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Emotional and Linguistic Analysis of Dialogue from Animated Comedies: Homer, Hank, Peter and Kenny Speak
Emotional and Linguistic Analysis of Dialogue from Animated Comedies: Homer, Hank, Peter and Kenny Speak. by Rose Ann Ko2inski Thesis presented as a partial requirement in the Master of Arts (M.A.) in Human Development School of Graduate Studies Laurentian University Sudbury, Ontario © Rose Ann Kozinski, 2009 Library and Archives Bibliotheque et 1*1 Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington OttawaONK1A0N4 OttawaONK1A0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-57666-3 Our file Notre reference ISBN: 978-0-494-57666-3 NOTICE: AVIS: The author has granted a non L'auteur a accorde une licence non exclusive exclusive license allowing Library and permettant a la Bibliotheque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par I'lnternet, prefer, telecommunication or on the Internet, distribuer et vendre des theses partout dans le loan, distribute and sell theses monde, a des fins commerciales ou autres, sur worldwide, for commercial or non support microforme, papier, electronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in this et des droits moraux qui protege cette these. Ni thesis. Neither the thesis nor la these ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent etre imprimes ou autrement printed or otherwise reproduced reproduits sans son autorisation. -
The Singles Chart
ALPHABETICAL LISTING 1 201 SINGLES CHART THE SINGLES CHART PRODUCER, PUBLISHER, LICENSEE AT SEVENTEEN Brooks Arthur (Mine/ MIDNIGHT BLUE Vini Poncia April, ASCAP) 77 (New York Times/Roumanian ATTITUDE DANCING Richard Perry Pickleworks, BMA) 14 15 (C'est/Maya, ASCAP) 47 MISTY Ray Stevens (Vernon, ASCAP) 23 BABY THAT'S BACKATCHA Smokey MORNIN' BEAUTIFUL Hank Medress & Dave Robinson (Bertram, ASCAP) 42 Appell (Apple Cider/Music of the Times, ASCAP; Little Max/New York JULY 5, 1975 BAD LUCK Gamble-Huff (Mighty Three, Times, BMI) 37 BMI) 39 JULY JUNE OLD DAYS James William Guercio BAD TIME Jimmy lenner (Cram Renraff, 5 28 (Make Me Smile/Big Elk, ASCAP) 52 BMI) 31 ONE OF THESE NIGHTS Bill Szymczyk 101 101 FUNNY HOW LOVE CAN BE FIRST CLASS-UK 5N 59033 (London) BALLROOM BLITZ Phil Wainman (Benchmark/Kicking Bear, ASCAP) 12 (Southern, ASCAP) (Chinnichap/RAK, BMI) 93 ONLY WOMEN Bob Ezrin BEFORE THE NEXT TEARDROP FALLS 102 110 DREAM MERCHANT NEW BIRTH-Buddah 470 (Saturday, BMI) (Ezra/Early Frost, BMI) 16 Huey Meaux (Shelby Singleton, BMI) 28 103 107 HONEY TRIPPIN' MYSTIC MOODS-Soundbird 5002 (Sutton Miller) ONLY YESTERDAY Richard Carpenter BLACK FRIDAY Gary Katz (American (Ginseng/Medallion Avenue, ASCAP) (Almo/Sweet Harmony/Hammer & Broadcasting, ASCAP) 43 Nails, ASCAP) 48 104 103 AIN'T NO USE COOK E. JARR & HIS KRUMS-Roulette 20426 BLACK SUPERMAN-MUHAMMAD ALI PHILADELPHIA FREEDOM Gus Dudgeon Robin Blanchflower Boy, BMI) 95 (Adam R. Levy & Father/Missile, BMI) (Drummer (Big Pig/Leeds, ASCAP) 54 105 104 IT'S ALL UP TO YOU JIM CAPALDI-Island D25 (Ackee, ASCAP) BURNIN' THING Gary Klein PLEASE MR. -
World Digipak Comp B.Indd
MOTOWN Around the World Visas Entries/Entrées Departures/Sorties 1 Visas Visas Entries/Entrées Departures/Sorties Entries/Entrées Departures/Sorties THE SOUND OF YOUNG AMERICA an outpouring. At Mrs. Edwards’ urging, Motown IL SUONO DELL’GIOVANE AMERICA complemented these bold moves with several recordings DER TON VON JUNGEM AMERIKA in German, Spanish, Italian, and, unknown to the public at LE BRUIT DE LA JEUNE AMÉRIQUE EL SONIDO DE AMÉRICA JOVEN the time, French. by Andrew Flory & Harry Weinger “We thought it would be hard to do, but learning the words and making the tracks work was enjoyable,” said Berry Gordy, Jr. founded Motown with the idea that his the Temptations’ Otis Williams, humming “Mein Girl” with a artists would cross borders, real and intangible. smile. “The people fl own in to teach us made it easy, and His bold idea would bloom in late 1964, when the we got it down just enough to be understood.” Supremes’ “Baby Love” hit No. 1 in the U.K., and “The Sound Of Young America,” as Motown later billed itself, spread around the world. Audiences who didn’t know English knew the words to Motown songs. The Motortown Revue went to Europe. Fan letters in every language showed up at West Grand Boulevard. Behind the infectious beat, inroads had been made overseas as early as spring 1963, when Mr. Gordy, along with Motown executives Esther Gordy Edwards and Barney Ales, made unprecedented sales visits to Italy, Germany, Belgium, Holland, France, Norway, Sweden and England. Two years later EMI U.K. created the Tamla Motown imprint, an international umbrella for the company’s multi-label output. -
View Playbill
MARCH 1–4, 2018 45TH ANNIVERSARY SEASON 2017/2018 Great Artists. Great Audiences. Hancher Performances. WORK LIGHT PRODUCTIONS PRESENTS BOOK BY BERRY GORDY MUSIC AND LYRICS FROM THE LEGENDARY MOTOWN CATALOG BASED UPON THE BOOK TO BE LOVED: MUSIC BY ARRANGEMENT WITH THE MUSIC, THE MAGIC, THE MEMORIES SONY/ATV MUSIC PUBLISHING OF MOTOWN BY BERRY GORDY MOTOWN® IS USED UNDER LICENSE FROM UMG RECORDINGS, INC. STARRING KENNETH MOSLEY TRENYCE JUSTIN REYNOLDS MATT MANUEL NICK ABBOTT TRACY BYRD KAI CALHOUN ARIELLE CROSBY ALEX HAIRSTON DEVIN HOLLOWAY QUIANA HOLMES KAYLA JENERSON MATTHEW KEATON EJ KING BRETT MICHAEL LOCKLEY JASMINE MASLANOVA-BROWN ROB MCCAFFREY TREY MCCOY ALIA MUNSCH ERICK PATRICK ERIC PETERS CHASE PHILLIPS ISAAC SAUNDERS JR. ERAN SCOGGINS AYLA STACKHOUSE NATE SUMMERS CARTREZE TUCKER DRE’ WOODS NAZARRIA WORKMAN SCENIC DESIGN COSTUME DESIGN LIGHTING DESIGN SOUND DESIGN PROJECTION DESIGN DAVID KORINS EMILIO SOSA NATASHA KATZ PETER HYLENSKI DANIEL BRODIE HAIR AND WIG DESIGN COMPANY STAGE SUPERVISION GENERAL MANAGEMENT EXECUTIVE PRODUCER CHARLES G. LAPOINTE SARAH DIANE WORK LIGHT PRODUCTIONS NANSCI NEIMAN-LEGETTE CASTING PRODUCTION MANAGEMENT TOUR BOOKING AGENCY TOUR MARKETING AND PRESS WOJCIK | SEAY CASTING PORT CITY TECHNICAL THE BOOKING GROUP ALLIED TOURING RHYS WILLIAMS MOLLIE MANN ORCHESTRATIONS MUSIC DIRECTOR/CONDUCTOR DANCE MUSIC ARRANGEMENTS ADDITIONAL ARRANGEMENTS ETHAN POPP & BRYAN CROOK MATTHEW CROFT ZANE MARK BRYAN CROOK SCRIPT CONSULTANTS CREATIVE CONSULTANT DAVID GOLDSMITH & DICK SCANLAN CHRISTIE BURTON MUSIC SUPERVISION AND ARRANGEMENTS BY ETHAN POPP CHOREOGRAPHY RE-CREATED BY BRIAN HARLAN BROOKS ORIGINAL CHOREOGRAPHY BY PATRICIA WILCOX & WARREN ADAMS STAGED BY SCHELE WILLIAMS DIRECTED BY CHARLES RANDOLPH-WRIGHT ORIGNALLY PRODUCED BY KEVIN MCCOLLUM DOUG MORRIS AND BERRY GORDY The Temptations in MOTOWN THE MUSICAL. -
Legends of Motown: Celebrating the Supremes Opening June 25
Legends Of Motown: Celebrating The Supremes Opening June 25 New Exhibit Features Rare Artifacts from the Premier Motown Records Act Founding Supremes Member Ms. Mary Wilson to Appear at the GRAMMY Museum June 24 For Intimate Interview and Q&A LOS ANGELES (June 5, 2015) — The GRAMMY Museum will explore the enduring legacy and influence of Motown Records' premier recording artists with the unveiling of Legends Of Motown: Celebrating The Supremes on June 25, 2015. The exhibit will offer visitors a unique look at the life and career of one of the most successful American singing groups of the '60s, the Supremes, through rare artifacts from the private collection of founding member Ms. Mary Wilson. On display on the Museum's third floor through spring 2016, the exhibit will feature rare photographs from the personal collection of Mary Wilson; concert posters; tour books, fan memorabilia; and an assortment of performance gowns, including: "Primette Pristine" gowns worn in 1961, one of the earliest sets purchased by the Supremes when they were still known as the Primettes "White De Mink" outfit worn on ABC's "The Hollywood Palace" in 1966 "Turquoise Freeze" dresses worn during a 1967 appearance on "The Ed Sullivan Show" "Red Hot" gown worn by Mary Wilson on "The Ed Sullivan Show" in 1970 for the debut of the new Supremes lineup featuring Cindy Birdsong and Jean Terrell "We've been eager to feature an exhibit celebrating Motown since we honored Berry Gordy and Smokey Robinson at our inaugural benefit gala in 2013," said Bob Santelli, Executive Director of the GRAMMY Museum. -
We'll Have a Gay Ol'time: Trangressive Sexulaity and Sexual Taboo In
We’ll have a gay ol’ time: transgressive sexuality and sexual taboo in adult television animation By Adam de Beer Thesis Presented for the Degree of DOCTOR OF PHILOSOPHY in Film Studies in the Faculty of Humanities and the Centre for Film and Media Studies UNIVERSITY OF CAPE TOWN UniversityFebruary of 2014Cape Town Supervisor: Associate Professor Martin P. Botha The copyright of this thesis vests in the author. No quotation from it or information derived from it is to be published without full acknowledgement of the source. The thesis is to be used for private study or non- commercial research purposes only. Published by the University of Cape Town (UCT) in terms of the non-exclusive license granted to UCT by the author. University of Cape Town Declaration I declare that this thesis is my own unaided work. It is submitted for the degree of Doctor of Philosophy at the University of Cape Town. It has not been submitted before for any other degree or examination at any other university. Adam de Beer February 2014 ii Abstract This thesis develops an understanding of animation as transgression based on the work of Christopher Jenks. The research focuses on adult animation, specifically North American primetime television series, as manifestations of a social need to violate and thereby interrogate aspects of contemporary hetero-normative conformity in terms of identity and representation. A thematic analysis of four animated television series, namely Family Guy, Queer Duck, Drawn Together, and Rick & Steve, focuses on the texts themselves and various metatexts that surround these series. The analysis focuses specifically on expressions and manifestations of gay sexuality and sexual taboos and how these are articulated within the animated diegesis. -
Motown the Musical
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At the OLD GLOBE THEATRE JULY 2009 Welcome
performances at the OLD GLOBE THEATRE JULY 2009 Welcome Dear Friends, UPCOMING Welcome to the world premiere of The First Wives Club - A New Musical. The birth of a musical is always a reason to celebrate, and THE MYSTERY OF with the talent that is assembled IRMA VEP for this production, it is much July 31 - Sep. 6, 2009 more than that. Some of today's The Old Globe Arena Stage at most sought-after artists have the James S. Copley joined forces to bring us this Auditorium, exciting production. The creative San Diego Museum of Art team, comprised of inter- nationally renowned director ❖❖❖ Francesca Zambello, Tony Award®-winning book writer Rupert Holmes and music and SAMMY lyric Motown legends Brian Holland, Lamont Dozier and Eddie Holland, Sep. 17 - Nov. 1, 2009 is just about unbeatable. Starting out with a hugely popular movie (and Old Globe Theatre book) is both an amazing opportunity and a serious challenge. How do we now make this story work for the stage? Theatre is a vastly different ❖❖❖ art form than film and the wisest creators work to bring us something new and fresh. They use the convention of the imaginary "fourth wall" to breathe new life into well-known stories. Bringing an innovative twist T H E SAVA N N A H to a familiar story, a surprising new voice to a known character — these DISPUTATION are some of the key elements in the creation of this show, and you are Sep. 26 - Nov. 1, 2009 the first ones to see the journey from the creators’ vision to the The Old Globe Arena Stage at production fully-realized and on stage. -
Interview with MARY WILSON Was Conducted by the Library of Congress on April 2, 2018
This interview with MARY WILSON was conducted by the Library of Congress on April 2, 2018 Mary Wilson Photo credit: Alan Mercer Library of Congress: Can you tell me about the first time “Where Did Our Love Go?” was presented to you as a song to be recorded? Mary Wilson: We had already released five, or six, or seven singles and they had been received locally very well in Detroit, and the surrounding area, but we had never had a big, national chart hit and Berry Gordy was like, “We’ve got to get the girls a hit record.” That’s when he put us with his top writing team Holland, Dozier and Holland. HDH came up with “When the Lovelight Starts Shining Through His Eyes” and we thought we were on our way with a hit record. Motown then released “Run Run Run”—it never made the charts at all--but “Lovelight” made the charts and we thought, “We’re on the right track.” We kept on trying. One day HDH said they had just come up with some smashes; that’s what they used to say when they felt they had a hit! We were brought several songs to listen to as I recall. When we heard “Where Did Our Love Go?” none of us was really excited about it. I remembered saying to Eddie Holland that if we didn’t get a hit record our parents were going to make us go to college. He said, “Trust me, Mary, this song is going to be a hit.” The reason that we did not care for “Where Did Our Love Go” was that we wanted a song more like the other girl groups, with more R&B driven rhythm, like the Marvellettes and the Vandellas; after all we were the first girl group to sign with Motown. -
The Heart of Rock and Soul by Dave Marsh
The Heart of Rock and Soul by Dave Marsh 4 REACH OUT I'LL BE THERE, The Four Tops Produced by Brian Holland and Lamont Dozier; written by Brian Holland, Lamont Dozier, and Eddie Holland Motown 1098 1966 Billboard: #1 (2 weeks) The shibboleth is that pop music -- from jazz to soul to punk -- is better off as a purely expressive vehicle in which feeling overwhelms thinking. But that's a dangerously sentimental delusion. The fact is, working in a strictly defined, even formulaic context, Holland-Dozier-Holland and Levi Stubbs came up with a record that is a match for anything in the history of rock and roll. It was in part the restrictions of Motown and Top 40 pop which made it possible, by establishing the tension that the producers and performers worked against. "Reach Out" is perhaps the truest single of all: Motown has released "Reach Out" dozens of times, on every medium from singles to CDs, but not one of the remasterings comes close to the sheer sonic crunch of the seven-inch 45. (Not just the Motown "map label" original; even reissued singles will put away any LP track or even the digitalized CD.) Unfortunately, in the squinched-up versions most often available, most of the things that make this the greatest Holland-Dozier-Holland record are missing. The sheer size of the sound, its physical impact; the wild echo that makes the countermelody carried by the flute exotic and eerie; equalization that polarizes voice and drums; the producers' use of what must have been about half of the Detroit Symphony as an adjunct rhythm section; whatever the hell it is that establishes the clip-clap rhythm in the intro. -
Paradise Reborn 1963-1965
The History of Rock Music: 1955-1966 Genres and musicians of the beginnings History of Rock Music | 1955-66 | 1967-69 | 1970-75 | 1976-89 | The early 1990s | The late 1990s | The 2000s | Alpha index Musicians of 1955-66 | 1967-69 | 1970-76 | 1977-89 | 1990s in the US | 1990s outside the US | 2000s Back to the main Music page Inquire about purchasing the book (Copyright © 2009 Piero Scaruffi) Paradise Reborn 1963-1965 TM, ®, Copyright © 2005 Piero Scaruffi All rights reserved. (These are excerpts from my book "A History of Rock and Dance Music") Across the ocean, the alternative to the British bands, that rediscovered and reshaped rhythm'n'blues, was the successor to rhythm'n'blues: soul music. The relationship between soul music and the British rebels was explicit: a soul record, Marvin Gaye's Can I Get A Witness (1963), became the anthem of the "mods". Wilson Pickett created an evil, ferocious kind of soul music with In The Midnight Hour (1964). Otis Redding's I've Been Lovin' You Too Long (1965) was soul music in which the instrumental backing had de facto replaced the gospel choir, and his Respect (1965) was a nod to the civil-rights movement. The "Memphis sound" was very much the invention of instrumental bands that went almost unnoticed despite the fact that they provided the "music" for those stars. Outstanding among them were the MG's, comprising keyboardist Booker T Jones, drummer Al Jackson and legendary guitarist Steve Cropper (who had been in the MG's predecessors, the Mar-Keys, and would co-write Wilson Pickett's In The Midnight Hour, Sam & Dave's Soul Man, Eddie Floyd's Knock On Wood, Otis Redding's The Dock of the Bay). -
Mainstage Playbill
Mainstage Playbill Sarah Ledtke McCann, Meredith Jones, Ann Flanigan, and Chelsea Turbin. Photo by Matthew Holler. Sponsored in part by the State of Florida, Department of State, Division of Cultural Affairs and the Florida Council on Arts and Culture. THE MARVELOUS WONDERETTES Written & Created by Roger Bean Musical Arrangements by Brian William Baker Orchestrations by Michael Borth Vocal Arrangements by Roger Bean & Brian William Baker CAST (Listed in alphabetical order) Missy .........................................................................Ann Flanigan* Betty Jean ..............................................................Meredith Jones* Cindy Lou .....................................................Sarah Ledtke McCann* Suzy ........................................................................Chelsea Turbin* Directed by: Jason Cannon Music Director Choreographer Scenic Designers Darren Server Ellie Mooney Isabel & Moriah Curley-Clay Costume Designer Lighting Designer Sound Designer Susan Angermann Thom Beaulieu Thom Korp Stage Manager: Roy Johns* Season Underwriters Patricia Kordis, Dennis & Graci McGillicuddy, Patrick & Mary Mulva, Anne H.S. Nethercott, Herald-Tribune Media Group Co-Producers Philip & Suzan Gaynes, Gulf Coast Community Foundation Setting Act One: 1958, Springfield, USA | Act Two: 1968, Springfield, USA The Marvelous Wonderettes runs 1 hour and 40 minutes with one 15 minute intermission. Originally Produced for the New York Stage by David Elzer, Roger Bean & Peter Schneider. The Marvelous Wonderettes