DOCSLIB.ORG

2021 Summer Concert Series Thursday Evenings @ 7Pm-8:15Pm

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
2021 Summer Concert Series Thursday Evenings @ 7Pm-8:15Pm Montgomery Township Community & Recreation Center 1030 Horsham Road (267)-649-7200 montcrc.com The Neighborhood Place for Fitness, Friendship, and FUN 2021 Summer Concert Series Thursday Evenings @ 7pm-8:15pm June 24 Rave On! July 1 Mike Greer & Co. July 8 Beg, Borrow, & Steel July 15 Simple Gifts 2019 July 22 High Noon July 29 The Beat Tells August 5 Chico’s Vibe August 12 Zydeco-A-Go-Go August 19 Abe Ovadia Jazz 2018 August 26 By Any Means June 24: Rave On! RAVE ON! is a band that features the music of Buddy Holly and Roy Orbison, playing hits like “That’ll Be The Day,”, “Not Fade Away,” “Peggy Sue,” “Pretty Woman,” “Crying,” and “Only The Lonely,” along with other classic, early rock-n-roll songs. July 1: Mike Greer & Co. This talented band performs a variety of Classic Rock and Modern Rock hits with an acoustic core – they play the songs you love to sing to. Known for their beautiful, soulful vocals, their expert musicianship and vibrant energy will make you want to sing along and get up and dance. July 8: Beg, Borrow, & Steel Get ready for a fun evening of classic rock, reggae and a little bit of country, all mixed together with a cool island vibe! Beg, Borrow & Steel will transport you to your favorite sandy beach and get you moving to some Bob Marley, Jimmy Buffett, Zac Brown and The Allman Brothers, just to name a few. So kick back, settle in and we will see you “down island”. July 15: Simple Gifts Two women plus ten instruments equals one good time when Simple Gifts takes the stage. Drawing on an impressive vari- ety of ethnic folk styles, this award-winning duo plays everything from lively Irish jigs and down-home American reels to hard-driving Klezmer freilachs and haunting Gypsy melodies, spicing the mix with the distinctive rhythms of Balkan dance music, the lush sounds of Scandinavian twin fiddling, and original compositions written in a traditional style. July 22: High Noon HIGH NOON is the East Coast’s premier tribute to Lynyrd Skynyrd & Southern Rock, performing exclusively the 70’s clas- sic hits of Lynyrd Skynyrd, The Allman Brothers Band, Molly Hatchet, The Outlaws, 38 Special and The Marshall Tucker Band. With a deep dedication to the legacy of this timeless music, HIGH NOON brings an authenticity like no other. Join us on a journey back to a golden age of live music, and experience once again the raw power of all of your favorite anthems from the founding fathers of Southern rock. July 29: The Beat Tells The Beat Tells feature the History of Beatlemania. The Beat Tells offer a first- class performance of Beatles music with all of the bells and whistles – all the songs you loved, played the way they were played in original costumes using original gear with Liverpudlian glee. Now you can re-live the wonder, excitement and great fun of one of the most iconic bands in Rock and Roll history. August 5: Chico’s Vibe “Chico’s Vibe, voted “Best Live Band” is the premiere nine-piece party band in the Philadelphia area. Chico’s Vibe musical stylings span all decades, genres and guarantees to fill any dance floor with people of all ages. Come out and “Feel the Vibe” as you dance the night away with your favorite band.” August 12: Zydeco-A-Go-Go Rock and boogie to the swinging bayou rhythms of Zydeco-a-Go-Go, a popular band based in the Philadelphia area that specializes in Zydeco, Cajun, classic New Orleans Rhythm & Blues and vintage Louisiana Rock & Roll. Guaranteed to be a wild and swingin’ bayou boogaloo Zydeco dance party! August 19: Abe Ovadia Jazz As Musicvox Guitars describes, Abe Ovadia is a “jazz virtuoso, one of the most innovative guitarists of our time.” Having emerged as one of the preeminent guitarists on the New York City jazz scene, Times Square New York City says, “You can always count on him to happily claim the responsibility of playing some world-class jazz.” He holds a bachelor’s degree from Berklee College of Music, and a master’s from New York University’s highly acclaimed jazz performance program. He is also a recipient of the Best Guitarist of 2016 Award from Hot House Jazz Magazine. August 26: By Any Means Prepare to dance the night away as By Any Means plays everything from classic rock to country to Motown to modern pop!.
Load more

Recommended publications
  • Bethany Beach 2018 Summer Schedule
    Bethany Beach 2018 Summer Schedule Bandstand Beach Events Bandstand shows begin at 7:30 pm unless otherwise noted. What’s on your Bethany Bucket List? Federal Street Sat, June 16 Band Guys in The NY Daily News recently named Fri, June 8 Thin Bethany Beach the prettiest town in Federal Street is new Ties Delaware. Whether you come to take to the bandstand but plays a great assortment of your favorite in a sunrise by the ocean or sunset by not to the area. They hard driving ’80s tunes. the bay, or even to admire the landscaping, we’re more than just a are Southern Delaware's up and coming www.guysinthinties.com country rock band playing a variety of pretty face. Dig deeper and you’ll find old, new, and current music sure to the ocean and so much more…even please all music lovers. The Natty after the summer ends. Beaux Sun, June 17 Poseidon Festival Chris Sacks Memorial Day Weekend Get ready for Band Sat, June 9 some finger- Seaside Craft Show This band fuses snappin’, good-time music performed by First Saturday in June Tropical Rock the Natty Beaux. This group unites with Americana WAMMIE award winning musicians Summer Concert Series Weekends June to Labor Day Rock to create a sound that is uniquely from top Mid-Atlantic regional bands to theirs. Captain Quint fans will know offer a diverse mix in the Jump-Blues, Chris as a former member. He has since Movies on the Beach swing, and rockabilly style. opened for national acts such as Michael Mondays, June – August Ray, Joe Diffie, Lorrie Morgan, Pam Tillis www.nattybeaux.com Movies on the Bandstand and Mo Pitney.
    [Show full text]
  • Rejuvenating Blues Roots: Hard and Southern Rock MUSC-21600: the Art of Rock Music Prof
    Rejuvenating Blues Roots: Hard and Southern Rock MUSC-21600: The Art of Rock Music Prof. Freeze 28 October 2016 Hard Rock • British blues-based rock in the 1970s • Rolling Stones, Eric Clapton, Deep Purple, Black Sabbath • Hard Rock = blues-based + psychedelic styles • Simplified musical gestures and limited textural clutter • Primacy of riffs, especially guitar, especially distorted, especially loud • Loud, rock-steady drum grooves • Fat, menacing bass • High-pitched, gritty vocals • Heavy amplification • Initially synonymous with “heavy metal”. Later, • Hard rock = stronger ties to the blues • Heavy metal = stronger affiliation with acid rock, dark imagery Led Zeppelin • Deeply devoted to AOR format, their own artistic vision • Pave way to stadium rock • Make tours primary revenue stream • Set expectation for concert length • “Whole Lotta Love” (Led Zeppelin, 1969) • See listening guide • “Stairway to Heaven” (Led Zeppelin, 1972) • Enormous popularity • Complex overall form • Three sections defined by instrumentation, texture • Strophic within sections • Acoustic folk sensibility combined with hard rock • Gradual intensification, end-weighted • Helped free rock songs from radio’s 3-minute frame Southern Rock • Diverse styles, all indebted to blues traditions • Often 2 or 3 lead guitars; long improvisations; lyrics focusing on outlaw images • The Allman Brothers Band • Capricorn Recording Studios (Macon, GA) • “Statesboro Blues” (The Allman Brothers Band, 1971) • Blues musical (12-bar) and lyrical (aab) structure • Bottleneck guitar,
    [Show full text]
  • SOUTH SEATTLE COMMUNITY COLLEGE Academic Programs
    1 ______SOUTH SEATTLE COMMUNITY COLLEGE Academic Programs COURSE OUTLINE Revision: Diane Schmidt, April 2008 DEPARTMENT: Academic Programs CURRICULUM: Visual, Literary, and Performing Arts, Individuals & Societies, Integrated Studies COURSE TITLE: Rock Music II COURSE NUMBER: MUSC 117Z TYPE OF COURSE: Academic Transfer Special Requirement Met: Integrated Studies AREA(S) OF KNOWLEDGE: Music, Art & Drama and US Cultures COURSE LENGTH: 1 quarter CREDIT HOURS: 5 LECTURE HOURS: 55 LAB HOURS: 0 CLASS SIZE: 35 PREREQUISITES: None COURSE DESCRIPTION: Examines rock music as a musical, social, cultural, economic, and political force in the United States. Emphasizes the later decades of rock music development. No prerequisite. Fulfills the Integrated Studies requirement. 2 MUSC 117 Rock Music - II April 2008 STUDENT LEARNING OUTCOMES ADDRESSED: 1. Communications - To promote learning and clear communications with others, the student is expected to read all assigned work carefully and in its entirety. Fully understanding this material will allow the student to participate thoughtfully in group discussions as well as to write insightful papers and exams. Feedback from other students and the instructor will permit the student to assess and improve his reading and writing skills. Improving ones listening skills is another critical learning outcome emphasized in this music course. To this end, we will consider what to listen for in a piece of music by identifying important musical elements and practicing focused listening. 2. Human Relations - With the many group discussions and other interactions among students or between the student and instructor in this course, there will be many opportunities to be attentive to and respectful of a diversity of cultural influences and values.
    [Show full text]
  • Rock Music Is a Genre of Popular Music That Entered the Mainstream in the 1950S
    Rock music is a genre of popular music that entered the mainstream in the 1950s. It has its roots in 1940s and 1950s rock and roll, rhythm and blues, country music and also drew on folk music, jazz and classical music. The sound of rock often revolves around the electric guitar, a back beat laid down by a rhythm section of electric bass guitar, drums, and keyboard instruments such as Hammond organ, piano, or, since the 1970s, synthesizers. Along with the guitar or keyboards, saxophone and blues-style harmonica are sometimes used as soloing instruments. In its "purest form", it "has three chords, a strong, insistent back beat, and a catchy melody."[1] In the late 1960s and early 1970s, rock music developed different subgenres. When it was blended with folk music it created folk rock, with blues to create blues-rock and with jazz, to create jazz-rock fusion. In the 1970s, rock incorporated influences from soul, funk, and Latin music. Also in the 1970s, rock developed a number of subgenres, such as soft rock, glam rock, heavy metal, hard rock, progressive rock, and punk rock. Rock subgenres that emerged in the 1980s included new wave, hardcore punk and alternative rock. In the 1990s, rock subgenres included grunge, Britpop, indie rock, and nu metal. A group of musicians specializing in rock music is called a rock band or rock group. Many rock groups consist of an electric guitarist, lead singer, bass guitarist, and a drummer, forming a quartet. Some groups omit one or more of these roles or utilize a lead singer who plays an instrument while singing, sometimes forming a trio or duo; others include additional musicians such as one or two rhythm guitarists or a keyboardist.
    [Show full text]
  • Rock Music's Crusade of Authenticity
    ROCK MUSIC’S CRUSADE OF AUTHENTICITY by DANIEL BROMFIELD A THESIS Presented to the Department of Journalism and the Robert D. Clark Honors College in partial fulfillment of the requirements for the degree of Bachelor of Arts June 2016 An Abstract of the Thesis of Daniel Bromfield for the degree of Bachelor of Arts in the School of Journalism and Communications to be taken June 2016 Title: Rock Music's Crusade Of Authenticity Prof. Thomas Wheeler This thesis attempts to define rock music's standards of authenticity and explore their origins. Included are comparison of rock's standards of authenticity to those of other genres and an exploration of how authenticity has been perceived throughout the history of rock music. This study argues that rock's standards of authenticity are unusual among pop music genres in that they entail artists both writing their own songs and playing their own instruments. This is in contrast to genres like hip hop, contemporary pop, and R&B, which have their own quite different standards of authenticity. Quotes from rock fans, critics, and musicians are used to provide insight into rock's standards of authenticity and how they developed over time. ii Acknowledgements I would like to first and foremost thank my father for introducing me to music. If not for his decision to turn me on to the Beatles one sunny day in June 2006, I would surely be pursuing a far more boring career – and thesis topic. And I would like to thank my mother for giving me a great life and being endlessly supportive.
    [Show full text]
  • Marshall Tucker Band Set to Perform at the 2017 Dutchess County Fair
    MEDIA RELATIONS DEPARTMENT PO BOX 389 RHINEBECK, NY 12572 PHONE: (845) 876-4000 FAX: (845) 876-4003 Contact: Vicki Imperati at (845) 876-4000 x223 or [email protected] FOR IMMEDIATE RELEASE Marshall Tucker Band Set to Perform at the 2017 Dutchess County Fair July 12th, 2017 Rhinebeck, NY – In the early fall of 1973, The Marshall Tucker Band was still a young and hungry group out to prove themselves every time they hit the stage. “We were a bunch of young guys who didn’t know any boundaries,” says founding member and longtime lead singer Doug Gray. As it turned out, the collective talents of The Marshall Tucker Band took them very far indeed. Today, the band records on its own RAMBLIN’ RECORDS Label (distributed by Sony/RED) and continues to release new and previously unreleased material. Still led today by founding member and lead singer Doug Gray, they represent a time and place in music that will never be duplicated. Gray is quick to credit the band's current dynamic members with carrying on the timeless essence of The Marshall Tucker Band sound. Current members include the highly respected drummer B.B. Borden, a former member of both Mother's Finest and The Outlaws, multi instrumentalist Marcus Henderson of Macon, Georgia, plays flute, saxophone and keyboards in addition to lead and background vocals, Pat Elwood on bass guitar, and Rick Willis on lead guitar and vocals, both of Spartanburg SC, are disciples of the MEDIA RELATIONS DEPARTMENT PO BOX 389 RHINEBECK, NY 12572 PHONE: (845) 876-4000 FAX: (845) 876-4003 Caldwell Brothers.
    [Show full text]
  • Everett Rock Band/Musician List "T" Last Update: 6/28/2020
    Everett Rock Band/Musician List "T" Last Update: 6/28/2020 "T" List for Bands/Musicians Genre* From & Genre 311 R Los Angeles, CA Rock 322 J Seattle Jazz 322 J Seattle Jazz 10 Cent Monkey Pk R Clinton Punk / Rock / Alternative 10 Killing Hands E P R Bellingham's Electro / Pop / Rock 12 Gauge Pump H Everett Hip Hop 12 Stones R Al Mandeville, LA Rock / Alternative 12th Fret Band CR Snohomish Classic Rock 13 MAG M R Spokane Metal / Hard Rock 13 Scars R Pk Tacoma Rock / Punk 13th & Nowhere R Everett Rock 2 Big 2 Spank CR Carnation Classic Rock / Rock / Rockabilly 2 Guys And A Broad B R C Everett Blues / Rock / Country 2 Libras E R Seattle Electronic Rock 20 Riverside H J Fk Everett Jazz / Hip Hop / Funk 20 Sting Band F Bellingham's Folk / Bluegrass / Roots Music 20/20 A Cappella Ac Ellensburg A Cappella 206 A$$A$$IN H Rp Seattle Hip Hop / Rap 20sicem H Seattle Hip Hop 21 Guns: Seattle's Tribute to Green Day Al R Seattle Alternative Rock 2112 (Rush Tribute) Pr CR R Lakewood Progressive / Classic Rock / Rock 21feet R Seattle Rock 21st & Broadway R Pk Sk Ra Everett/Seattle Rock / Punk / Ska / Reggae 22 Kings Am F R San Diego, CA Americana / Folk-Rock 24 Madison Fk B RB Local Rock, Funk, Blues, Motown, Jazz, Soul, RnB, Folk 25th & State R Everett Rock 29A R Seattle Rock 2KLIX Hc South Seattle Hardcore 3 Doors Down R Escatawpa, Mississippi Rock 3 INCH MAX Al R Pk Seattle's Alternative / Rock / Punk 3 Miles High R P CR Everett Rock / Pop / Classic Rock 3 Play Ricochet BG B C J Seattle bluegrass, ragtime, old-time, blues, country, jazz 3 PM TRIO
    [Show full text]
  • Whiskey Soaked and Hell Bound. Lynyrd Skynyrd and Southern Culture
    WHISKEY SOAKED AND HELL BOUND: LYNYRD SKYNYRD AND SOUTHERN CULTURE CECIL K. HUTSON lowa State University (Resumen) Aunque el grupo sureño Lynyrd Skynyrd alcanzó audiencia nacional por su especial modo de hacer rock del sur, en toda su carrera se aprecia una fuerte defensa de los valores tradionales de la cultura sureña. La bandera confederada en todas sus portadas, el orgullo regional, el agrarianismo rural, y la apología al macho sureño, todo ello proyectado en violencia y provocación, convirtieron al grupo en paradigma del conservadurismo del Viejo Sur. Unlike other hard rock groups, the legendary Southern rock and roll band, Lynyrd Skynyrd, did not emerge from the urban ghettos of such cities as London or New York, instead it came out of the rural South. This "rough and tough and plenty mean" Southern band utilized regional cultural traits to become one of the best hard rock bands that the South ever produced. In 1974 Melody Maker, a major rock and roll trades magazine, claimed that Lynyrd Skynyrd's "brand" of Southern rock music had swept across the Southern states. Band members and Southemers, Ronnie Van Zant, Alien Collins, Gary Rossington, Billy Powell, León Wilkeson, Artimus Pyle and Steve Gaines understood the mind-set of the young rural Southemers who listened to their music; thus they were able to speak for a generation of young Southern men. Lynyrd Skynyrd merits study as a major element of Southern popular culture because it had a significant influence on rock 'n' roll. In fact, the band has been labeled as "one of the most
    [Show full text]
  • Music 262: Rock Music, History and Social Analysis, 70S Hard Rock
    Music 262: Rock Music, History and Social Analysis, 70s Hard Rock [Music Playing on Piano] [Brian Ward]: Okay so coming out of the rhythm and blues and blues bands that came out of Britain, we have this kind of mainstream of rock n’ roll that happens in the 1970s. The label is a very loose label. It’s called hard rock nowadays. There are really two branches of hard rock. We still have the British hard rock coming out that’s based on these blues bands. We also have the American hard rock that takes on this southern rock sort of aesthetic. During the 70s rock continues to go in this mainstream direction and it’s mainly blues based. One of the first of these bands that we can really call hard rock was the band called Cream. They come from Britain. They are a power trio. We have Eric Clapton, Ginger Baker, and Jack Bruce. These guys kind of continue in the tradition of The Yardbirds. What they do is they have these epic solos on the guitar, very improvisational music. But along with that they have these more riff based songs and a heavier sound. Those along with Led Zeppelin and you can kind of say they started the whole heavy metal movement, but very early on. So the heavy metal aspects of these bands are these heavy guitar riffs and a lot of blues jamming going on. Clapton kind of broke the band up and he started a super group called Blind Faith. In Blind Faith we have a guy named Steve Winwood.
    [Show full text]
  • The Southern Rock Music Revival: Identity Work and Rebel Masculinity Jason Todd Eastman
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2007 The Southern Rock Music Revival: Identity Work and Rebel Masculinity Jason Todd Eastman Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF SOCIAL SCIENCES THE SOUTHERN ROCK MUSIC REVIVAL: IDENTITY WORK AND REBEL MASCULINITY By JASON EASTMAN A Dissertation submitted to the Department of Sociology in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Summer Semester, 2007 The members of the Committee approve the Dissertation of Jason Eastman defended on June 13th, 2007. Douglas Schrock Professor Directing Dissertation Andrew Opel Outside Committee Member Patricia Yancey Martin Committee Member Irene Padavic Committee Member Approved: Patricia Yancey Martin, Chair, Sociology David Rasmussen, Dean, College of Social Sciences The Office of Graduate Studies has verified and approved the above named committee members. ii TABLE OF CONTENTS LIST OF FIGURES ............................................................................................................ v LIST OF TABLES............................................................................................................. vi ABSTRACT...................................................................................................................... vii INTRODUCTION .............................................................................................................
    [Show full text]
  • Oh Give Me a Home Where the Buffalo Roam NEWS
    January 2020 F R I E F N D . S O O F M. IM C H A E . L B B U F . F A L O ISSUE #77 Oh Give Me a Home Where the Buffalo Roam NEWS KUDZOO Magazine’s latest issue features our interview with the voice of RARE EARTH , Peter Rivera! Look for an all new edition spotlighting the relaunch of CAPRICORN RECORDS , coming February! www.kudzoomag.com December has seen Buffalo touring in support of his latest book, The Road Goes On Forever: 50 Years of All - man Brothers Band Music (Mercer University Press). He had a blast signing books with fellow author ( and for - mer Allman Brothers road manager ) Willie Perkins at the grand reopening of Capricorn Records in Macon, GA Dec. 2-3; Buff returned to Zebulon , Georgia the next weekend for a signing and acoustic concert and reading at Concord Event Center , and was honored to be a guest author at the annual Mercer University Press Author’s Michael Buffalo with Robin Duner-Fenter, son of Capricorn Luncheon December 13-14 in Atlanta! On Saturday, De - co-founder, Frank Fenter, at the relaunch of cember 21, Buffalo attended his final book event of the year, Capricorn Studios in Macon. signing at The Book Shelf in Tryon, NC . He will give a HOME TOWN book reading, discussion, signing, and Q&A with very special guest Paul T. Riddle (founding member of Marshall Tucker band and frequent drummer with the Allman Brother s) at Hub City Book Shop in Spartan - burgf at 6 PM.
    [Show full text]
  • The Hegemonic Masculinity of the Southern Rock Music Revival
    JCE41210.1177/0891241611426430Ea 426430stmanJournal of Contemporary Ethnography © The Author(s) 2012 Reprints and permission: sagepub.com/journalsPermissions.nav Journal of Contemporary Ethnography 41(2) 189 –219 Rebel Manhood: © The Author(s) 2012 Reprints and permission: The Hegemonic sagepub.com/journalsPermissions.nav DOI: 10.1177/0891241611426430 Masculinity of the http://jce.sagepub.com Southern Rock Music Revival Jason T. Eastman1 Abstract Southern men occupy a contradictory place in U.S. culture as the rest of the country stereotypes them as backwards and deviant, yet simultaneously cel- ebrates Southern males as quintessential exemplars of American manhood. I explore this contradiction using interviews with musicians, participant observation of concerts, and an ethnographic content analysis of contempo- rary Southern rock lyrics and websites. I find marginalized men embrace a Southern rebel identity to meet hegemonic masculine ideals shared across social classes and geographic regions. Rebels reject the middle class roles and cultural capital most men use to signify their manhood by accruing au- thority and resources through education, career, and family. Instead, southern rebels empower the masculine self by protesting authority figures, dominat- ing women and signifying their independence by drinking, using drugs, and brawling. While rebels define their selves in contrast to middle-class mor- als and practices, dismissing them as deviant and backward overlooks how rebels use the symbolic resources they have at their disposal to meet the hegemonic masculine ideals celebrated throughout the country. Keywords masculinity, class, inequality, gender, Symbolic Interaction 1Coastal Carolina University, Conway, SC, USA Corresponding Author: Jason T. Eastman, Department of Psychology & Sociology, Coastal Carolina University, P.O.
    [Show full text]