J2P and P2J Ver 1
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
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. -
ÙØ±Ø§Ù†Ùƒ سùšù†Ø§Øªø±Ø§ ألبوù… قائم Ø
ÙØ ±Ø§Ù†Ùƒ سيناترا ألبوم قائم Ø© (الألبومات & الجدول الزم ني) Robin and the 7 Hoods – Original Score https://ar.listvote.com/lists/music/albums/robin-and-the-7-hoods-%E2%80%93- From The Motion Picture Musical Comedy original-score-from-the-motion-picture-musical-comedy-7352898/songs https://ar.listvote.com/lists/music/albums/songs-for-swingin%27-lovers%21- Songs for Swingin' Lovers! 1041548/songs 12 Songs of Christmas https://ar.listvote.com/lists/music/albums/12-songs-of-christmas-4548728/songs L.A. Is My Lady https://ar.listvote.com/lists/music/albums/l.a.-is-my-lady-2897354/songs I Remember Tommy https://ar.listvote.com/lists/music/albums/i-remember-tommy-2897925/songs Nice 'n' Easy https://ar.listvote.com/lists/music/albums/nice-%27n%27-easy-2897970/songs Sinatra & Company https://ar.listvote.com/lists/music/albums/sinatra-%26-company-1747713/songs https://ar.listvote.com/lists/music/albums/trilogy%3A-past-present-future- Trilogy: Past Present Future 614317/songs https://ar.listvote.com/lists/music/albums/ol%27-blue-eyes-is-back- Ol' Blue Eyes Is Back 3881424/songs https://ar.listvote.com/lists/music/albums/a-swingin%27-affair%21- A Swingin' Affair! 1419881/songs The Sinatra Family Wish You a Merry https://ar.listvote.com/lists/music/albums/the-sinatra-family-wish-you-a-merry- Christmas christmas-2898718/songs Young at Heart https://ar.listvote.com/lists/music/albums/young-at-heart-8058542/songs Sings Days of Wine and Roses, Moon River https://ar.listvote.com/lists/music/albums/sings-days-of-wine-and-roses%2C- -
A Sinatra Sampler Rosemary Clooney; and Any Number Arranged by Nelson Riddle
largely impressive new albums, in-been embroiled in more controver-renewed ballads, that enable him to cluding the three -volume "Trilogy."sies than ever with the press and pol-lift a concert hall by its roots and Once again there was a new Sinatra,iticians (usually concerning his al-swing it as though all time but his had with a loamier voice, a hard-earnedleged Mafia connections). He hascome to a halt. and expressive tremor in the lowmore than his share of enemies; they Frank Sinatra remains unique, the notes, a stoic determination to useare apparently immune to the innatemaster explicator of the complexity aesthetically the trappings of age-decency and pride of craft that allowand power of American popular sibilance, wavering, harshness. him to bring the contradictory ele-songs, the entertainer as shaman. He Sinatra cannot be said to have mel-ments in his personality to bear onis both the founder of his tradition lowed much in recent years. He'sachingly personal and persistentlyand its principal heir. 0 FRANK SINA TRA: A SELECTED DISCOGRAPHY ALMOST all of the albums listed here them Young at Heart and The Lady is O I Remember Tommy(FS -1003), are still available, but a few are a Tramp) and otherwise interesting arranged by Sy Oliver. simply the most recent releases of performances (notably a version of OSinatra & Strings(FS -1004), significant Sinatra recordings. They Where or When that begins with pitch arranged by Don Costa. are grouped chronologically by label problems but achieves a stunning OAll Alone(FS -1007), arranged by affiliation. climax) are not included, this limited Gordon Jenkins. -
Great Instrumental
I grew up during the heyday of pop instrumental music in the 1950s and the 1960s (there were 30 instrumental hits in the Top 40 in 1961), and I would listen to the radio faithfully for the 30 seconds before the hourly news when they would play instrumentals (however the first 45’s I bought were vocals: Bimbo by Jim Reeves in 1954, The Ballad of Davy Crockett with the flip side Farewell by Fess Parker in 1955, and Sixteen Tons by Tennessee Ernie Ford in 1956). I also listened to my Dad’s 78s, and my favorite song of those was Raymond Scott’s Powerhouse from 1937 (which was often heard in Warner Bros. cartoons). and to records that my friends had, and that their parents had - artists such as: (This is not meant to be a complete or definitive list of the music of these artists, or a definitive list of instrumental artists – rather it is just a list of many of the instrumental songs I heard and loved when I was growing up - therefore this list just goes up to the early 1970s): Floyd Cramer (Last Date and On the Rebound and Let’s Go and Hot Pepper and Flip Flop & Bob and The First Hurt and Fancy Pants and Shrum and All Keyed Up and San Antonio Rose and [These Are] The Young Years and What’d I Say and Java and How High the Moon), The Ventures (Walk Don't Run and Walk Don’t Run ‘64 and Perfidia and Ram-Bunk-Shush and Diamond Head and The Cruel Sea and Hawaii Five-O and Oh Pretty Woman and Go and Pedal Pusher and Tall Cool One and Slaughter on Tenth Avenue), Booker T. -
Martin Scorsese Set to Direct Frank Sinatra Biopic 5/14/09, 9:27 Am EST
Trademark Trial and Appeal Board Electronic Filing System. http://estta.uspto.gov ESTTA Tracking number: ESTTA326568 Filing date: 01/13/2010 IN THE UNITED STATES PATENT AND TRADEMARK OFFICE BEFORE THE TRADEMARK TRIAL AND APPEAL BOARD Notice of Opposition Notice is hereby given that the following party opposes registration of the indicated application. Opposer Information Name Frank Sinatra Enterprises, LLC Granted to Date 01/13/2010 of previous extension Address 3400 West Olive Ave Burbank, CA 91505 UNITED STATES Attorney James D. Weinberger information Fross Zelnick Lehrman & Zissu, P.C. 866 United Nations Plaza6th Floor New York, NY 10017 UNITED STATES [email protected], [email protected] Phone:212-813-5900 Applicant Information Application No 77717940 Publication date 09/15/2009 Opposition Filing 01/13/2010 Opposition 01/13/2010 Date Period Ends Applicant Oliveira, Michael 8471 SW 100 Street Miami, FL 33156 UNITED STATES Goods/Services Affected by Opposition Class 041. First Use: 2008/08/21 First Use In Commerce: 2008/08/21 All goods and services in the class are opposed, namely: Entertainment services, namely, participation in boxing contests Grounds for Opposition False suggestion of a connection Trademark Act section 2(a) Mark Cited by Opposer as Basis for Opposition U.S. Application/ NONE Application Date NONE Registration No. Registration Date NONE Word Mark CHAIRMAN OF THE BOARD Goods/Services Entertainment services Attachments Notice of Opposition (FILED) (F0566135).PDF ( 12 pages )(593057 bytes ) Certificate of Service The undersigned hereby certifies that a copy of this paper has been served upon all parties, at their address record by First Class Mail on this date. -
SURF MUSIC by Geoffrey Himes
SURF MUSIC By Geoffrey Himes It often seems that the United States is a pool table that has been tilted so all its hopes and dreams roll to the west. Whenever Americans want a new and better life, they head toward the setting sun. Whether it was the white-canvas covered wagons of the 1850s, the rusty Okie jalopies of the 1930s or the painted hippie vans of the 1960s, the direction is always westward—and eventually they collect in the pool table’s corner pocket known as Southern California. When Chuck Berry went chasing after his imagined utopia in the song “Promised Land," where did he end up? Los Angeles. Thousands of Hollywood movies had advertised Southern California as a nirvana of palm trees, sunshine, beautiful girls and beautiful boys, convincing folks from Oklahoma, Kansas and Ohio to pack up and move to the coast. By the end of the 1950s, the area around L.A. was full of almost as many transplanted Midwesterners as native Californians. The natives knew the region was no utopia, but the first and second-generation immigrants, these strangers in paradise, still clung to the notion of America’s western edge as the place where their dreams might come true. The teens and twentysomethings in these families—too young and too new to the West Coast to be disillusioned— turned that utopian impulse into a new kind of rock'n'roll: surf music. Brian, Dennis and Carl Wilson, whose father and mother had moved to California from Kansas and Minnesota respectively, formed the Beach Boys. -
Smash Hits Volume 24
November 1-14 1979 30p m> POLICE SPi im BATS LPs to be won Uover forbidden 1 *-.,. Records Mv" Rec . __.. ,«i»i Atlantic L^rs^ur^tohavevou onn !*»-»- »*' BY Chic at verv love you Chorus . er d MV no other *°^lr We'll just ?JJK» no o^er and everv *nev You're 'cause " do * « anc ' <e :«•want to your beckner- "VTn'tI - „ at I didn t tr oe And love" indeed That your ^neW ves to and the you are You «Y AppearanceapP That sinister a«W» Repeat chorus Those ur love dQ ^ forbidden .... ,o«e is : ooh " NlyK hidden g^— iV.WeeVo«r»ov. indeed yes chorus to Vou are a.neat D»ne at chorus U" Hello, I'm Page 3. I'm the page that gives the rundown on the rest of the issue, makes it all sound utterly fantastic and desirable, gets to crack a joke or Nov 1-14 1979 two, and generally acts all snappy and hot to trot. It's a piece of cake in this magazine, 'cause the other pages work so hard to come up with the goods — Vol 1 No 24 now my cousin, who's Page 3 of The Sun, he has a rotten time trying to dream up captions for pictures of nude ladies. (Get on with it — Ed.) OK OK, this time around Page 24 has asked me to tell you about his Quiz; Page 31 has Editorial address; Smash Hits, Lisa 52-55 asked me to remind you about his terrific badge offer — the complete set of House, Carnaby Street, London five W1V 1PF. -
The Wrecking Crew
Magnolia Pictures Present A MAGNOLIA PICTURES RELEASE THE WRECKING CREW A film by Denny Tedesco 101 minutes; 1.78 Official Selection: SXSW Film Festival International Documentary Association – Best Music Documentary Nominee Docuweek – Official Selection Seattle International Film Festival – Golden Space Needle Audience Award Winner Tallgrass Film Festival – Audience Award Winner Mill Valley Film Festival Nashville International Film Festival Florida Film Festival FINAL PRESS NOTES Distributor Contact: Press Contact NY/Nat’l: Press Contact LA/Nat’l: Matt Cowal Steve Beeman Marina Bailey Arianne Ayers Falco Ink Marina Bailey Film Publicity Magnolia Pictures 250 West 49th Street, Ste. 704 6569 De Longpre Avenue (212) 924-6701 phone New York, NY 10019 Los Angeles, CA 90028 [email protected] (212) 445-7100 phone (323) 962-7511 phone [email protected] [email protected] 49 west 27th street 7th floor new york, ny 10001 tel 212 924 6701 fax 212 924 6742 www.magpictures.com SYNOPSIS What the Funk Brothers did for Motown…The Wrecking Crew did, only bigger, for the West Coast Sound. Six years in a row in the 1960’s and early 1970’s, the Grammy for “Record of the Year” went to Wrecking Crew recordings. And now, THE WRECKING CREW tells the story in pictures and that oh, so glorious sound. The favorite songs of a generation are all here, presented by the people who made them for you. THE WRECKING CREW is a documentary film produced and directed by Denny Tedesco, son of legendary late Wrecking Crew guitarist Tommy Tedesco. The film tells the story of the unsung musicians that provided the backbeat, the bottom and the swinging melody that drove many of the number one hits of the 1960’s. -
Blue Notes and Brown Skin: Five African-American Jazzmen and the Music They Produced in Regard to the American Civil Rights Movement
W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 2005 Blue Notes and Brown Skin: Five African-American Jazzmen and the Music They Produced in Regard to the American Civil Rights Movement Benjamin Park anderson College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the African American Studies Commons, American Studies Commons, History Commons, and the Music Commons Recommended Citation anderson, Benjamin Park, "Blue Notes and Brown Skin: Five African-American Jazzmen and the Music They Produced in Regard to the American Civil Rights Movement" (2005). Dissertations, Theses, and Masters Projects. Paper 1539626478. https://dx.doi.org/doi:10.21220/s2-9ab3-4z88 This Thesis is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Dissertations, Theses, and Masters Projects by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. BLUE NOTES AND BROWN SKIN Five African-American Jazzmen and the Music they Produced in Regard to the American Civil Rights Movement. A Thesis Presented to The Faculty of the American Studies Program The College of William and Mary in Virginia In Partial Fulfillment Of the Requirements for the Degree of Master of Arts By Benjamin Park Anderson 2005 APPROVAL SHEET This thesis is submitted in partial fulfillment of the requirements for the degree of Master of Arts imin Park Anderson Approved by the Committee, May 2005 Dr. Arthur Knight, Chair Ids McGovern . Lewis Porter, Rutgers University, outside reader ii TABLE OF CONTENTS Page Acknowledgements iv List of Illustrations V List of Musical Examples vi Abstract vii Introduction 2 Chapter I. -
Black Music Research Journal Monk Meets SNCC by Ingrid Monson
Black Music Research Journal Center for Black Music Research Columbia College Chicago Volume 19, #2 (Autumn 1999) Monk Meets SNCC By Ingrid Monson © 1999 Ingrid Monson Reprinted by permission of the Black Music Research Journal All rights reserved MONK MEETS SNCC INGRID MONSON Thelonious Monk-the enigma, the man who could compose with the radio blaring, wore unusual hats, danced around onstage, had periods of acute disconnectedness, and showed particular gifts in mathematics as a high school student-has long been a potent symbol of the jazz musician as artist. Monk's reluctance to verbalize-to interviewers, musicians seeking instruction, and even friends and family members-provides further evidence that music was his true language. Monk spoke the unspeakable through music and took the listener to "another level" through his utterly original compositions and improvisation.' By adopting and cultivating this quintessentially romantic concept of art, bebop musicians in the 1940s demanded that their music be taken seriously. The trappings of art brought dignity and prestige to African- American musicians struggling to overturn the legacy of minstrelsy and its demands for smiling buffoonery. In the context of a racially segregat- ed society, the demand by black musicians of the 1940s to be acknowl- edged as artists was a rebellious political act.2 Yet the notion of absolute music to which the romantic aesthetic sub- scribed held that true art was above politics. Consequently, musicians of the 1940s and 1950s found themselves in the ironic position of actively 1. Among the writers presenting this image of Monk are Brown (1958), Kotlowitz (1961), and Farrell(1964). -
Seldon Powell
1 The TENORSAX of SELDON POWELL Solographer: Jan Evensmo Last update: Feb. 16, 2021 2 Born: Lawrenceville, Virginia, Nov. 15, 1928 Died: New York, Jan. 25, 1997 Introduction: I remember very well our first encounter with Seldon Powell; through the exciting 1956 Atlantic album “Boss Of The Blues” with Joe Turner. We enjoyed his music very much from the start, and realizing the enormous number of recording sessions he had taken part in, we called him a ‘tenorsax potato’, suitable for all jazz dishes. It was meant as an honour. In our opinion, SP did never get the recognition he deserved History: First musical studies at Brooklyn and New York Conservatories 1947-49 and graduated at Juillard 1957. First job with the band of Betty Mays 1949, Tab Smith at Savoy Ballroom 1949 and Dec. 1949 with Lucky Millinder until 1951. Did army service 1951-52 playing in bands in France and Germany where he was stationed. After discharge returned to New York and played with Sy Oliver, Erskine Hawkins, Neal Hefti, Louis Bellson and Don Redman 1952-55. Studied at Juillard. In 1958 he travelled to Europe with Benny Goodman’s band, and then he played briefly with Woody Herman. In the 1960s he worked chiefly for ABC TV but also recorded heavily. His numerous recordings as a studio musician include many made in the late 1960s and early 1970s with soul and soul-jazz musicians, including Groove Holmes (ca. 1973) and sessions in the big bands that accompanied Gato Barbieri (1974) and Anthony Braxton and Dizzy Gillespie (both 1976). -
Jazz-Inside-Magazine-2020-01
Eric Nemeyer’s WWW.JAZZINSIDEMAGAZINE.COM December-Janauary 2020 Interviews DaveDave StrykerStryker Jazz Standard, Jan 24--26 LewisLewis NashNash omprehensive DirectoryDirectory of NY ClubS, ConcertS HaroldHarold MabernMabern KnowingKnowing HowHow toto StayStay OutOut ofof thethe WayWay TheThe FinalFinal InterviewInterview To Advertise CALL: 215-887-8880 December 2015 Jazz Inside Magazine www.JazzInsideMagazine.com 1 COVER-2-JI-15-12.pub Wednesday, December 09, 2015 15:43 page 1 MagentaYellowBlacCyank ORDER THIS 200+ Page Book + CD - Only $19.95 Call 215-887-8880 To Advertise CALL: 215-887-8880 December-January 2020 Jazz Inside Magazine www.JazzInsideMagazine.com 1 Eric Nemeyer’s Jazz Inside Magazine ISSN: 2150-3419 (print) • ISSN 2150-3427 (online) December-January 2020 – Volume 10, Number 7 Cover Photo and photo and at right of Harold Mabern By Eric Nemeyer Publisher: Eric Nemeyer Editor: Wendi Li Marketing Director: Cheryl Powers Advertising Sales & Marketing: Eric Nemeyer Circulation: Susan Brodsky Photo Editor: Joe Patitucci Layout and Design: Gail Gentry Contributors: Eric Nemeyer, Ken Weiss, Joe Patitucci. ADVERTISING SALES 215-887-8880 Eric Nemeyer – [email protected] ADVERTISING in Jazz Inside™ Magazine (print and online) Jazz Inside™ Magazine provides its advertisers with a unique opportunity to reach a highly specialized and committed jazz readership. Call our Advertising Sales Depart- ment at 215-887-8880 for media kit, rates and information. SUBSCRIPTION INFORMATION SUBMITTING PRODUCTS FOR REVIEW Jazz Inside™ Magazine | Enthusiasm Corporation Jazz Inside™ (published monthly). To order a subscription, call 215-887-8880 or visit Companies or individuals seeking reviews of their recordings, books, videos, software P.O. Box 8811, Elkins Park, PA 19027 Jazz Inside on the Internet at www.jazzinsidemagazine.com.