Frijid Pink Love Of The World Is Today) I Don’t Believe In If Anymore Common People The Temptations Roger Whittaker Nicky Thomas Band Of Gold I Hear You Knocking Make It With You Freda Payne Dave Edmunds Bread Big Yellow Taxi I Want You Back Mama Told Me Joni Mitchell The Jackson Five (Not To Come) Black Night Three Dog Night I’ll Say Forever My Love Deep Purple Jimmy Ruffin Me And My Life Bridge Over Troubled Water The Tremeloes In The Summertime Simon & Garfunkel Mungo Jerry Melting Pot Can’t Help Falling In Love Blue Mink Indian Reservation Andy Williams Don Fardon Montego Bay Close To You Bobby Bloom Instant Karma The Carpenters John Lennon & Yoko Ono With My
  • Disco Top 15 Histories

    Disco Top 15 Histories

    10. Billboard’s Disco Top 15, Oct 1974- Jul 1981 Recording, Act, Chart Debut Date Disco Top 15 Chart History Peak R&B, Pop Action Satisfaction, Melody Stewart, 11/15/80 14-14-9-9-9-9-10-10 x, x African Symphony, Van McCoy, 12/14/74 15-15-12-13-14 x, x After Dark, Pattie Brooks, 4/29/78 15-6-4-2-2-1-1-1-1-1-1-2-3-3-5-5-5-10-13 x, x Ai No Corrida, Quincy Jones, 3/14/81 15-9-8-7-7-7-5-3-3-3-3-8-10 10,28 Ain’t No Stoppin’ Us, McFadden & Whitehead, 5/5/79 14-12-11-10-10-10-10 1,13 Ain’t That Enough For You, JDavisMonsterOrch, 9/2/78 13-11-7-5-4-4-7-9-13 x,89 All American Girls, Sister Sledge, 2/21/81 14-9-8-6-6-10-11 3,79 All Night Thing, Invisible Man’s Band, 3/1/80 15-14-13-12-10-10 9,45 Always There, Side Effect, 6/10/76 15-14-12-13 56,x And The Beat Goes On, Whispers, 1/12/80 13-2-2-2-1-1-2-3-3-4-11-15 1,19 And You Call That Love, Vernon Burch, 2/22/75 15-14-13-13-12-8-7-9-12 x,x Another One Bites The Dust, Queen, 8/16/80 6-6-3-3-2-2-2-3-7-12 2,1 Another Star, Stevie Wonder, 10/23/76 13-13-12-6-5-3-2-3-3-3-5-8 18,32 Are You Ready For This, The Brothers, 4/26/75 15-14-13-15 x,x Ask Me, Ecstasy,Passion,Pain, 10/26/74 2-4-2-6-9-8-9-7-9-13post peak 19,52 At Midnight, T-Connection, 1/6/79 10-8-7-3-3-8-6-8-14 32,56 Baby Face, Wing & A Prayer, 11/6/75 13-5-2-2-1-3-2-4-6-9-14 32,14 Back Together Again, R Flack & D Hathaway, 4/12/80 15-11-9-6-6-6-7-8-15 18,56 Bad Girls, Donna Summer, 5/5/79 2-1-1-1-1-1-1-1-2-2-3-10-13 1,1 Bad Luck, H Melvin, 2/15/75 12-4-2-1-1-1-1-1-1-1-1-1-2-2-3-4-5-5-7-10-15 4,15 Bang A Gong, Witch Queen, 3/10/79 12-11-9-8-15
  • Maid of Orleans Hintergründe Von S

    Maid of Orleans Hintergründe Von S

    Maid Of Orleans Hintergründe von S. Radic Maid of Orleans (The Waltz Joan of Arc) ist ein Lied der britischen Synthie-Pop-Band Orchestral Manoeuvres in the Dark (kurz „OMD“) aus dem Jahre 1982. Es war nach Souvenir und Joan of Arc die dritte Single-Auskopplung aus dem Studio-Album Architecture & Morality. Um Verwechselungen mit der Single Joan of Arc zu vermeiden, wählten OMD den Titel Maid of Orleans. Es ist im deutschsprachigen Raum die bis heute erfolgreichste Single der Band. Architecture & Morality ist das dritte Studio- album der britischen Pop-Band Orchestral Manoeuvres in the Dark. Es wurde im und Paul Humphreys eine der besten Elektropop-Bands November 1981 veröf- der 80er Jahre heranreifen würde. 18 Hits später zieht fentlicht. das Duo aus Liverpool Bilanz, und die Songs funkeln wie eh und je: die vornehme "Maid Of Orleans" ebenso wie die stürmischen "Tesla Girls". Am meisten fällt in dieser hochkarätigen Umgebung die letzte Single "Dreaming" ab - doch zum Trost gibt's auf CD vier Hintergrund. Der Text wurde von Andy McCluskey Stücke mehr, darunter "We Love You" und "La Femme geschrieben und handelt von der französischen Accident" im vorzüglichen Maxi-Mix. Nationalheldin Jeanne d’Arc. Ursprünglich wurde das © Stereoplay Lied zum 550. Todestag von Jeanne d’Arc, den 30. Mai 1981, geschrieben. Die Melodie ist ein, im Synthesizer Bei OMD hat sich in den letzten Jahren nicht viel getan. entstandenes, Dudelsack-Stück, welches von einem Auf ihrem "neuen" Album, das die Höhepunkte der walzerähnlichen 6/8-Takt unterlegt ist. Das etwa letzten neun Jahre enthält, verlässt die Gruppe nur einminütige Intro besteht aus elektronischen Klängen, selten seichte Elektronik-Niederungen.
  • Rhythm, Dance, and Resistance in the New Orleans Second Line

    Rhythm, Dance, and Resistance in the New Orleans Second Line

    UNIVERSITY OF CALIFORNIA Los Angeles “We Made It Through That Water”: Rhythm, Dance, and Resistance in the New Orleans Second Line A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Ethnomusicology by Benjamin Grant Doleac 2018 © Copyright by Benjamin Grant Doleac 2018 ABSTRACT OF THE DISSERTATION “We Made It Through That Water”: Rhythm, Dance, and Resistance in the New Orleans Second Line by Benjamin Grant Doleac Doctor of Philosophy in Ethnomusicology University of California, Los Angeles, 2018 Professor Cheryl L. Keyes, Chair The black brass band parade known as the second line has been a staple of New Orleans culture for nearly 150 years. Through more than a century of social, political and demographic upheaval, the second line has persisted as an institution in the city’s black community, with its swinging march beats and emphasis on collective improvisation eventually giving rise to jazz, funk, and a multitude of other popular genres both locally and around the world. More than any other local custom, the second line served as a crucible in which the participatory, syncretic character of black music in New Orleans took shape. While the beat of the second line reverberates far beyond the city limits today, the neighborhoods that provide the parade’s sustenance face grave challenges to their existence. Ten years after Hurricane Katrina tore up the economic and cultural fabric of New Orleans, these largely poor communities are plagued on one side by underfunded schools and internecine violence, and on the other by the rising tide of post-disaster gentrification and the redlining-in- disguise of neoliberal urban policy.