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The Surfaris – Tech & Travel Rider Wipe Out – Surfer Joe – Point Panic The Surfaris are basically a 4 piece band- 2 guitars, bass and drums. 1. The band plays mostly instrumental surf music with a few vocals sprinkled in the set to break things up. Think Dick Dale (Misirlou, Let's Go Trippin'), The Ventures (Walk Don't Run, Hawaii 5-0) 2. The lead guitar in The Surfaris works like the lead vocal in a band. The melody is performed by the guitar and should be prominent in the mix. 3. The Surfaris do perform 3-5 vocals in a 60-90 minute set 4. The band has been around for 50+ years with many different combinations of musicians throughout the years. The current band is lead by Bob Berryhill, original guitarist of The Surfaris and co- author of the worldwide hit song Wipe Out among other known hits. The current band performing with Bob has been together in it's same iteration since 2001. 5. Our band is a family affair and often travels with it's children and grandchildren to performances. Professional conduct and language is requested before, during and after The Surfaris show. 6. For more info on the current and history of the original band, go to www.thesurfaris.com 7. Please feel free to contact guitarist Deven Berryhill (Bob's son) for questions regarding our input list, backline and stage set up. [email protected] 949-244-4407 8. For all other booking, performance rider questions, contact The Surfaris manager Brian Beirne, "Mr. Rock N' Roll" at [email protected] 949-725-1177 The Surfaris – Stage Plot The Surfaris – Input List The Surfaris Travel / Greenroom / Accommodations / Meals Merch Table - Rider Thank you for considering The Surfaris to play for your event. Typically, our concert sets are approximately 45 minutes to an hour. This time is jam packed with high energy authentic surf rock music '60s style, with Bob Berryhill speaking, giving historical tidbits and highlights and testimony within the set. The band is willing to be flexible, so if your program has specifics other than the above information, let us know and we'll plan according to your needs as much as possible. Merch Sales: Please provide a product table for CD and T-shirt sales located either by the stage or in the foyer of the hall. If you expect more than 400 people to attend, another table may be needed. A responsible volunteer for each table is also appreciated to help handle sales. Meals/Drinks: Healthy foods (fruit salad, veggies, bagels, or similar items) would be great before the concert. Bottled water, soft drinks and hot tea are preferred beverages. If sound check and/or performance run into the lunch or dinner hour, sandwiches or a hot meal would be great. Green Room: A dressing facility/room with mirror and bathroom is needed near the staging area for the band. Transportation: Airline: 4 regular or business/first class seats. Preferably together, and in the front of the plane. Preferred airlines are Delta or Southwest for domestic travel. Airport pick up: The band will need a vehicle large enough (preferably a large Mini Van, full size Van or SUV) with enough room to carry personnel, luggage, product and equipment in travel cases. In most instances, a back seat will need to be taken out of the van to accommodate the guitar cases & and luggage for 4-5 people. The seat is to be removed before picking up the band for easy transfer of the band from airport to hotel/venue. Hotels: The Surfaris generally travel with 4 to 6 persons, depending on the situation. Please arrange for business class hotels, close to the event. 2-3 clean, non-smoking rooms are requested. Room #1 = 1 King Bed Room #2 = 2 Queen Beds If a third room is needed = 1 King Bed Thanks again for your interest in booking the Surfaris. To inquire about or to confirm a date, please call our agent, Brian Beirne at 949-725-1177 or e-mail [email protected]. .

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Sarah Swersey, Flute Joe Belmont, Guitar

Sarah Swersey, flute Joe Belmont, guitar Memorial Hall Museum, Deerfield, Massachusetts Sunday, July 18, 2010 3 p.m. Entr’Acte Jacques Ibert Pavane Op. 50 Gabriel Fauré “Name That Tune” CD giveaway! Nardis Miles Davis Misirlou Michalis Patrinos, arr. Dick Dale Estate Bruno Martino Bordel 1900 Astor Piazzolla (from The History of the Tango) <<< Intermission >>> You Don’t Know What Love Is Gene de Paul and Don Raye Bourrée Johan Sebastian Bach, arr. Ian Anderson El Condor Pasa Daniel Alomía Robles Brandenburg Concerto No. 5 Johan Sebastian Bach, arr. Jerry Snyder (first movement) Some Other Time Leonard Bernstein A Felicidade Antonio Carlos Jobim The Celtic Harp Joe Belmont Spain Chick Corea About Dúo Fusión: Flutist Sarah Swersey and guitarist Joe Belmont have long and storied histories as professional musicians but have been performing together for only the past year. Melding her dazzling classical playing and his extraordinary jazz chops, they’ve created an adventurous sound that soars all over the musical map. They’ve just released their debut CD, Dúo Fusión, which contains much of the music they are performing today. It is available at intermission and after the concert, and also online at CDbaby.com and Amazon.com. For a performance schedule, audio samples and more information, visit their website, www.duo-fusion.com. Joe Belmont, widely recognized as one of the finest guitarists in New England, plays an extraordinarily broad range of styles — classical, jazz, flamenco, and rock, to name a few. A native of New York City, he played his first gigs and made his first recordings by age 17, and has been performing professionally for over 30 years.
Pynchon's Sound of Music

Pynchon’s Sound of Music Christian Hänggi Pynchon’s Sound of Music DIAPHANES PUBLISHED WITH SUPPORT BY THE SWISS NATIONAL SCIENCE FOUNDATION 1ST EDITION ISBN 978-3-0358-0233-7 10.4472/9783035802337 DIESES WERK IST LIZENZIERT UNTER EINER CREATIVE COMMONS NAMENSNENNUNG 3.0 SCHWEIZ LIZENZ. LAYOUT AND PREPRESS: 2EDIT, ZURICH WWW.DIAPHANES.NET Contents Preface 7 Introduction 9 1 The Job of Sorting It All Out 17 A Brief Biography in Music 17 An Inventory of Pynchon’s Musical Techniques and Strategies 26 Pynchon on Record, Vol. 4 51 2 Lessons in Organology 53 The Harmonica 56 The Kazoo 79 The Saxophone 93 3 The Sounds of Societies to Come 121 The Age of Representation 127 The Age of Repetition 149 The Age of Composition 165 4 Analyzing the Pynchon Playlist 183 Conclusion 227 Appendix 231 Index of Musical Instruments 233 The Pynchon Playlist 239 Bibliography 289 Index of Musicians 309 Acknowledgments 315 Preface When I first read Gravity’s Rainbow, back in the days before I started to study literature more systematically, I noticed the nov- el’s many references to saxophones. Having played the instru- ment for, then, almost two decades, I thought that a novelist would not, could not, feature specialty instruments such as the C-melody sax if he did not play the horn himself. Once the saxophone had caught my attention, I noticed all sorts of uncommon references that seemed to confirm my hunch that Thomas Pynchon himself played the instrument: McClintic Sphere’s 4½ reed, the contra- bass sax of Against the Day, Gravity’s Rainbow’s Charlie Parker passage.
Playlists for All Classes: Turn, Turn, Turn Part Two Instructor: Pete Elman

Playlists for all classes: Turn, turn, turn part two instructor: Pete Elman Week one: California’ Dreamin’ play CD#1—California Girls—Beach Boys play CD#2—Theme from Endless Summer play CD#3—Walk Don’t Run: The Ventures Play video #1: TAMI Show: I Get Around/Surfer Girl--Beach Boys play CD#4---Wouldn’t It be Nice—Beach Boys play CD#5---Mr. Tambourine Ma--Byrds play CD#6---I’ll Feel a Whole Lot Better--Byrds play CD #7—12:30—Mamas and Papas Play video #2: California Dreamin’--Mamas and Papas play CD #8—Kicks---Raiders play CD #9—I Got You Babe--Sonny and Cher play CD #10—Last train to Clarksville---Monkees Play video #3: Latin Lupe Lu—Righteous brothers Play CD #11---Lovin’ feelin’--Righteous brothers play CD #12---Along Comes Mary--Association Play video #4: My Little Red Book--Love Week two: The SF Sound play CD #1— Somebody to Love--Jefferson Airplane play video #1: Doors—from when you’re strange documentary play CD #2—Just a Little—Beau Brummels play CD #3— 8:05--Moby Grape play CD #4— Omaha--Moby Grape play LIVE—Friend of the devil play CD #5--Box of Rain--The Grateful Dead play video #2-- White Rabbit—Jefferson Airplane, from 1967 play CD #6— We Can be Together--Jefferson Airplane play CD #7— Livin’ in the USA—Steve Miller play CD #8—Killing Floor--Electric Flag play video #3—Higher, Sly and the Stone, from Woodstock 1969 play video #4-- Cry Baby, Janis Joplin, from Festival Express 1969 play video #5—soul sacrifice, Santana from Woodstock 1969 Week three: Singer-songwriters of the Canyon CD Track #1—Fire and Rain, James Taylor CD
Tech Rider  the Surfaris Are a 4 Piece Band of 2 Guitars, Keyboards, Bass and Drums

The Surfaris – Tech Rider The Surfaris are a 4 piece band of 2 guitars, keyboards, bass and drums. Band member’s names – o Bob Berryhill – original Surfaris member – Lead Guitar o Gene – Bass / Vocals o Ben – Rhythm / Lead Guitar o Joel – Drums / Lead Vocals The band plays mostly instrumental music with some vocal songs. The lead guitar in The Surfaris works like the lead vocal in a band. The melody is performed by the guitar and should be prominent in the mix. The band has been around for 50+ years in various formations. The current band is led by Bob Berryhill, original guitarist of The Surfaris and co-author of the worldwide hit song Wipe Out among other known hits. The band’s goal is to have a professional working experience with you based on mutual respect for each other’s talents and experience. Our band is family fare, therefore, professional conduct and language is requested before, during and after The Surfaris shows and soundchecks. For more info on the current band and history or the original band, go to www.thesurfaris.com For all booking and rider questions, contact The Surfaris manager Brian Beirne, “Mr. Rock N’ Roll” at [email protected] or 949-725-1177. General Considerations All terms and provisions contained herein, are integral and binding parts of the face of the agreement. The agreement is between THE SURFARIS or their representative and the PURCHASER. STAGE PLOT Input List Inp Qt Use for ut y FX Insert Monitor Line Notes Microphones and DI Shure SM58 Center Vocal Ch.
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April 13, 2000 CONGRESSIONAL RECORD Ð Extensions of Remarks E589 RECOGNIZING CARLISLE AND recorded for NASA, Disneyland, and a mul- A TRIBUTE TO REPRESENTATIVE MCCORD ELEMENTARY SCHOOLS titude of commercials, television shows, and STEPHEN CHEN movies. The recipient of countless awards, HON. ROBERT B. ADERHOLT Dale has been nominated for a Grammy and HON. GARY L. ACKERMAN OF ALABAMA is enshrined in the Surfing Hall of Fame. OF NEW YORK IN THE HOUSE OF REPRESENTATIVES Beyond his musical talent, Dale is an ac- IN THE HOUSE OF REPRESENTATIVES complished horseman, exotic animal trainer, Thursday, April 13, 2000 Thursday, April 13, 2000 surfer, martial arts expert, archer, and pilot. In Mr. ACKERMAN. Mr. Speaker, I want to call Mr. ADERHOLT. Mr. Speaker, I am proud to addition to his recording and performing ca- to the attention of my colleagues and submit recognize two schools in my district that have reer, Dale has worked tirelessly to clean up for the RECORD an article regarding Rep- been recognized by the U.S. Department of the world's oceans and protect endangered resentative Stephen Chen, who serves as the Education for their achievements as Title I wild animals. He has donated the proceeds of schools. head of the Taipei Cultural and Economic some recordings to the Burn Treatment Center Representative Office in Washington. The arti- These schools, Carlisle Elementary Schools at the University of California. in Boaz, Alabama and McCord Elementary cle, which ran in on April 3 in the New York Dick Dale has not been content to sit back Times, is a fitting tribute to Taiwan's unofficial School in Albertville, Alabama, were selected as a legend.
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.
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SURF MUSIC by Geoffrey Himes

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Dionysian Symbolism in the Music and Performance Practices of Jimi Hendrix

City University of New York (CUNY) CUNY Academic Works Dissertations and Theses City College of New York 2013 Dionysian Symbolism in the Music and Performance practices of Jimi Hendrix Christian Botta CUNY City College How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/cc_etds_theses/205 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] Dionysian Symbolism in the Music and Performance Practice of Jimi Hendrix Christian Botta Submitted in partial fulfillment of the requirements for the degree Master of Arts in Musicology At the City College of the City University of New York May 2013 Table of Contents Introduction 1 Chapter One – Hendrix at the Monterey Pop and Woodstock Festivals 12 Chapter Two – ‘The Hendrix Chord’ 26 Chapter Three – “Machine Gun” 51 Conclusion 77 Bibliography 81 i Dionysian Symbolism in the Music and Performance Practice of Jimi Hendrix Introduction Jimi Hendrix is considered by many to be the most innovative and influential electric guitarist in history. As a performer and musician, his resume is so complete that there is a tendency to sit back and marvel at it: virtuoso player, sonic innovator, hit songwriter, wild stage performer, outrageous dresser, sex symbol, and even sensitive guy. But there is also a tendency, possibly because of his overwhelming image, to fail to dig deeper into the music, as Rob Van der Bliek has pointed out.1 In this study, we will look at Hendrix’s music, his performance practice, and its relationship to the mythology that has grown up around him.
My Local Drum Shop, Scheerers Music in Leeds

Hey! Listen! A bit like a trail of breadcrumbs, we’ve dispersed the TDJ logo throughout the magazine. If it all gets a bit much, you can click it at any point to return back to the contents page. You can also click the title of any article on the contents page to skip straight to it. Ads are interactive too, so if you see something you like, you can click it for more information. Contents Masthead 9 Willie’s Drum Shop Proprietary Information with Will Wright 22 Jimmy Chamberlin Father of a Pommel Horse Champion 36 Acronyms, Auditions and Afghanistan CPL Matt Kilkoyne WIN! 46 Your Drums Aren’t Dead Restoration and its Discontents 55 Dynamic Sustenance Jack White’s Daru Jones 69 Origin Stories A Conversation with Ihan Haydar CONTENTS A Call To Arms Issue Eight, Spring 2015 77 In The Balance Ben Martin Subscribe Shop Editor: Tom Hoare [email protected] Design: Luke Douglas [email protected] Technical: Anton Rodriguez Social: Vicky Batrak, Dan Ainspan Proof Reader: David Smith Contributors: Joe Cox, Julia Kaye, Ben Martin Photographers: Bex Wade, Kiku Fukuzumi, Ken Lay, Tobias Fonsmark, Shaun Thubron, Luke Douglas, Gilbert Blecken, Mikkel Werenberg Illustrators: Beth Jorgensen, Tuomas Kärkkäinen, David Gonzalez, Billy Ponzio Max Respect: David Kirby, Marion Rebmann, Kendra Ross, RUSIC Records, David Kessner, Luis Cardoso, Ellie Shapiro, Rob Grad, Kevin Philbin, Katie Bursey, Sgt D C Sanderson, Kate Darracott, Elspeth Leadbetter, Beto Benitez, Flora Hodson, Elaine Smith, Greg, Norbert Saemann, Tom Gorton, MONO Thanks for nothing: Spirit Airlines Cover Illustration: Surround Sound by Sarah Ferone sarahferone.com MASTHEAD www Issue Eight, Spring 2015 Copyright © The Drummer’s Journal 2015 The proprietors and contributors to The Drummer’s Journal have asserted their right under the Copyright Designs and Patents Act 1988 to be identified as the owners and authors of this work.
Download/1470/216

SINGING QUEER: ARCHIVING AND CONSTRUCTING A LINEAGE THROUGH SONG by Katharine A. Cherry-Reid B.A., The University of Guelph, 1997 B.Ed., The University of British Columbia, 2000 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in THE FACULTY OF GRADUATE AND POSTDOCTORAL STUDIES (Gender, Race, Sexuality and Social Justice) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) December 2015 © Katharine A. Cherry-Reid, 2015 Abstract Using an arts-based approach, this research examines how songs written by queer and lesbian musicians can account for and archive queer lived existence while constructing a musical genealogy for listeners and artists alike. By examining my own experience of listening to and attending performances of certain queer and lesbian identified musicians, and then composing and performing my own songs in public spaces, I make a case for the corporeal mobility of songs, and a process I have termed “queer musical lineaging.” Much of the research around music to date has centred on how it impacts and influences brain activity, and how it brings together subcultures and publics. The significance of this project lies in the research around musical processes and practices (listening, composing, performing) as corporeal acts that connect bodies to one another, and build kinships. This research draws mainly upon primary sources of autoethnographic, written accounts in the form of journal entries, stories, poems and song lyrics, and conducts an interpretive analysis of six “queer” songs, five composed by the author of this thesis, and one composed in collaboration with a trans* youth. This project will contribute to research on arts-based practices as archival work, as well as the impact that songs have on people’s lives by broadening our understanding of music’s corporeal effects and genealogical role in lived experience.
The Surfaris Wipe out and Surfer Joe and Other Popular Selections Mp3, Flac, Wma

The Surfaris Wipe Out And Surfer Joe And Other Popular Selections mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock Album: Wipe Out And Surfer Joe And Other Popular Selections Country: Canada Released: 1963 Style: Surf, Rock & Roll MP3 version RAR size: 1907 mb FLAC version RAR size: 1437 mb WMA version RAR size: 1131 mb Rating: 4.2 Votes: 809 Other Formats: DXD VQF AHX RA MP1 MP3 MIDI Tracklist A1 Wipe Out A2 Wiggle Wobble A3 Torquay A4 You Can't Sit Down A5 Green Onions A6 Tequila B1 Wild Weekend B2 Teen Beat B3 Yep B4 Memphis B5 Surfer Joe B6 Walk, Don't Run Companies, etc. Manufactured By – Quality Records Limited Distributed By – Quality Records Limited Credits Co-producer – John Marascalco Producer – Richard Delvy Notes Manufactured and distributed in Canada Also released as an entirely monophonic record on Dot Records with Category DLP 3535 Other versions Category Artist Title (Format) Label Category Country Year DLP 25535, The Wipe Out (LP, Dot Records, DLP 25535, US 1963 DLP 25,535 Surfaris Album, Mon) Dot Records DLP 25,535 Wipe Out, Surfer The Joe And Other Metronome 200.185 200.185 Germany 1974 Surfaris Great Hits (LP, 2001 Album) Wipe Out And Surfer Joe And Other Popular DLP 25535, The Dot Records, DLP 25535, Selections By US 1971 ST-93333 Surfaris Dot Records ST-93333 Other Instrumental Groups (LP, Album, Club, RE) DLP 3535(C), The Wipe Out (LP, Dot Records, DLP 3535(C), Canada Unknown DLP-3535(C) Surfaris Album, Mono) Dot Records DLP-3535(C) The Wipe Out (LP, London New HAM-D.6259 HAM-D.6259 1963 Surfaris Album, Mono) Records Zealand Related Music albums to Wipe Out And Surfer Joe And Other Popular Selections by The Surfaris Various - Monster Summer Hits Wild Surf The Mosquitos - All Day Long The Surfaris - Wipe Out / I'm A Hog For You The Surfaris / The Chantays - Wipe Out / Pipeline Surfaris, The - Wipe Out/Surfer Joe Jimmy Gilmer And The Fireballs / Surfaris - Sugar Shack / Wipe Out Justin Hinds - Wipe Your Weeping Eyes Kevin Energy & JustrichOmen, The - Wipe Away / Ghetto Blaster.