DOCSLIB.ORG

2021 Regional Dance Competition

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
2021 Regional Dance Competition Dance Comp 2021 Regional Dance Competition We are thrilled to have your dancers return to the Star Talent stage! Please help us continue to hold safe events by observing the guidelines. Only sit in your studios designated area. Limit dressing areas to only those necessary. Collect all belongs and vacate dressing areas and auditorium seating after your final performance. Adjudication awards will be announced as performers exit the stage. All awards will be packaged and available for director pick up after your lock. Overalls will be announced and livestreamed at our final awards session on Sunday. All studio awards will be boxed for pickup up by your studio director. The overall awards ceremony is only open to Studio Staff and designated representatives. Awards will be live streamed for all and open for an audience of studio staff plus 10 dancers. Up to 5 representatives will be invited to the stage from each studio. Star Talent staff will deliver awards to each studios representatives. Our entire competition will be live streamed because of limitations for spectators – link will be provided on our website and social media outlets. No video or Flash Photography, non flash is ok, tag us! @StarTalentDance You will receive Photos and a video of each performance after the competition. Links and access information will be emailed to studio directors when available. Star Talen uses the Dance Comp Genie Events App DanceComp Genie Events App Attending dance competitions will never be the same thanks to the exclusive app for DCG competitions. Download the app, activate a competition location receive real time routine status updates, by clicking on routine status This app is free to download and use. JODY REYNARD has been dancing non-stop for the past 28 years!! He attended the Cobb Center Excellence for in the Performing Arts outside of Atlanta, GA and graduated with a dance major. He then earned a BA in Theatre with Music minor from Kennesaw State University all while performing at or with The Atlanta Shakespeare Tavern, The Atlanta Opera and The Georgia Ballet. From there, his regional theatre career began with dancing roles in the Radio City Christmas Spectacular, On the Twentieth Century at the Goodspeed Opera House in East Haddam, CT and Mame at the Papermill Playhouse in Millburn, NJ. Soon thereafter he caught the eye of Ann Reinking at an open audition and made his Broadway debut in Fosse, dancing featured specialties such as “From the Edge,” “Rich Man’s Frug,” and the “Take Off with Us” adage. Other credits include the Broadway companies of Legally Blonde, Taboo, Saturday Night Fever and the national touring companies of Camelot, Kiss Me Kate, My Fair Lady, Memphis and Chicago. He served as swing and dance captain for the new musical, Roman Holiday, in its pre-Broadway tryout at the Golden Gate Theater in San Francisco, CA. Jody also worked as a “Rosie Boy” dancing behind Emmy Award winning Rosie O’Donnell on Rosie Live! and on The Oprah Winfrey Show in the “Farewell Spectacular” episode. Jody has worked as a dance captain and associate for Broadway choreographer, Denis Jones and international theatre choreographer, Darren Lee. He can currently be seen dancing behind six-time Tony Award winner, Audra McDonald, in the new movie musical, Hello Again! Some of his favorite roles include Darren in Take Me Out, Paul in Kiss Me Kate, Phaedra in La Cage aux Folles, Ken in Smokey Joe’s Café, featured performer with the NY Philharmonic, Omaha Symphony & South Dakota Symphony Orchestras AND substitute instructor of jazz & tap at Wagner College in Staten Island, NY. He is also currently on the roster of dance competition judges with Impact Dance Adjudicators. Ashley Moore -From Fort Lauderdale, Florida first started dancing at the age of three while growing up in South Florida and is highly trained in all styles of dance. She began her training and local studios and has had opportunities to many dance conventions around the country with impeccable training by many influential teachers. By the age of 16, Ashley started working professionally and started sharing her craft by teaching. Ashley has had opportunities to perform in numerous music videos for artist such as Dua Lipa, Jason Derulo, Rihanna, Ozuna and more. Further experiences and opportunities include commercials, live-stage opening performances with Farruko, Wisin , CNCO and others. Ashley is currently giving her knowledge and craft to many local studios teaching all styles of dance. She plans to continue working in this profession by spreading her love and knowledge in the arts. Ashlee’s goal is to improve the industry while gaining knowledge the training and transform any skill through movement and all styles of dance. A Native of Bel Air, Maryland, Julie Swartz is an honors graduate of Rutgers University, where she was a 4-year member of the Nationally-ranked Rutgers Dance Team. She is trained in numerous styles of dance including ballet, jazz, tap, contemporary, hip hop, musical theater, Irish step, and more. Julie has performed in many shows all across the world with Dublin Worldwide Productions, and Holland America Line cruises. Her televisions credits include, America's Got Talent, America's Best Dance Crew, and The Daily Show with John Stewart. Most recently, she had the privilege of performing in Tokyo, Japan in the production of "Broadway's Christmas Wonderland". Julie also travels across the US choreographing for several studios and collegiate dance teams, and is currently a choreographer for the Cincinnati BenGals cheerleaders. She now resides in Indian Trail, NC and is the owner of "Beyond the Ice", where she trains figure skaters off the ice in dance, flexibility, strength and technique. Julie is currently on the roster of dance competition judges with Impact Dance Adjudicators. Star Talent Productions Fort Mill #2 SC Friday 05:45 PM FRIDAY MARCH 26th, Please follow the livestream link or Dance Comp Events app for real time schedule updates Teen ~ Extreme ~ Duo/Trio ~ Lyrical 320 SHINE ON YOU Center Stage Dance Company Brianna Arrowood, Natalie Buchanan, Tori Overcash Petite ~ Excel ~ Duo/Trio ~ Open 321 RESPECT Center Stage Dance Company Emma Houghton, Kenley Miller Junior ~ Extreme ~ Solo ~ Tap 322 WANNABE Royal Title ContestantCenter Stage Dance Paisley Miller Company Teen ~ Elite ~ Large Group ~ Musical Theater 323 SOMEONE IN THE CROWD Carolina Dance Academy Ella Anderson, Gabriela Salas, Gaetina Milbradt, Hannah Runkle, Jillian Ellis, Kalin-Traci Vanderveer, Madeline Kline, Marisa Brandon, Niyanne Anderson, Olivia Stone, Payton Marano, Siena Gould, Taylor Kline Junior ~ Extreme ~ Solo ~ Contemporary 324 REFLECTIONS Carolina Dance Academy Ashanti Bofah Petite ~ Extreme ~ Large Group ~ Hip Hop 325 MINIONS Carolina Dance Academy Alejandra Salas, Ava Murray, Brooke Marano, Colleen Will, Elley Williams, Elodie Mckinney, Hayden Hollifield, Rani Mattera, Sophia Appleyard, Whitney Sweet Teen ~ Extreme ~ Small Group ~ Contemporary 326 THE LIGHT THAT NEVER FAILS Carolina Dance Academy Camden Yost, Catalina Salas, Courtney Hill, Emily Serdula, Julia Wolff, Kayla Michael-Jones 06:15 PM FRIDAY MARCH 26th, Please follow the livestream link or Dance Comp Events app for real time schedule updates Teen ~ Extreme ~ Solo ~ Jazz Participant 327 GOOGLE ME Royal Title ContestantCenter Stage Dance Katie Antosek Company Junior ~ Extreme ~ Solo ~ Lyrical 328 LAND OF CONFUSION Royal Title ContestantCenter Stage Tori Overcash Dance Company Petite ~ Excel ~ Solo ~ Open 329 SUPERSTAR Royal Title ContestantCenter Stage Dance Kenley Miller Company Petite ~ Excel ~ Solo ~ Lyrical 329.5 SMILE Royal Title ContestantCenter Stage Dance Elliot Patterson Academy Teen ~ Elite ~ Large Group ~ Jazz 330 ROYL Carolina Dance Academy Aiden Camilleri, Courtney Hill, Ella Anderson, Gaetina Milbradt, Hannah Runkle, Jillian Ellis, Kalin-Traci Vanderveer, Madeline Kline, Marisa Brandon, Niyanne Anderson, Olivia Stone, Payton Marano, Siena Gould, Taylor Kline Junior ~ Extreme ~ Duo/Trio ~ Musical Theater 331 SO MUCH BETTER Carolina Dance Academy Alejandra Salas, Elley Williams Petite ~ Extreme ~ Duo/Trio ~ Tap 332 STUPID CUPID Carolina Dance Academy Elodie Mckinney, Halle Brems Teen ~ Extreme ~ Small Group ~ Jazz 333 THE FAME Carolina Dance Academy Camden Yost, Catalina Salas, Emily Serdula, Julia Wolff, Kayla Michael- Jones, Stevens Faith, Zoe Dewalt Junior ~ Extreme ~ Solo ~ Tap 334 WE GOT THE BEAT Carolina Dance Academy Brooke Marano Teen ~ Elite ~ Large Group ~ Hip Hop 335 FRESH Carolina Dance Academy Aiden Camilleri, Courtney Hill, Ella Anderson, Gabriela Salas, Gaetina Milbradt, Hannah Runkle, Jillian Ellis, Kalin-Traci Vanderveer, Madeline Kline, Marisa Brandon, Niyanne Anderson, Olivia Stone, Payton Marano, Siena Gould, Taylor Kline 06:45 PM FRIDAY MARCH 26th, Please follow the livestream link or Dance Comp Events app for real time schedule updates Junior ~ Extreme ~ Solo ~ Lyrical Participant 336 EVERY HEART Carolina Dance Academy Ella Forrest Teen ~ Extreme ~ Solo ~ Acro 337 MIND HEIST Center Stage Dance Academy Camille Welfare Teen ~ Elite ~ Solo ~ Lyrical 338 HAVE YOU EVER BEEN IN LOVE Royal Title Elise Welfare ContestantCenter Stage Dance Academy Teen ~ Elite ~ Solo ~ Tap 339 ANOTHER ONE BITES THE DUST Center Stage Dance James Welfare Academy Petite ~ Extreme ~ Solo ~ Musical Theater 340 I CAN HEAR THE BELLS Carolina Dance Academy Elysia Bofah Junior ~ Extreme ~ Solo ~ Musical Theater 341 ITS OH SO QUIET Carolina Dance Academy Alejandra Salas Junior ~ Extreme ~ Small Group ~ Lyrical 342 THE
Load more

Recommended publications
  • Rules and Guidelines
    64TH GRAMMY AWARDS® RULES AND GUIDELINES ® Contents © 2021 Recording Academy | May not be reproduced in whole or in part without express permission. INTRODUCTION THESE ARE THE OFFICIAL RULES FOR THE GRAMMY AWARDS. All GRAMMY Awards ballots are cast by Recording Academy Voting Members and are subject to classification and qualifications under rules or regulations approved by the Board of Trustees. From time to time, the Board may vote to amend the qualification criteria for consideration for a GRAMMY Award or other award. 2 GRAMMY AWARDS YEAR CALENDAR GRAMMY AWARDS YEAR CALENDAR 2020 – 2021 Sept.1, 2020 – Sept. 30, 2021 Release Eligibility Period March 1, 2021, 11:59 P.M. PT Deadline to apply for membership for 64th GRAMMY Awards. Fees must be paid in order to qualify for voting. July 6, 2021, 9 A.M. PT Media Company Registration begins Aug. 24, 2021, 6 P.M. PT Media Company Registration ends July 13, 2021, 9 A.M. PT First-round Online Entry Process (OEP) Access Period begins July 29, 2021, 6 P.M. PT First-round Online Entry Process (OEP) Access Period ends Aug. 17, 2021, 9 A.M. PT Final-round Online Entry Process (OEP) Access Period begins Aug. 31, 2021, 6 P.M. PT Final-round Online Entry Process (OEP) Access Period ends Oct. 22, 2021 - Nov. 5, 2021 First-round Voting TBD Nominations announced Dec. 6, 2021 - Jan. 5, 2022 Final-round Voting 14 days after the announcement of nominations Deadline for errors and omissions to the nominations 2022 Jan. 31, 2022 64th Premiere Ceremony Jan. 31, 2022 64th GRAMMY Awards 3 TABLE OF CONTENTS 2 INTRODUCTION
    [Show full text]
  • Table of Contents
    1 •••I I Table of Contents Freebies! 3 Rock 55 New Spring Titles 3 R&B it Rap * Dance 59 Women's Spirituality * New Age 12 Gospel 60 Recovery 24 Blues 61 Women's Music *• Feminist Music 25 Jazz 62 Comedy 37 Classical 63 Ladyslipper Top 40 37 Spoken 65 African 38 Babyslipper Catalog 66 Arabic * Middle Eastern 39 "Mehn's Music' 70 Asian 39 Videos 72 Celtic * British Isles 40 Kids'Videos 76 European 43 Songbooks, Posters 77 Latin American _ 43 Jewelry, Books 78 Native American 44 Cards, T-Shirts 80 Jewish 46 Ordering Information 84 Reggae 47 Donor Discount Club 84 Country 48 Order Blank 85 Folk * Traditional 49 Artist Index 86 Art exhibit at Horace Williams House spurs bride to change reception plans By Jennifer Brett FROM OUR "CONTROVERSIAL- SUffWriter COVER ARTIST, When Julie Wyne became engaged, she and her fiance planned to hold (heir SUDIE RAKUSIN wedding reception at the historic Horace Williams House on Rosemary Street. The Sabbats Series Notecards sOk But a controversial art exhibit dis­ A spectacular set of 8 color notecards^^ played in the house prompted Wyne to reproductions of original oil paintings by Sudie change her plans and move the Feb. IS Rakusin. Each personifies one Sabbat and holds the reception to the Siena Hotel. symbols, phase of the moon, the feeling of the season, The exhibit, by Hillsborough artist what is growing and being harvested...against a Sudie Rakusin, includes paintings of background color of the corresponding chakra. The 8 scantily clad and bare-breasted women. Sabbats are Winter Solstice, Candelmas, Spring "I have no problem with the gallery Equinox, Beltane/May Eve, Summer Solstice, showing the paintings," Wyne told The Lammas, Autumn Equinox, and Hallomas.
    [Show full text]
  • Rules and Guidelines
    64TH GRAMMY AWARDS® RULES AND GUIDELINES ® Contents © 2021 Recording Academy | May not be reproduced in whole or in part without express permission. INTRODUCTION THESE ARE THE OFFICIAL RULES FOR THE GRAMMY AWARDS. All GRAMMY Awards ballots are cast by Recording Academy Voting Members and are subject to classification and qualifications under rules or regulations approved by the Board of Trustees. From time to time, the Board may vote to amend the qualification criteria for consideration for a GRAMMY Award or other award. 2 GRAMMY AWARDS YEAR CALENDAR GRAMMY AWARDS YEAR CALENDAR 2020 – 2021 Sept.1, 2020 – Sept. 30, 2021 Release Eligibility Period March 1, 2021, 11:59 P.M. PT Deadline to apply for membership for 64th GRAMMY Awards. Fees must be paid in order to qualify for voting. July 6, 2021, 9 A.M. PT Media Company Registration begins Aug. 24, 2021, 6 P.M. PT Media Company Registration ends July 13, 2021, 9 A.M. PT First-round Online Entry Process (OEP) Access Period begins July 29, 2021, 6 P.M. PT First-round Online Entry Process (OEP) Access Period ends Aug. 17, 2021, 9 A.M. PT Final-round Online Entry Process (OEP) Access Period begins Aug. 31, 2021, 6 P.M. PT Final-round Online Entry Process (OEP) Access Period ends Oct. 22, 2021 - Nov. 5, 2021 First-round Voting TBD Nominations announced Dec. 6, 2021 - Jan. 5, 2022 Final-round Voting 14 days after the announcement of nominations Deadline for errors and omissions to the nominations 2022 Jan. 31, 2022 64th Premiere Ceremony Jan. 31, 2022 64th GRAMMY Awards 3 TABLE OF CONTENTS 2 INTRODUCTION
    [Show full text]
  • Large-Scale Strategy and Compositional Design in the Early Music of Genesis
    Copyrighted Material 12 Large-Scale Strategy and Compositional Design in the Early Music of Genesis MARK SPICER Th e title of this chapter might remind some readers of an article by Andrew Mead that appeared in Perspectives of New Music more than two decades ago (Mead 1985), in which the author used sophisticated set-theoretic analytical techniques to dig beneath the surface of Arnold Schoenberg’s music, disclos- ing a “large-scale strategy” at work within several of the twelve-tone composi- tions. Mead had the advantage of writing for a scholarly community already well convinced of Schoenberg’s genius. I suspect the idea of placing the music of the British rock group Genesis in the same league as Schoenberg would be greeted with considerable skepticism—if not downright horror—by many musicologists, and this is certainly not my intent in the present essay. (Alas, it will probably require some drastic revolutions in taste before such early- Genesis classics as “Th e Return of the Giant Hogweed” are admitted into the canon of twentieth-century masterworks.) But I do hope to show that despite being several musical worlds removed from Schoenberg, Genesis’ music is rich, diverse, and equally worthy of our analytical attention. One of the most infl uential and long-lasting of the so-called “progressive rock” bands that emerged in Britain around 1970 in the wake of the Beatles, Genesis is probably better known to most pop-rock fans as the supergroup who made frequent appearances on the Billboard charts during the 1980s and early 1990s, with
    [Show full text]
  • Rock Album Discography Last Up-Date: September 27Th, 2021
    Rock Album Discography Last up-date: September 27th, 2021 Rock Album Discography “Music was my first love, and it will be my last” was the first line of the virteous song “Music” on the album “Rebel”, which was produced by Alan Parson, sung by John Miles, and released I n 1976. From my point of view, there is no other citation, which more properly expresses the emotional impact of music to human beings. People come and go, but music remains forever, since acoustic waves are not bound to matter like monuments, paintings, or sculptures. In contrast, music as sound in general is transmitted by matter vibrations and can be reproduced independent of space and time. In this way, music is able to connect humans from the earliest high cultures to people of our present societies all over the world. Music is indeed a universal language and likely not restricted to our planetary society. The importance of music to the human society is also underlined by the Voyager mission: Both Voyager spacecrafts, which were launched at August 20th and September 05th, 1977, are bound for the stars, now, after their visits to the outer planets of our solar system (mission status: https://voyager.jpl.nasa.gov/mission/status/). They carry a gold- plated copper phonograph record, which comprises 90 minutes of music selected from all cultures next to sounds, spoken messages, and images from our planet Earth. There is rather little hope that any extraterrestrial form of life will ever come along the Voyager spacecrafts. But if this is yet going to happen they are likely able to understand the sound of music from these records at least.
    [Show full text]
  • 2021 Grinner's Guide
    2021 grinner's guide Thank you to our sponsors Show-Me Hemp Fest BOLTE Container 636-629-4541 Since 2015, Pickin’ On Music Festivals have brought talented musicians from near and far together with passionate music lovers on the banks of Missouri’s scenic riverways. We have picked on the Meramec, the Mississippi, the Huzzah and the Courtois. For the third year we are concentrating our efforts on this little Shady Grove in Lost Hill Lake: Pickin’ on Picknic. This festival means so much to us. People have met here, fallen in love here, gotten married here, hell even fallen out of love here! We’ve brought our kids, our dogs, our parents, our lovers, and our friends here. Each year the electric buzz of the community fills the valley and you can hear the joy from the river banks to the highest ridge. But not last year. Amid the uncertainty and ever-changing policies of 2020, we couldn’t put on the show we wanted to. It wasn’t safe for our bands, our crew, or our friends who would attend. And as the year drew on, the silence of our favorite live music venues was deafening. We heard the tales of musicians struggling, venues shutting down, and dreams lost to the reality of a crippled economy. After the long, long silence, the first notes of live music playing for a live audience were like the trilling of a robin at dawn. We are thrilled to join that chorus. To finally bring these phenomenal musicians back to the banks of the Meramec and to bring our Pickin’ On family back into our arms.
    [Show full text]
  • November Dance 2020
    PHOTO BY NATALIE FIOL NOVEMBER DANCE 2020 DANCE AT ILLINOIS Thursday-Sunday, November 5-8, 2020, at 7pm and 9pm WELCOME Why do humans tend to carry on no matter collide and catalyze into a fresh archive of this what? Despite multiple pandemics colliding and present moment. Professor Endalyn Taylor’s the numerous obstacles in our way . we are work Boxed asks us to reflect and reconsider moving forward because it’s in our blood. These our perceptions of not only ourselves, but also limitations have been frustrating and exhausting, the identities we form in relationship to our but have also filled us with gratitude knowing that race, gender, age, ability, and country. Graduate the practice of being in the body and listening student and choreographer Bevara Anderson and creating from its vast resources is, simply put, will offer a meditation of quietude, a welcome . precious. We invite you to enjoy these dances gift for this unsettled world. This dance will be that are a result of the strange yet wonderful performed by our first-year students, a new moments together this fall. Dance at Illinois tradition, which will enable our audiences to get to know our initiates from their Due to the tragic cancellation of performances first performance to their last senior concert! at Krannert Center, we had unprecedented access to the Krannert stages, which provided We are excited for audiences to engage with this an unexpected opportunity. What if we “flipped work through a combination of a live experience the script” and asked our extraordinary team of and technology spinoffs.
    [Show full text]
  • WITH CD Continu- Ing to Moke Its Steodv Ascent
    WingITH toCD mokecontinu- its CD has taken steodvpopularity ascent it's notin ®^©ir as th® marketingsurprising campaignsthat this autumn'sare fea- The §oibfSe sei this fflwtEnmra's twoturing formats a CD pusn — albeitover the in otherquite mopketSirag a subtle form. Obviously we are cognisant of most polarised mixes. At one Doors' LA Woman and Morri- dlpiws0 Ely MarkVirgin Williams general points out;manager "Just emphasisingthe opportunities CD, by puttingof endRichard, of thewho's spectrum still got isa veryCliff thirdson Hotel,and fourthLed Zeppelin's albums. Vanfirst, you'din terms normally of things have like put where 'LP, theextra packaging tracks on a itlittle and bit making differ- relativelyhigh vinyl lowpercentage on CD, and right is AC/DC'sMorrison's Back Astral In BlackWeeks, and ancassette, ad or CD' a piece at the of bottom point-of- of incrediblythrough to highPink onFloyd, CD." who are HarvestHighway Toand Hell, NeilAfter Young's The paign designed specifically to tendsale —to sayif you 'CD, look cassette, now theyLP.' albumwith Belinda Runaway Carlisle's Horses second and Def,Chrysalis: Dumb &Deborah Blonde Harr/sis ex- ticGoldrush, Crossing, Rod Chicago Stewart's 17, Atlan- The formats,promote Dinothe isCD hoping over for other CDs That'sif you're the usingorder aof packpriority. shot And in thePandora's new Jim Box. Sfeinman project. andpected cassette to have bias, a alongstrong withCD CarsPretenders first album. first album and the centto account of the record'sfor 30 sales.to 40 "The per squarean ad, thatinstead people of mighta 12-inch per- "Obviously we'll be re-pro- the Milli Vanilli album 2x2, Dino; The first four releases Sixties one will also be a very ceive as an album, now there bum,moting and the theDanny Kirsly Wlson MacColl al- feringand a fromnew (asBilly yet Idol.
    [Show full text]
  • Cumulative Form in Pop-Rock Music
    twentieth-century music 1/1, 29–64 © 2004 Cambridge University Press DOI: 10.1017/S1478572204000052 Printed in the United Kingdom (Ac)cumulative Form in Pop-Rock Music MARK SPICER Abstract This article examines a variety of compositional procedures that give rise to what the author defines as ‘accumulative’ and ‘cumulative’ forms in pop-rock music, formal processes which are directly linked to the rapid advances in recording technology that occurred mainly from the late 1960s to the 1980s. The article includes detailed transcriptions and analyses of pop-rock music across a wide range of styles and genres, from progressive rock to post-punk to techno. J. Peter Burkholder has coined the term ‘cumulative form’ to describe an unusual com- positional strategy in selected late nineteenth-century works, particularly in the music of Charles Ives.1 In typical large-scale eighteenth- and nineteenth-century tonal pieces (those in sonata form, for example), we expect the main theme to be stated intact at the outset – most often in the tonic key – and then subjected to various processes of fragmentation and development as the piece unfolds. In a cumulative form this typical order is reversed: thematic fragments are gradually introduced and developed, only to crystallize into a full-fledged presentation of the main theme in a climactic pay-off at the end of the piece. As Burkholder shows, prototypes of cumulative form can be found in symphonic works from early in the nineteenth century. Probably the most famous example is the finale of Beethoven’s Ninth Symphony (1823), where fragments of the ‘Ode to Joy’ are introduced long before the theme makes its first complete appearance.
    [Show full text]
  • Bootleg: the Secret History of the Other Recording Industry
    BOOTLEG The Secret History of the Other Recording Industry CLINTON HEYLIN St. Martin's Press New York m To sweet D. Welcome to the machine BOOTLEG. Copyright © 1994 by Clinton Heylin. All rights reserved. Printed in the United States of America. No part of this book may be used or reproduced in any manner whatsoever without written permission except in the case of brief quotations embodied in critical articles or reviews. For information, address St. Martin's Press, 175 Fifth Avenue, New York, N.Y. 10010. ISBN 0-312-13031-7 First published in Great Britain by the Penguin Group First Edition: June 1995 10 987654321 Contents Prologue i Introduction: A Boot by Any Other Name ... 5 Artifacts 1 Prehistory: From the Bard to the Blues 15 2 The Custodians of Vocal History 27 3 The First Great White Wonders 41 4 All Rights Reserved, All Wrongs Reversed 71 5 The Smokin' Pig 91 6 Going Underground 105 7 Vicki's Vinyl 129 8 White Cover Folks! 143 9 Anarchy in the UK 163 10 East/West 179 11 Real Cuts at Last 209 12 Complete Control 229 Audiophiles 13 Eraserhead Can Rub You Out 251 14 It Was More Than Twenty Years Ago . 265 15 Some Ultra Rare Sweet Apple Trax 277 16 They Said it Couldn't be Done 291 17 It Was Less Than Twenty Years Ago . 309 18 The Third Generation 319 19 The First Rays of the New Rising Sun 333 20 The Status Quo Re-established 343 21 The House That Apple Built 363 22 Bringing it All Back Home 371 Aesthetics 23 One Man's Boxed-Set (Is Another Man's Bootleg) 381 24 Roll Your Tapes, Bootleggers 391 25 Copycats Ripped Off My Songs 403 Glossary 415 The Top 100 Bootlegs 417 Bibliography 420 Notes 424 Index 429 Acknowledgements 442 Prologue In the summer of 1969, in a small cluster of independent LA record stores, there appeared a white-labelled two-disc set housed in a plain cardboard sleeve, with just three letters hand-stamped on the cover - GWW.
    [Show full text]
  • Ladyslipper Catalog Table of Contents
    I ____. Ladyslipper Catalog Table of Contents Free Gifts 2 Country The New Spring Crop: New Titles 3 Alternative Rock 5g Celtic * British Isles 12 Rock * Pop 6i Women's Spirituality * New Age 16 R&B * Rap * Dance 64 Recovery 27 Gospel 64 Native American 28 Blues ' 04 Drumming * Percussion 30 Jazz • '. 65 African-American * African-Canadian 31 Classical 67 Women's Music * Feminist Music 33 Spoken .... 68 Comedy 43 Babyslipper Catalog 70 Jewish 44 Mehn's Music 72 Latin American 45 Videos 75 Reggae * Caribbean 47 Songbooks * Sheet Music 80 European 47 Books 81 Arabic * Middle Eastern 49 Jewelry, Cards, T-Shirts, Grab-Bags, Posters 82 African 49 Ordering Information 84 Asian * Pacific 50 Order Blank 85 Folk * Traditional 51 Artist Index 86 Free Gifts We appreciate your support, and would like to say thank you by offering free bonus items with your order! (This offer is for Retail Customers only.) FMNKK ARMSTRONG AWmeuusic PIAYS SO GHMO Order 5 items: Get one Surprise Recording free! Our choice of title and format; order item #FR1000. Order 10 items: choose any 2 of the following free! Order 15 items: choose any 3 of the following free! Order 20 items: choose any 4 of the following free! Order 25 items: choose any 5 of the following free! Order 30 items: choose any 6 of the following free! Please use stock numbers below. #FR1000: Surprise Recording - From Our Grab Bag (our choice) #FR1100: blackgirls: Happy (cassette - p. 52) Credits #FR1300: Frankie Armstrong: ..Music Plays So Grand (cassette - p. 14) #FR1500: Heather Bishop: A Taste of the Blues (LP - p.
    [Show full text]
  • THE STRANGLERS the House That Jacques Built and Other Stories from the Betes Noires of Pop FEARGAL SHARKEY from Derry Days to LA Nights
    eTHE YEAR END GALLUP CHARTS FOR 1987! THE STRANGLERS The house that Jacques built and other stories from the betes noires of pop FEARGAL SHARKEY From Derry days to LA nights. A spotty Herbert made good returns DURUTTI COLUMN Morrissey and me by Vini Reilly BROS Are they anything more than three pairs of nicely filled trousers? Plus: WESTWOR MORRIS AND TH THE PO L I V E S £OtO AND THE BUNNYMEN DEPEQfE MODE THE Rf:IYTHM SISTERS LEE 'SCRATCH' PERRY 1 2 SINGLES henry willioms claws his woy through t'pou, the woodentops, ond lots lots more . 14 ALBUMS johnothon richmon, the mekons, the jazz The Cure have built up a worldwide butcher following, and yet they remain shadowy 1 6 BROS when will they be fomous? very soon, it seems figures whose history is virtually unknown. 18 BPM This is about to change with the release, 22 CHARTS on January 22, of 'The Cure' (Zomba 2 8 CHARTFILE Books £8.95), a comprehensive 32 THE STRANGLERS retrospective of the music and life of the no kinks in their armour! first IO years of the band. Extensive 3 4 CHARTFILE SPECIAL interviews with R obert Smith, old the top-selling bands of lost year snapshots of Cure happenings and press 3 6 YEAR-END CHARTS cuuings have been put together by the what sold most in '87 group's designer, Andy Vella, reliving the 3 8 TONY BALONEY the master of the poison pen lets you get o glorious moods and memories associated word in edgeways with the albums, singles and tours of one 39 WESTWORLD of the greatest acts to emerge since the the sonic boom boys (and girl) return to earth halcyon days of punk.
    [Show full text]