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Joe Louis Walker
Issue #218 LIVING BLUES #218 • APRIL 2012 Vol. 43, #2 ® © JOE LOUIS WA JOE LOUIS L KER - LEE GATES - KER - LEE GATES WALKER K IRK F L ETCHER - R LEE GATES OSCOE C HENIER - PAU KIRK L RISHE FLETCHER LL - 2012 B L UES FESTIVA ROSCOE L GUIDE CHENIER $6.95 US $6.95 CAN www.livingblues.com 2012 Festival Guide Inside! Joseph A. Rosen Rhythm andBluesCruise,Rhythm October 2007. onthe Legendary Joe LouisWalker In 1985, after a decade of playing and singing nothing but gospel music with a quartet called the Spiritual Corinthians, 35-year-old Joe Louis Walker decided to get back to the blues. The San Francisco–born singer-guitarist had begun playing blues when he was 14, at first with a band of relatives and then with blues-singing pimp Fillmore Slim before becoming a fixture at the Matrix, the city’s preeminent rock club during the psychedelic Summer of Love, backing such visiting artists as Earl Hooker and Magic Sam. Michael Bloomfield became a close friend and mentor. The two musicians lived together for a period, and the famous guitarist even produced a Walker demo for Buddah Records, though nothing came of it. Then, in 1975, Walker walked away from the blues completely in order to escape the fast life and the drugs and alcohol associated with it that he saw negatively affecting Bloomfield and other musician friends. Walker knew nothing about the blues business when he started doing blues gigs again around the Bay Area with a band he’d put together, as a member of Oakland blues singer-guitarist Haskell “Cool Papa” Sadler’s band, and (for a tour of Europe) with the ad hoc Mississippi Delta Blues Band. -
ARSC Journal
A Discography of the Choral Symphony by J. F. Weber In previous issues of this Journal (XV:2-3; XVI:l-2), an effort was made to compile parts of a composer discography in depth rather than breadth. This one started in a similar vein with the realization that SO CDs of the Beethoven Ninth Symphony had been released (the total is now over 701). This should have been no surprise, for writers have stated that the playing time of the CD was designed to accommodate this work. After eighteen months' effort, a reasonably complete discography of the work has emerged. The wonder is that it took so long to collect a body of information (especially the full names of the vocalists) that had already been published in various places at various times. The Japanese discographers had made a good start, and some of their data would have been difficult to find otherwise, but quite a few corrections and additions have been made and some recording dates have been obtained that seem to have remained 1.Dlpublished so far. The first point to notice is that six versions of the Ninth didn't appear on the expected single CD. Bl:lhm (118) and Solti (96) exceeded the 75 minutes generally assumed (until recently) to be the maximum CD playing time, but Walter (37), Kegel (126), Mehta (127), and Thomas (130) were not so burdened and have been reissued on single CDs since the first CD release. On the other hand, the rather short Leibowitz (76), Toscanini (11), and Busch (25) versions have recently been issued with fillers. -
Tenor Saxophone Mouthpiece When
MAY 2014 U.K. £3.50 DOWNBEAT.COM MAY 2014 VOLUME 81 / NUMBER 5 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Associate Editor Davis Inman Contributing Editors Ed Enright Kathleen Costanza Art Director LoriAnne Nelson Contributing Designer Ara Tirado Bookkeeper Margaret Stevens Circulation Manager Sue Mahal Circulation Assistant Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] Advertising Sales Associate Pete Fenech 630-941-2030 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, John McDonough Atlanta: Jon Ross; Austin: Kevin Whitehead; Boston: Fred Bouchard, Frank- John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D. Jackson, Jimmy Katz, Jim Macnie, Ken Micallef, Dan Ouellette, Ted Panken, Richard Seidel, Tom Staudter, -
MUST BE MY DAY Barn 12 Aisles (NEW JERSEY ELIGIBLE) 648 A-D BAY FILLY Foaled April 14, 2018 Tattoo No
Consigned by Spring Haven Farm, Agent, Utica, Ohio Raised at Hickory Lane Horse Farm, Findlay, Ohio MUST BE MY DAY Barn 12 Aisles (NEW JERSEY ELIGIBLE) 648 A-D BAY FILLY Foaled April 14, 2018 Tattoo No. 7S071 Muscles Yankee 3,1:52.2 Muscle Hill 3,1:50.1 --------------------- Yankee Blondie 3, 1:59.4f Trixton 3,1:50.3 -------------------------- Garland Lobell 3,1:55.3 Emilie Cas El 3,1:57.1f ----------------- Amour Angus 3,2:03.1f MUST BE MY DAY Super Bowl 3,1:56.2 American Winner 3,1:52.3 ------------ B J's Pleasure 3,1:59.4f Emotional Rescue 3,1:58f ------------- Jazz Cosmos 3,1:55 Touch Of Jazz 3,2:02.4h -------------- Corliss 2:05.1h 1st Dam EMOTIONAL RESCUE 2,1:59.1f; 3,1:58f; BT1:56.3 ($439,202) by American Winner. 6 wins at 2 and 3. At 2, winner The Standardbred S., leg Pennsylvania Sires S. at Pocono, The Meadows; second in elim. and Final Breeders Crown at Woodbine, elim. and Final Merrie Annabelle T., leg Pennsylvania Sires S. at The Meadows; third in Bluegrass S. At 3, winner Arden Downs S.; second in Buckette; third in leg Pennsylvania Sires S. at Pocono. From 10 previous foals, dam of 7 winners, 5 in 2:00, including: SOME GIRLS (M) 2,1:57; 3,1:56.4; BT1:55.2s ($433,320) (Conway Hall). 16 wins at 2 and 3. At 2, winner leg New York Sire S. at Buffalo, Saratoga, Tioga, Yonkers (2), Final New York Sire S. -
BT These Hopeful Machines Mp3, Flac, Wma
BT These Hopeful Machines mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Electronic Album: These Hopeful Machines Country: Japan Released: 2010 Style: Trance, Breaks, Progressive Trance, Ambient, Progressive House, Electro, Downtempo MP3 version RAR size: 1137 mb FLAC version RAR size: 1487 mb WMA version RAR size: 1576 mb Rating: 4.6 Votes: 682 Other Formats: DMF VOC VQF WAV ADX MP2 RA Tracklist Hide Credits Suddenly 1-1 Arranged By, Synthesizer [Analog & Modular], Bass – BTDrums [Live] – Kevin 8:05 Sawka*Vocals – BT, Christian BurnsWritten-By – Christian Burns The Emergency Arranged By [Vocals And String Arrangements] – BTBacking Vocals [Background 1-2 Vocals] – Christian BurnsProducer [Additional] – Andrew BayerProgrammed By 10:53 [Additional] – Andrew Bayer, Øistein J. Eide aka Boom Jinx*Written-By – Andrew Bayer, Christian Burns Every Other Way Backing Vocals [Background Vocals] – BT, Christian BurnsDrums [Live] – 1-3 11:06 Brain*Guitar [Classical], Bass, Strumstick, Programmed By, Arranged By – BTWritten-By, Lead Vocals – Jes* The Light In Things 1-4 Arranged By, Synthesizer [Analog Synthesis] – BTProgrammed By [Additional], 10:47 Remix [Additional] – Laurent Veronnez aka Airwave*Written-By – Jes* Rose Of Jericho 1-5 7:43 Percussion [Additional Glitchy] – Matt LangeProgrammed By – BT Forget Me Drums – Kevin Sawka*Mixed By – Greg CollinsVocals [End Chorus Sung By] – Kaia 1-6 9:37 TranseauVocals, Guitar, Bass, Voice [Oberheim 4 Voice], Synthesizer [Pro-one And Synthesis] – BTWritten-By, Backing Vocals [Background Vocals] – Christian -
Young Americans to Emotional Rescue: Selected Meetings
YOUNG AMERICANS TO EMOTIONAL RESCUE: SELECTING MEETINGS BETWEEN DISCO AND ROCK, 1975-1980 Daniel Kavka A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC August 2010 Committee: Jeremy Wallach, Advisor Katherine Meizel © 2010 Daniel Kavka All Rights Reserved iii ABSTRACT Jeremy Wallach, Advisor Disco-rock, composed of disco-influenced recordings by rock artists, was a sub-genre of both disco and rock in the 1970s. Seminal recordings included: David Bowie’s Young Americans; The Rolling Stones’ “Hot Stuff,” “Miss You,” “Dance Pt.1,” and “Emotional Rescue”; KISS’s “Strutter ’78,” and “I Was Made For Lovin’ You”; Rod Stewart’s “Do Ya Think I’m Sexy“; and Elton John’s Thom Bell Sessions and Victim of Love. Though disco-rock was a great commercial success during the disco era, it has received limited acknowledgement in post-disco scholarship. This thesis addresses the lack of existing scholarship pertaining to disco-rock. It examines both disco and disco-rock as products of cultural shifts during the 1970s. Disco was linked to the emergence of underground dance clubs in New York City, while disco-rock resulted from the increased mainstream visibility of disco culture during the mid seventies, as well as rock musicians’ exposure to disco music. My thesis argues for the study of a genre (disco-rock) that has been dismissed as inauthentic and commercial, a trend common to popular music discourse, and one that is linked to previous debates regarding the social value of pop music. -
Rolling Stone Magazine's Top 500 Songs
Rolling Stone Magazine's Top 500 Songs No. Interpret Title Year of release 1. Bob Dylan Like a Rolling Stone 1961 2. The Rolling Stones Satisfaction 1965 3. John Lennon Imagine 1971 4. Marvin Gaye What’s Going on 1971 5. Aretha Franklin Respect 1967 6. The Beach Boys Good Vibrations 1966 7. Chuck Berry Johnny B. Goode 1958 8. The Beatles Hey Jude 1968 9. Nirvana Smells Like Teen Spirit 1991 10. Ray Charles What'd I Say (part 1&2) 1959 11. The Who My Generation 1965 12. Sam Cooke A Change is Gonna Come 1964 13. The Beatles Yesterday 1965 14. Bob Dylan Blowin' in the Wind 1963 15. The Clash London Calling 1980 16. The Beatles I Want zo Hold Your Hand 1963 17. Jimmy Hendrix Purple Haze 1967 18. Chuck Berry Maybellene 1955 19. Elvis Presley Hound Dog 1956 20. The Beatles Let It Be 1970 21. Bruce Springsteen Born to Run 1975 22. The Ronettes Be My Baby 1963 23. The Beatles In my Life 1965 24. The Impressions People Get Ready 1965 25. The Beach Boys God Only Knows 1966 26. The Beatles A day in a life 1967 27. Derek and the Dominos Layla 1970 28. Otis Redding Sitting on the Dock of the Bay 1968 29. The Beatles Help 1965 30. Johnny Cash I Walk the Line 1956 31. Led Zeppelin Stairway to Heaven 1971 32. The Rolling Stones Sympathy for the Devil 1968 33. Tina Turner River Deep - Mountain High 1966 34. The Righteous Brothers You've Lost that Lovin' Feelin' 1964 35. -
Brian Transeau V. 3 Artist Management
1 EDNA GARCIA EARLEY, Bar No. 195661 STATE OF CALIFORNIA 2 DEPARTMENT OF INDUSTRIAL RELATIONS DIVISION OF LABOR STANDARDS ENFORCEMENT 3 320 W. 4th Street, Suite 430 Los Angeles, California 90013 4 Telephone: (213) 897-1511 Facsimile: (213) 897-2877 5 Attorney for the Labor Commissioner 6 7 8 BEFORE THE LABOR COMMISSIONER 9 OF THE STATE OF CALIFORNIA 10 11 BRIAN TRANSEAU, CASE NO. TAC 7306 12 DETERMINATION OF Petitioner, CONTROVERSY 13 vs. 14 15 3 ARTIST MANAGEMENT, 16 Respondent. 17 18 The above-captioned matter, a Petition to Determine Controversy under 19 20 Labor Code §1700.44, came on regularly for hearing on August 21,2008 in Los Angeles, 21 California, before the undersigned attorney for the Labor Commissioner assigned to hear 22 this case. Petitioner BRIAN TRANSEAU, professionally known as BT, (hereinafter, 23 referred to as “BT”) appeared represented by Mark L. Share, Esq. of De CASTRO, 24 25 WEST, CHODOROW, GLICKFIELD & NASS, INC. Respondent 3 ARTIST 26 MANAGEMENT (hereinafter, referred to as “3AM”), appeared through its owner, 27 Richard Bishop and was represented by Donald V. Smiley of Law Offices of Donald V. 28 1 1 Smiley. 2 Based on the evidence presented at this hearing and on the other papers on 3 file in this matter, the Labor Commissioner hereby adopts the following decision. 4 5 FINDINGS OF FACT 6 1. BT is a musician, performer, composer, producer, and writer. He 7 has scored the following movies: Stealth, Fast and Furious, Monster, Go, Driven, Catch 8 & Release, among others. 9 10 2. 3AM is owned by Richard Bishop, (hereinafter, “Bishop”) who has been a 11 manager in the music industry for over 30 years. -
'N' Roll: the Rolling Stones in Film
it’s only rock ’n’ roll: the rolling stones in film - artforum.com / ... http://artforum.com/inprint/issue=201209&id=36146 dleopard59 log out ADVERTISE BACK ISSUES CONTACT US SUBSCRIBE follow us search ARTGUIDE IN PRINT 500 WORDS PREVIEWS BOOKFORUM 中文版 DIARY PICKS NEWS VIDEO FILM SLANT A & E IN PRINT NOVEMBER 2012 IT’S ONLY ROCK ’N’ ROLL: THE ROLLING STONES IN FILM SUBSCRIBE recent issues May 2013 April 2013 March 2013 February 2013 Robert Frank, January 2013 Cocksucker Blues, 1972, 16 mm, color and black- December 2012 and-white, sound, 93 November 2012 minutes. Mick Jagger. Archive to 1962 Photo: Photofest. As the “world’s greatest rock ’n’ roll band” celebrates its golden jubilee this year, the Museum of Modern Art in New York pays tribute with a heady cinematic survey: “THE ROLLING STONES: 50 YEARS OF FILM” (NOVEMBER 15–DECEMBER 2). But 2012 marks another anniversary as well. Forty years ago, the Stones embarked on a legendary tour to promote their new album, Exile on Main St., and they engaged two very different filmmakers—Robert Frank and Rollin Binzer—to document the affair on celluloid, producing wildly divergent results: Cocksucker Blues and Ladies and Gentlemen: The Rolling Stones, respectively. Film historian DAVID E. JAMES traces the events that would ultimately transform the band’s extraordinary engagement with the medium—and with the very public on which not only their stardom but their cultural significance depended. WITH THE BEATLES’ FINAL PERFORMANCE on the roof of the Apple Records building at the beginning of 1969, documented in Michael Lindsay-Hogg’s film Let It Be (1970), the Rolling Stones’ claim to being the greatest rock band in the world was now uncontested. -
The Rolling Stones and Performance of Authenticity
University of Kentucky UKnowledge Theses and Dissertations--Art & Visual Studies Art & Visual Studies 2017 FROM BLUES TO THE NY DOLLS: THE ROLLING STONES AND PERFORMANCE OF AUTHENTICITY Mariia Spirina University of Kentucky, [email protected] Digital Object Identifier: https://doi.org/10.13023/ETD.2017.135 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Spirina, Mariia, "FROM BLUES TO THE NY DOLLS: THE ROLLING STONES AND PERFORMANCE OF AUTHENTICITY" (2017). Theses and Dissertations--Art & Visual Studies. 13. https://uknowledge.uky.edu/art_etds/13 This Master's Thesis is brought to you for free and open access by the Art & Visual Studies at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Art & Visual Studies by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. -
Program of the 75Th Anniversary Meeting
PROGRAM OF THE 75 TH ANNIVERSARY MEETING April 14−April 18, 2010 St. Louis, Missouri THE ANNUAL MEETING of the Society for American Archaeology provides a forum for the dissemination of knowledge and discussion. The views expressed at the sessions are solely those of the speakers and the Society does not endorse, approve, or censor them. Descriptions of events and titles are those of the organizers, not the Society. Program of the 75th Anniversary Meeting Published by the Society for American Archaeology 900 Second Street NE, Suite 12 Washington DC 20002-3560 USA Tel: +1 202/789-8200 Fax: +1 202/789-0284 Email: [email protected] WWW: http://www.saa.org Copyright © 2010 Society for American Archaeology. All rights reserved. No part of this publication may be reprinted in any form or by any means without prior permission from the publisher. Program of the 75th Anniversary Meeting 3 Contents 4............... Awards Presentation & Annual Business Meeting Agenda 5……….….2010 Award Recipients 10.................Maps of the America’s Center 12 ................Maps of Renaissance Grand St. Louis 14 ................Meeting Organizers, SAA Board of Directors, & SAA Staff 15 .............. General Information 18. ............. Featured Sessions 20 .............. Summary Schedule 25 .............. A Word about the Sessions 27............... Program 161................SAA Awards, Scholarships, & Fellowships 167............... Presidents of SAA . 168............... Annual Meeting Sites 169............... Exhibit Map 170................Exhibitor Directory 180................SAA Committees and Task Forces 184………….Index of participants 4 Program of the 75th Anniversary Meeting Awards Presentation & Annual Business Meeting America’s Center APRIL 16, 2010 5 PM Call to Order Call for Approval of Minutes of the 2009 Annual Business Meeting Remarks President Margaret W. -
Mark's Music Notes for December 2011…
MARK’S MUSIC NOTES FOR DECEMBER 2011… The Black Keys follow up their excellent 2010 album Brothers with the upbeat El Camino, another great album that commercial radio will probably ignore just like it did with Brothers. In a day and age where CD sales are on the decline, record labels continue to re-issue classic titles with proven track records in new incarnations that include unreleased material, re-mastered sound, and often lavish box sets. Though not yet included in Music Notes, Pink Floyd and Queen both had their entire catalogs re-vamped this year, and they sound great. Jethro Tull’s classic Aqualung album has been expanded, re-mixed and re-mastered with the level of care and quality that should be the standard for all re-issues. The Rolling Stones have already released expanded remasters and box sets on Exile On Main Street and Get Yer Ya-Ya’s Out, and now their top selling album, Some Girls has received the same treatment. Be Bop Deluxe is a 1970’s band that most readers will be unfamiliar with. They never had any mainstream success in the U.S., but the band had several great albums, and their entire studio catalog has recently been remastered and compiled into a concise box set. The Black Keys – El Camino Vocalist/guitarist Dan Auerbach and Drummer Patrick Carney of The Black Keys, have said that they have been listening to a lot of Rolling Stones lately, and they set out to record a more direct rock and roll album than their last album, Brothers was.