Fleetwood Mac: the Complete Illustrated History PDF Book
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The Doors”—The Doors (1967) Added to the National Registry: 2014 Essay by Richie Unterberger (Guest Post)*
“The Doors”—The Doors (1967) Added to the National Registry: 2014 Essay by Richie Unterberger (guest post)* Original album cover Original label The Doors One of the most explosive debut albums in history, “The Doors” boasted an unprecedented fusion of rock with blues, jazz, and classical music. With their hypnotic blend of Ray Manzarek’s eerie organ, Robby Krieger’s flamenco-flecked guitar runs, and John Densmore’s cool jazz-driven drumming, the band were among the foremost pioneers of California psychedelia. Jim Morrison’s brooding, haunting vocals injected a new strand of literate poetry into rock music, exploring both the majestic highs and the darkest corners of the human experience. The Byrds, Bob Dylan, and other folk-rockers were already bringing more sophisticated lyrics into rock when the Doors formed in Los Angeles in the summer of 1965. Unlike those slightly earlier innovators, however, the Doors were not electrified folkies. Indeed, their backgrounds were so diverse, it’s a miracle they came together in the first place. Chicago native Manzarek, already in his late 20s, was schooled in jazz and blues. Native Angelenos Krieger and Densmore, barely in their 20s, when the band started to generate a local following, had more open ears to jazz and blues than most fledgling rock musicians. The charismatic Morrison, who’d met Manzarek when the pair were studying film at the University of California at Los Angeles, had no professional musical experience. He had a frighteningly resonant voice, however, and his voracious reading of beat literature informed the poetry he’d soon put to music. -
University of Pardubice Faculty of Arts and Philosophy the City in Songs
University of Pardubice Faculty of Arts and Philosophy The City in Songs, Songs in the City: The Image of New York in the Folk Music of the 1960s Tomáš Racek Bachelor Thesis 2016 1 2 3 Prohlašuji: Tuto bakalářskou práci jsem vypracoval samostatně. Veškeré literární prameny a informace, které jsem použil, jsou uvedeny v seznamu literatury. Byl jsem seznámen s tím, že na moji práci se vztahují práva a povinnosti vyplývající ze zákona č.121/2000 Sb., autorský zákon, zejména se skutečností, že Univerzita Pardubice má právo na uzavření licenční smlouvy o užití této práce jako školního díla podle § 60 odst. 1 autorského zákona, a s tím, že pokud dojde k užití této práce mnou nebo bude poskytnuta licence o užití jinému subjektu, je Univerzita Pardubice oprávněna ode mne požadovat přiměřený příspěvek na úhradu nákladů, které na vytvoření díla vynaložila, a to podle okolností až do jejich skutečné výše. Souhlasím s prezenčním zpřístupněním mé práce v Univerzitní knihovně. V Pardubicích dne 29. 6. 2014 Tomáš Racek 4 Acknowledgements I would like to express my gratitude to my supervisor PhDr. Ladislav Vít, Ph.D. for his assistance, especially in the early stages of writing, and together with other university teachers, for all the effort they put in their valuable and inspirational lessons. I would also like to thank my mother, partner and children for their love, support, encouragement and patience during my studies. 5 ANOTATION This bachelor thesis is concerned with the image of New York City in the folk music of the 1960s, specifically in the song lyrics of the North American singer-songwriters Bob Dylan, Paul Simon, Joni Mitchell, Fred Neil, Phil Ochs, John Phillips, John Sebastian and Joey Levine. -
Get Back: the Unauthorized Chronicle of the Beatles' " Let It Be" Disaster, 1999, 336 Pages, Doug Sulpy, Ray Schweighardt, 0312199813, 9780312199814, St
Get Back: The Unauthorized Chronicle of the Beatles' " Let It Be" Disaster, 1999, 336 pages, Doug Sulpy, Ray Schweighardt, 0312199813, 9780312199814, St. Martin's Press, 1999 DOWNLOAD http://bit.ly/1A5PAQV http://www.powells.com/s?kw=Get+Back%3A+The+Unauthorized+Chronicle+of+the+Beatles%27+%22+Let+It+Be%22+Disaster Here, for the first time, Beatles experts Sulpy and Schweighardt trace the group's breakdown through the fascinating prism of the Get Back recording sessions. January 2, 1969: The Beatles begin a month of intensive sessions, designed to capture the musicians "as nature intended." Playing raw, live, with no studio tricks or gimmicks, the Beatles were consciously rejecting the high- gloss production style of their recent albums in favor of a return to their earlier stripped-down rock and roll sound. But Beatles Unplugged soon became Beatles Undone, and the project turned into the thirty-day saga of a group in freefall. Bickering and sniping, trudging through sloppy versions of old hits, the Fab Four were coming apart. For twenty-five years, tapes from the ill-fated Get Back sessions - only a fraction of which were released as Let It Be - have circulated among collectors. Sulpy and Schweighardt, for the first time, have undertaken a Herculean task: Sifting through those countless hours on tape, they reconstruct in amazing detail the drama of those sessions - the songs, jokes, outbursts, and fights. Get Back puts the reader in the studio as John cedes power to Yoko, Paul scrambles to keep things afloat, and George quits the band. It traces each step in the band's unique creative process. -
2019 Session 1 Chapbook
“If I’m not for myself, who will be for me? If I’m only for myself, what am I? And if not Creative Writing now, then when?” Chapbook – Pirkei Avot Session One 2019 CONTENTS Notes from the Editor “The Narrators of Life” by Benjamin B. 3 This summer, 6 Points Creative Arts Academy added a creative writing “Wongarts” by Becca N. 7 major comprised of passionate wordsmiths from both Bonim and Olim. These majors constructed narrative works, exploring dialogue, exposition, “The Death Dance” by Naomi J. 10 and scene, before crafting their final pieces all of which centered around the theme of the summer, which comes from Pirkei Avot: “If I am not for “Nine Lives” by Natanya D. 15 myself, who will be for me? If I am only for myself, what am I? And if not now, then when?” In a minor titled: Adapting Stories, campers from a “Time” by Rebecca B. 17 variety of majors came together to read, write, and create fractured fairy tales and Torah stories. Some of those stories are included in this chapbook. “The Butterfly Room” by Olivia S. 20 “Speechless” by Sunny C. 23 Creative Writing Arts Mentor: Carly Husick “Beaut-evil” by Hanna P. 24 Instructors: Allison Woitte “The Art of Trying” by Maya F. 29 Noy Israeli Tani Prell Epstein “The Ransacking” by Charlie R. 32 Abe Frankel “The Man of Iron” by Jonathon N. 34 Artistic Director: David Loewy “The Lady and the Beast” by Ciera and Sophia 36 “Grandmother” by Isabel, Hannah, and Brandon 38 “Theadora” by Ellis S. -
Authenticity and Artifice in Rock and Roll: “And I Guess That I Just Don't Care”
Rock Music Studies ISSN: 1940-1159 (Print) 1940-1167 (Online) Journal homepage: http://www.tandfonline.com/loi/rrms20 Authenticity and Artifice in Rock and Roll: “And I Guess That I Just Don’t Care” Bernardo Alexander Attias To cite this article: Bernardo Alexander Attias (2016) Authenticity and Artifice in Rock and Roll: “And I Guess That I Just Don’t Care”, Rock Music Studies, 3:2, 131-147, DOI: 10.1080/19401159.2016.1155376 To link to this article: http://dx.doi.org/10.1080/19401159.2016.1155376 Published online: 21 Mar 2016. Submit your article to this journal View related articles View Crossmark data Full Terms & Conditions of access and use can be found at http://www.tandfonline.com/action/journalInformation?journalCode=rrms20 Download by: [Bernardo Attias] Date: 21 March 2016, At: 23:50 Rock Music Studies, 2016 Vol. 3, No. 2, 131–147, http://dx.doi.org/10.1080/19401159.2016.1155376 Authenticity and Artifice in Rock and Roll: “And I Guess That I Just Don’t Care” Bernardo Alexander Attias Musicians, journalists and academics often hold up the Velvet Underground as the paragon of authenticity in rock music, and the band indeed portrayed itself this way from the outset. While much ink has been spilled explaining the original and authentic genius that is the Velvet Underground, an equally compelling case can be made that the band’s first album marked a turn towards insincerity and inauthen- ticity in popular music. This project emerges from the tension between these identi- ties. A close textual analysis of The Velvet Underground & Nico functions as an entry into theoretical arguments about truth and meaning in popular music. -
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. -
Labor Songs: the Provocative Product of Psalmists, Prophets, and Poets
Journal of Catholic Legal Studies Volume 50 Number 1 Volume 50, 2011, Numbers 1&2 Article 12 Labor Songs: The Provocative Product of Psalmists, Prophets, and Poets Raymond A. Franklin David L. Gregory Follow this and additional works at: https://scholarship.law.stjohns.edu/jcls Part of the Catholic Studies Commons This Article is brought to you for free and open access by the Journals at St. John's Law Scholarship Repository. It has been accepted for inclusion in Journal of Catholic Legal Studies by an authorized editor of St. John's Law Scholarship Repository. For more information, please contact [email protected]. LABOR SONGS: THE PROVOCATIVE PRODUCT OF PSALMISTS, PROPHETS, AND POETS RAYMOND A. FRANKLINt & DAVID L. GREGORY* The words of the prophets are written on subway walls and tenement halls. "The Sounds of Silence," Simon & Garfunkel' [The Rolling Stones are] the most dangerous rock-and-roll band in the world. Life, Keith Richards and James Fox2 A singing movement is a winning movement.3 Attributed to, inter alia, Pete Seeger 4 and Utah Phillips' Associate, Sapir and Frumkin; J.D., 2010, Dean's Fellow, St. John's University School of Law; B.A., 2001, Villanova University. * Dorothy Day Professor of Law and Executive Director of the Center for Labor and Employment Law, St. John's University School of Law; J.S.D., 1987, Yale University; L.L.M., 1982, Yale University; J.D., magna cum laude, 1980, University of Detroit Law School; M.B.A., Labor Relations, 1977, Wayne State University Graduate School of Business; B.A., cum laude, 1973, The Catholic University of America School of Philosophy. -
Psychedelia, the Summer of Love, & Monterey-The Rock Culture of 1967
Trinity College Trinity College Digital Repository Senior Theses and Projects Student Scholarship Spring 2012 Psychedelia, the Summer of Love, & Monterey-The Rock Culture of 1967 James M. Maynard Trinity College, [email protected] Follow this and additional works at: https://digitalrepository.trincoll.edu/theses Part of the American Film Studies Commons, American Literature Commons, and the American Popular Culture Commons Recommended Citation Maynard, James M., "Psychedelia, the Summer of Love, & Monterey-The Rock Culture of 1967". Senior Theses, Trinity College, Hartford, CT 2012. Trinity College Digital Repository, https://digitalrepository.trincoll.edu/theses/170 Psychedelia, the Summer of Love, & Monterey-The Rock Culture of 1967 Jamie Maynard American Studies Program Senior Thesis Advisor: Louis P. Masur Spring 2012 1 Table of Contents Introduction..…………………………………………………………………………………4 Chapter One: Developing the niche for rock culture & Monterey as a “savior” of Avant- Garde ideals…………………………………………………………………………………...7 Chapter Two: Building the rock “umbrella” & the “Hippie Aesthetic”……………………24 Chapter Three: The Yin & Yang of early hippie rock & culture—developing the San Francisco rock scene…………………………………………………………………………53 Chapter Four: The British sound, acid rock “unpacked” & the countercultural Mecca of Haight-Ashbury………………………………………………………………………………71 Chapter Five: From whisperings of a revolution to a revolution of 100,000 strong— Monterey Pop………………………………………………………………………………...97 Conclusion: The legacy of rock-culture in 1967 and onward……………………………...123 Bibliography……………………………………………………………………………….128 Acknowledgements………………………………………………………………………..131 2 For Louis P. Masur and Scott Gac- The best music is essentially there to provide you something to face the world with -The Boss 3 Introduction: “Music is prophetic. It has always been in its essence a herald of times to come. Music is more than an object of study: it is a way of perceiving the world. -
Off the Beaten Track
Off the Beaten Track To have your recording considered for review in Sing Out!, please submit two copies (one for one of our reviewers and one for in- house editorial work, song selection for the magazine and eventual inclusion in the Sing Out! Resource Center, our multimedia, folk-related archive). All recordings received are included in Publication Noted (which follows Off the Beaten Track). Send two copies of your recording, and the appropriate background material, to Sing Out!, P.O. Box 5460 (for shipping: 512 E. Fourth St.), Bethlehem, PA 18015, Attention Off The Beaten Track. Sincere thanks to this issues panel of musical experts: Roger Dietz, Richard Dorsett, Tom Druckenmiller, Mark Greenberg, Victor K. Heyman, Stephanie P. Ledgin, John Lupton, Andy Nagy, Angela Page, Mike Regenstreif, Peter Spencer, Michael Tearson, Rich Warren, Matt Watroba, Elijah Wald, and Rob Weir. liant interpretation but only someone with not your typical backwoods folk musician, Jodys skill and knowledge could pull it off. as he studied at both Oberlin and the Cin- The CD continues in this fashion, go- cinnati College Conservatory of Music. He ing in and out of dream with versions of was smitten with the hammered dulcimer songs like Rhinordine, Lord Leitrim, in the early 70s and his virtuosity has in- and perhaps the most well known of all spired many players since his early days ballads, Barbary Ellen. performing with Grey Larsen. Those won- To use this recording as background derful June Appal recordings are treasured JODY STECHER music would be a mistake. I suggest you by many of us who were hearing the ham- Oh The Wind And Rain sit down in a quiet place, put on the head- mered dulcimer for the first time. -
Bubble Trouble?
EMBARGOED: DO NOT RELEASE UNTIL WEDNESDAY, JUNE 19, 2002 AT 1:00 AM PST Bubble Trouble? Bubble Trouble? Your Home Has a P/E Ratio Too Edward E. Leamer Chauncey J. Medberry Professor of Management Director, UCLA Anderson Forecast UCLA Anderson Forecast Reporti June 2002 Synopsis: The downside risks to the US economy come mostly from consumer durables and housing, which powered through 2001 completely unaffected by the business recession. Although sales of homes and cars are not likely to be as strong in the next year as they have been in the previous year, the financial conditions that historically gave rise to the extreme housing downturns are not currently present. On the contrary, the financial conditions are about as favorable for housing as they have ever been. Absent interest rate increases by the Fed which would produce a flatter yield curve, higher mortgage rates, and weaker housing appreciation, the economy is likely to grow at the moderate rate of 2.5% - 3% for the rest of the year, though GDP growth could for a couple of quarters be stronger than that because lean inventories will require some significant investments to keep inventory/sales ratios from declining to unacceptable levels. Closer to home, the p/e ratio for L.A. housing is rising but is still 17% below it’s 1989 bubble peak. The Bay Area housing p/e, however, is 6% above the 1989 peak. The LA p/e is supported by the fundamentals: appreciation of rents at the rate of 7% per year, while the high Bay Area p/e is not: rents have stabilized. -
Ambient Music the Complete Guide
Ambient music The Complete Guide PDF generated using the open source mwlib toolkit. See http://code.pediapress.com/ for more information. PDF generated at: Mon, 05 Dec 2011 00:43:32 UTC Contents Articles Ambient music 1 Stylistic origins 9 20th-century classical music 9 Electronic music 17 Minimal music 39 Psychedelic rock 48 Krautrock 59 Space rock 64 New Age music 67 Typical instruments 71 Electronic musical instrument 71 Electroacoustic music 84 Folk instrument 90 Derivative forms 93 Ambient house 93 Lounge music 96 Chill-out music 99 Downtempo 101 Subgenres 103 Dark ambient 103 Drone music 105 Lowercase 115 Detroit techno 116 Fusion genres 122 Illbient 122 Psybient 124 Space music 128 Related topics and lists 138 List of ambient artists 138 List of electronic music genres 147 Furniture music 153 References Article Sources and Contributors 156 Image Sources, Licenses and Contributors 160 Article Licenses License 162 Ambient music 1 Ambient music Ambient music Stylistic origins Electronic art music Minimalist music [1] Drone music Psychedelic rock Krautrock Space rock Frippertronics Cultural origins Early 1970s, United Kingdom Typical instruments Electronic musical instruments, electroacoustic music instruments, and any other instruments or sounds (including world instruments) with electronic processing Mainstream Low popularity Derivative forms Ambient house – Ambient techno – Chillout – Downtempo – Trance – Intelligent dance Subgenres [1] Dark ambient – Drone music – Lowercase – Black ambient – Detroit techno – Shoegaze Fusion genres Ambient dub – Illbient – Psybient – Ambient industrial – Ambient house – Space music – Post-rock Other topics Ambient music artists – List of electronic music genres – Furniture music Ambient music is a musical genre that focuses largely on the timbral characteristics of sounds, often organized or performed to evoke an "atmospheric",[2] "visual"[3] or "unobtrusive" quality. -
Official Middle Kingdom Songbook" Is a Publication Ol the Middle Kingdom of the Society for Creative Anachronism, Inc
Unto the Populace of the Known World come greetings from Siobhan Medhbh O'Roarke, Chronicler of the Middle in the first reign of their Majesties Eliahu and Elen. The book you now hold in your hands is, I must confess, a mystery to me. It was handed to me, wrapped in a plain brown wrapper, by a mysterious figure in purple. Opening said package, I discovered a manuscript, much travel- and tear-stained. The dedicatory page purported to have left the hands of Countess Valmai many years before, but when I contacted that noble lady, she denied any knowledge of it and vehemently refused to accept any e!a!Tle credit for such a manuscript.* Despite the mysterious origins of the book, it seemed to me to be of value. Not many days before, the Neos in my home barony had been complaining that "No-one ever sings the old songs any more. How can we learn them?" Thus, the discovery of the mysterious parcel seemed Provident, if not serendipitious. It was a book Whose Time Had Come. I set about getting it published. Master Reginald of the Horns, seeing my bewilderment, surrounded by pages of music tossed about in a random manner, graciously offered to rewrite the musical scores in a consistent and pleasing manner. I owe a great debt to him for this labor, for I am confident that the Book would not have appeared in print until Pennsic XX or even later had the task of transcribing the music been left to me. Thanks are also due to Mistress Greya Ankayrlyn, who took pity on the poor naked manuscript and created a cover for it.