The Calloways
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Wszystkie 2013
29/12/2013 [ Radio RAM ] === THE CACTUS CHANNEL / Who Is Walt Druce? [HopeStreet (LP)] EX-FRIENDLY f/ Rich Medina / Journey Man (Jonno & Tommo remix) [People Are Looking At You (12")] ANTHONY JOSEPH & THE SPASM BAND / Griot (live) [Heavenly Sweetness (LP)] THE CACTUS CHANNEL / Laika [HopeStreet (LP)] J-BOOGIE'S DUBTRONIC SCIENCE f/ Rich Medina / Same Ol Thang [Om (LP)] DJ MITSU THE BEATS f/ Rich Medina / Do Right [Planetgroove (LP)] DA LATA f/ Rich Medina / Monkeys And Anvils [Agogo (LP)] NATH & MARTIN BROTHERS / Livingstone [Voodoo Funk/Honest Jon's (LP)] NATH & MARTIN BROTHERS / Livingstone (highlife) [Voodoo Funk/Honest Jon's (LP)] CHARLES MINGUS / II B.S. (RZA's Mingus Bounce remix) [Verve (LP)] GANG STARR / I'm The Man [Chrysalis (LP)] DONNY HATHAWAY / Sugar Lee [Atlantic (LP)] THE FUTURE SOUND / Star Struck (Caterpillar Style) [EastWest (LP)] KWEST THA MADD LAD / I Ain't The Herb [No Sleep (LP)] IKE & TINA TURNER / Cussin', Crying And Carryin' On [Unio Square (LP)] KWEST THA MADD LAD / Disk And Dat [American/BMG (LP)] DAS EFX / Here We Go [Eastwest (LP)] DENIECE WILLIAMS / How'd I Know That Love Would Slip Away [Sony BMG (LP)] BIZ MARKIE / Games [Groove Attack (12")] THE MIKE SAMMES SINGERS & THE TED TAYLOR ORGANSOUND / He Who Would Valient Be [Trunk (LP)] SOUNDSCI / Remedy [Crate Escape (EP)] YOUNG-HOLT UNLIMITED / Wah Wah Man [Rhino (LP)] SHOWBIZ & A.G. / Hard To Kill [London/Payday (LP)] LORD FINESSE & DJ MIKE SMOOTH / Baby, You Nasty [Wild Pitch (LP)] THE FUTURE SOUND / Jungle-O [EastWest (LP)] IDRIS MUHAMMAD / Crab Apple [Strictly Breaks (LP)] KWEST THA MADD LAD / Blasé Blah (Off That Head) [American/BMG (LP)] RUN-D.M.C. -
The Top Dance Songs of 1988
THE TOP DANCE SONGS OF 1988 1. TOGETHER FOREVER/NEVER GONNA GIVE YOU UP - Rick Astley (RCA) 51. GET OUTTA MY DREAMS, GET INTO MY CAR - Billy Ocean (Jive/Arista) 2. JUST GOT PAID-Johnny Kemp (Columbia) 52. LOVE WILL SAVE THE DAY - Whitney Houston (Arista) 3. IT TAKES TWO - Rob Base & D.J. E-Z Rock (Profile) 53. BIG FUN - Inner City (Virgin) 4. BREAK 4 LOVE - Raze (Columbia) 54. THE ONLY WAY IS UP - Yazz and the Plastic Population (Elektra) 5. PUMP UP THE VOLUME - M/A/R/R/S (4th & B'way) 55. SWEET CHILD O MINE - Guns & Roses (Geffen) 6. BOY, I'VE BEEN TOLD - Sa-Fire (Cutting/Mercury) 56. TEARS MAY FALL - TKA (Tommy Boy) 7. SPRING LOVE -Stevie B. (LMR) 57. LATIN LOVE - Trilogy (Prism) 8. SAYIN' SORRY - Denise Lopez (Vendetta) 58. WHEN EVER YOU NEED SOMEBODY - Rick Astley (RCA) 9. WHAT'S ON YOUR MIND - Information Society (Tommy Boy) 59. FANTASY GIRL - Johnny O (Mic Mac) 10. NAUGHTY GIRLS/I WANNA HAVE SOME FUN - Samantha Fox (Jive/RCA) 60. SIMPLY IRRESISTIBLE - Robert Palmer (EMI/Manhattan) 11. PROVE YOUR LOVE/TELL IT TO MY HEART - Taylor Dayne (Arista) 61. JUST A MIRAGE/JINGO-Jellybean (Chrysalis) 12. THE LOCO-MOTION - Kylie Minogue (Geffen) 62. WHAT HAVE I DONE TO DESERVE THIS? - Pet Shop Boys & Dusty Springfield (EMI/Manhattan) 13. PINK CADILLAC - Natalie Cole (EMI/Manhattan) 63. DREAMIN' OF LOVE - Stevie B (LMR) 14. PUSH IT - Salt-N-Pepa (Next Plateau) 64. DOMINO DANCING - Pet Shop Boys (EMI/Manhattan) 15. PARTY PEOPLE - Royal House (Idlers) 65. -
Death Row Records
The New Kings of Hip-Hop Death Row Records “You are now about to witness the strength of street knowledge.” —N.W.A. Contents Letter from the Director ................................................................................................... 4 Mandate .......................................................................................................................... 5 Background ...................................................................................................................... 7 Topics for Discussion ..................................................................................................... 10 East Coast vs. West Coast .................................................................................... 10 Internal Struggles................................................................................................. 11 Turmoil in Los Angeles ........................................................................................ 12 Positions ........................................................................................................................ 14 Letter from the Director Dear Delegates, Welcome to WUMUNS XII! I am a part of the class of 2022 here at Washington University in St. Louis, and I’ll be serving as your director. Though I haven’t officially declared a major yet, I’m planning on double majoring in political science and finance. I’ve been involved with Model UN since my freshman year of high school, and I have been an active participant ever since. I am also involved -
Traditional Funk: an Ethnographic, Historical, and Practical Study of Funk Music in Dayton, Ohio
University of Dayton eCommons Honors Theses University Honors Program 4-26-2020 Traditional Funk: An Ethnographic, Historical, and Practical Study of Funk Music in Dayton, Ohio Caleb G. Vanden Eynden University of Dayton Follow this and additional works at: https://ecommons.udayton.edu/uhp_theses eCommons Citation Vanden Eynden, Caleb G., "Traditional Funk: An Ethnographic, Historical, and Practical Study of Funk Music in Dayton, Ohio" (2020). Honors Theses. 289. https://ecommons.udayton.edu/uhp_theses/289 This Honors Thesis is brought to you for free and open access by the University Honors Program at eCommons. It has been accepted for inclusion in Honors Theses by an authorized administrator of eCommons. For more information, please contact [email protected], [email protected]. Traditional Funk: An Ethnographic, Historical, and Practical Study of Funk Music in Dayton, Ohio Honors Thesis Caleb G. Vanden Eynden Department: Music Advisor: Samuel N. Dorf, Ph.D. April 2020 Traditional Funk: An Ethnographic, Historical, and Practical Study of Funk Music in Dayton, Ohio Honors Thesis Caleb G. Vanden Eynden Department: Music Advisor: Samuel N. Dorf, Ph.D. April 2020 Abstract Recognized nationally as the funk capital of the world, Dayton, Ohio takes credit for birthing important funk groups (i.e. Ohio Players, Zapp, Heatwave, and Lakeside) during the 1970s and 80s. Through a combination of ethnographic and archival research, this paper offers a pedagogical approach to Dayton funk, rooted in the styles and works of the city’s funk legacy. Drawing from fieldwork with Dayton funk musicians completed over the summer of 2019 and pedagogical theories of including black music in the school curriculum, this paper presents a pedagogical model for funk instruction that introduces the ingredients of funk (instrumentation, form, groove, and vocals) in order to enable secondary school music programs to create their own funk rooted in local history. -
Stony Brook Juniors and Seniors and Civility at Stony Brook
zorKaR oyDF OOK . October 19, 1993 ONE NATION Volume 28, Number 2 - I CRISIS IN SOMALIA The political and socio-eco- Colonialism was a factor which nomic crisis in Somalia has brought created problems at the time of inde- world-wide attention to that corner of THE HORN OF AFRICA pendence (1960). The northern sec- the world, the horn of Africa. For the tion was part of the British empire past year, the public has been bom- Somall ethnic limits (Somaliland) and the southern section barded with images and mass informa- ........ International frontiers was part of the Italian imperial system tion being relayed by news correspon- con- -..............-Annroximate boundaries of (Italian Somaliland); the French dents. What the televised media has trolled what is now present day Djibouti failed to do, however, is to provide an (French Somaliland). When the Brit- adequate background and assessment ish and Italian sections became the of the situation in order for the viewer new independent Somalia, it brought to have a clearer point of view. The many problems with it. There was a problems of Somalia did not begin with question of which type of political sys- the outbreak of civil war in 1991, nor tern to use, having two different colo- when the cameras of various television nial legacies of government, and which stations began its coverage. language shouldbe made official(Brit- First, to understand why there ish , Italian or Somali). Also, the new is political instability, one must under- state only comprised two sections of stand the importance of clan affilia- Somali habitation and the other three tions within the context of various other sections where Somalis also inhabited factors: colonial legacies, problems of were alienated: Northern Frontier Dis- post-independence and the cold war. -
1. Early Years: Maria Before La Callas 2. Metamorphosis
! 1. EARLY YEARS: MARIA BEFORE LA CALLAS Maria Callas was born in New York on 2nd December 1923, the daughter of Greek parents. Her name at birth was Maria Kalogeropoulou. When she was 13 years old, her parents separated. Her mother, who was ambitious for her daughter’s musical talent, took Maria and her elder sister to live in Athens. There Maria made her operatic debut at the age of just 15 and studied with Elvira de Hidalgo, a Spanish soprano who had sung with Enrico Caruso. Maria, an intensely dedicated student, began to develop her extraordinary potential. During the War years in Athens the young soprano sang such demanding operatic roles as Tosca and Leonore in Beethoven’s Fidelio. In 1945, Maria returned to the USA. She was chosen to sing Turandot for the inauguration of a prestigious new opera company in Chicago, but it went bankrupt before the opening night. Yet fate turned out to be on Maria’s side: she had been spotted by the veteran Italian tenor, Giovanni Zenatello, a talent scout for the opera festival at the Verona Arena. Callas made her Italian debut there in 1947, starring in La Gioconda by Ponchielli. Her conductor, Tullio Serafin, was to become a decisive force in her career. 2. METAMORPHOSIS After Callas’ debut at the Verona Arena, she settled in Italy and married a wealthy businessman, Giovanni Battista Meneghini. Her influential conductor from Verona, Tullio Serafin, became her musical mentor. She began to make her name in grand roles such as Turandot, Aida, Norma – and even Wagner’s Isolde and Brünnhilde – but new doors opened for her in 1949 when, at La Fenice opera house in Venice, she replaced a famous soprano in the delicate, florid role of Elvira in Bellini’s I puritani. -
Intermedialtranslation As Circulation
Journal of World Literature 5 (2020) 568–586 brill.com/jwl Intermedial Translation as Circulation Chu Tien-wen, Taiwan New Cinema, and Taiwan Literature Jessica Siu-yin Yeung soas University of London, London, UK [email protected] Abstract We generally believe that literature first circulates nationally and then scales up through translation and reception at an international level. In contrast, I argue that Taiwan literature first attained international acclaim through intermedial translation during the New Cinema period (1982–90) and was only then subsequently recognized nationally. These intermedial translations included not only adaptations of literature for film, but also collaborations between authors who acted as screenwriters and film- makers. The films resulting from these collaborations repositioned Taiwan as a mul- tilingual, multicultural and democratic nation. These shifts in media facilitated the circulation of these new narratives. Filmmakers could circumvent censorship at home and reach international audiences at Western film festivals. The international success ensured the wide circulation of these narratives in Taiwan. Keywords Taiwan – screenplay – film – allegory – cultural policy 1 Introduction We normally think of literature as circulating beyond the context in which it is written when it obtains national renown, which subsequently leads to interna- tional recognition through translation. In this article, I argue that the contem- porary Taiwanese writer, Chu Tien-wen (b. 1956)’s short stories and screenplays first attained international acclaim through the mode of intermedial transla- tion during the New Cinema period (1982–90) before they gained recognition © jessica siu-yin yeung, 2020 | doi:10.1163/24056480-00504005 This is an open access article distributed under the terms of the cc by 4.0Downloaded license. -
Composition Catalog
1 LEONARD BERNSTEIN AT 100 New York Content & Review Boosey & Hawkes, Inc. Marie Carter Table of Contents 229 West 28th St, 11th Floor Trudy Chan New York, NY 10001 Patrick Gullo 2 A Welcoming USA Steven Lankenau +1 (212) 358-5300 4 Introduction (English) [email protected] Introduction 8 Introduction (Español) www.boosey.com Carol J. Oja 11 Introduction (Deutsch) The Leonard Bernstein Office, Inc. Translations 14 A Leonard Bernstein Timeline 121 West 27th St, Suite 1104 Straker Translations New York, NY 10001 Jens Luckwaldt 16 Orchestras Conducted by Bernstein USA Dr. Kerstin Schüssler-Bach 18 Abbreviations +1 (212) 315-0640 Sebastián Zubieta [email protected] 21 Works www.leonardbernstein.com Art Direction & Design 22 Stage Kristin Spix Design 36 Ballet London Iris A. Brown Design Boosey & Hawkes Music Publishers Limited 36 Full Orchestra Aldwych House Printing & Packaging 38 Solo Instrument(s) & Orchestra 71-91 Aldwych UNIMAC Graphics London, WC2B 4HN 40 Voice(s) & Orchestra UK Cover Photograph 42 Ensemble & Chamber without Voice(s) +44 (20) 7054 7200 Alfred Eisenstaedt [email protected] 43 Ensemble & Chamber with Voice(s) www.boosey.com Special thanks to The Leonard Bernstein 45 Chorus & Orchestra Office, The Craig Urquhart Office, and the Berlin Library of Congress 46 Piano(s) Boosey & Hawkes • Bote & Bock GmbH 46 Band Lützowufer 26 The “g-clef in letter B” logo is a trademark of 47 Songs in a Theatrical Style 10787 Berlin Amberson Holdings LLC. Deutschland 47 Songs Written for Shows +49 (30) 2500 13-0 2015 & © Boosey & Hawkes, Inc. 48 Vocal [email protected] www.boosey.de 48 Choral 49 Instrumental 50 Chronological List of Compositions 52 CD Track Listing LEONARD BERNSTEIN AT 100 2 3 LEONARD BERNSTEIN AT 100 A Welcoming Leonard Bernstein’s essential approach to music was one of celebration; it was about making the most of all that was beautiful in sound. -
CCC WEBINAR SERIES: Tuesday
Subscribe Past Issues Translate RSS STAY WELL-INFORMED AND WELL-CONNECTED... JOIN THE CALIFORNIA COPYRIGHT CONFERENCE TODAY! We're thrilled to introduce next week's webinar! Join the CCC on Tuesday, May 25th at 11:30am PDT for an exciting discussion entitled, "Neighboring Rights: The Intricacies of Registration, Legislation, and Monetization." LEARN MORE AND REGISTER BELOW! CCC WEBINAR SERIES: Tuesday, May 25th, 2021 11:30am PDT - 12:30pm PDT “NEIGHBORING RIGHTS: THE INTRICACIES OF REGISTRATION, LEGISLATION, AND MONETIZATION" Do you know about Neighboring Rights? Whether you’ve been in the industry for years or you’re an up and coming artist, few understand how to claim and collect this royalty stream and what needs to be done to maximize these earnings. You may know about SoundExchange but do you understand the whole picture of these rights and royalties, and on a global level? This panel will demystify the ins and outs of this income stream including navigating metadata challenges, how to make claims, and understanding the varying rules of proper global collections for recording artists, background/session musicians, record producers and record labels. Get in the know about the tips, tricks, and tools for maximizing neighboring rights royalties. This is one you cannot afford to miss! Moderator: Reggie Calloway | Director of Music Royalty Funding, Sound Royalties Panelists: Bruce Waynne | Vice President, Transparence Entertainment Group Dennis Dreith | Co-founder and Chairman, Transparence Entertainment Group Naomi Asher | Vice President of Neighboring Rights, Sony/ATV Music Publishing & President, IAFAR Advance Registration CCC Members $0 per person | Non-members $5 per person REGISTER HERE The registration deadline for this webinar is Tuesday, May 25th at 10:00am PDT. -
February 10, 2012 9:30Am & 11:30Am
SDCDArtsNotes An Educational Study Guide from San Diego Civic Dance / San Diego Park & Recreation School Shows – February 10, 2012 9:30am & 11:30am Casa del Prado Theatre, Balboa Park “It had long since come to my attention that people of accomplishment rarely sat back and let things happen to them. They went out and happened to things.” Defining Moments --Leonardo da Vinci Welcome! The San Diego Civic Dance Program welcomes you to the school-day performance of Collage 2012: Defining Moments, featuring the acclaimed dancers from the San Diego Civic Dance Company in selected numbers from their currently running theatrical performance. The City of San Diego Park and Recreation Department’s Dance Program has been lauded as the standard for which other city-wide dance programs nationwide measure themselves, and give our nearly 3,000 students the ability to work with excellent teachers in a wide variety of dance disciplines. The dancers that comprise the San Diego Civic Dance Company serve as “Dance Ambassadors” for the City of San Diego throughout the year at events as diverse as The Student Shakespeare Festival (for which they received the prize for outstanding Collage entry), Disneyland Resort and at Balboa Park’s December Nights event, to name but a few. In addition to the talented City Dance Staff, these gifted dancers also are given the opportunity to work with noted choreographers from Broadway, London’s West End, Las Vegas, and Major Motion Pictures throughout the year. Collage 2012: Defining Moments represents the culmination of choreographic efforts begun in the summer of 2011. Andrea Feier, Dance Specialist for the City of San Diego gave the choreographers a simple guideline: pick a moment, a time, or an event that inspired you – and then reflect that moment in choreography. -
The Apprenticeship of Duddy Kravitz Had Been a Popular Movie, with Richard Dreyfuss Playing a Jewish Nerd
Begin Reading Table of Contents About the Author Photos Copyright Page Thank you for buying this Henry Holt and Company ebook. To receive special offers, bonus content, and info on new releases and other great reads, sign up for our newsletters. Or visit us online at us.macmillan.com/newslettersignup For email updates on Lenny Kravitz, click here. The author and publisher have provided this e-book to you for your personal use only. You may not make this e-book publicly available in any way. Copyright infringement is against the law. If you believe the copy of this e-book you are reading infringes on the author’s copyright, please notify the publisher at: us.macmillanusa.com/piracy. For my mother I can’t breathe. Beneath the ground, the wooden casket I am trapped in is being lowered deeper and deeper into the cold, dark earth. Fear overtakes me as I fall into a paralytic state. I can hear the dirt being shoveled over me. My heart pounds through my chest. I can’t scream, and if I could, who would hear me? Just as the final shovel of soil is being packed tightly over me, I convulse out of my nightmare into the sweat- and urine-soaked bed in the small apartment on the island of Manhattan that my family calls home. Shaken and disoriented, I make my way out of the tiny back bedroom into the pitch-dark living room, where my mother and father sleep on a convertible couch. I stand at the foot of their bed just staring … waiting. -
Giacomo Casanova
Giacomo Casanova Sergio Mejía Macía Con recurso a la película de Federico Fellini Fellini’s Casanova y a la autobiografía del veneciano, Histoire de ma vie Este texto teatral sobre la vida de Giacomo Casanova (17251798) toma préstamos, sin pudor ni economía, de la película Fellini’s Ca sanova, producida por Alberto Grimaldi y Twentieth Century Fox en 1976, sobre guión escrito a cuatro manos por Bernardino Zapponi y Federico Fellini y dirigida por el último. Consulté sin método la autobiografía de Casanova, escrita en francés con el título Histoire de ma vie y publicada por primera vez en Leipzig entre 1822 y 1824, en traducción alemana. Utilicé la edición francesa establecida por Francis Lacassin, publicada por la casa parisina de Robert Lafront en 1993. Las tres primeras escenas corresponden a episodios de la Histoire de ma vie no incluidos en la película de Fellini. Las restantes siete son interpretaciones libres de episodios tratados por Fellini, todos ellos tergiversados por una lectura muy personal de la Histoire de ma vie, obra a su vez muy personal. Se incluyen traducciones libres,de fragmentos de los siguientes poemas: Ariosto, Orlando Furioso, Canto Segundo, primera Estanza; Canto Cuarto, sexta Estanza Torcuato Tasso, Noches 36 Artes, La Revista, Nº. 12 Volumen 6/ juliodiciembre, 2006 Personajes Casanova viejo Henriette Una flaca alta La monja de Murano Casanova joven Cinco cortesanos (tres Una pelirroja baja Una condesa mujeres y dos hombres) Casanova niño Dos prostitutas Cinco monjas Madame d’Urfé Marzia, la abuela Una