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Sir Douglas Quintet
Sir Douglas Quintet The Sir Douglas Quintet: Emerging from San Antonio‟s “West Side Sound,” The Sir Douglas Quintet blended rhythm and blues, country, rock, pop, and conjunto to create a unique musical concoction that gained international popularity in the 1960s and 1970s. From 1964 to 1972, the band recorded five albums in California and Texas, and, although its founder, Doug Sahm, released two additional albums under the same group name in the 1980s and 1990s, the Quintet never enjoyed the same domestic success as it had during the late 1960s. A big part of the Sir Douglas Quintet‟s distinctive sound derived from the unique musical environment in which its members were raised in San Antonio. During the 1950s and 1960s, the “moderate racial climate” and ethnically diverse culture of San Antonio—caused in part by the several desegregated military bases and the large Mexican-American population there—allowed for an eclectic cross- pollination of musical styles that reached across racial and class lines. As a result, Sahm and his musical friends helped create what came to be known as the “West Side Sound,” a dynamic blending of blues, rock, pop, country, conjunto, polka, R&B, and other regional and ethnic musical styles into a truly unique musical amalgamation. San Antonio-based artists, such as Augie Meyers, Doug Sahm, Flaco Jiménez, and Sunny Ozuna, would help to propel this sound onto the international stage. Born November 6, 1941, Douglas Wayne Sahm grew up on the predominately-black east side of San Antonio. As a child, he became proficient on a number of musical instruments and even turned down a spot on the Grand Ole Opry (while still in junior high school) in order to finish his education. -
Ruination Day”
Woody Guthrie Annual, 4 (2018): Fernandez, “Ruination Day” “Ruination Day”: Gillian Welch, Woody Guthrie, and Disaster Balladry1 Mark F. Fernandez Disasters make great art. In Gillian Welch’s brilliant song cycle, “April the 14th (Part 1)” and “Ruination Day,” the Americana songwriter weaves together three historical disasters with the “tragedy” of a poorly attended punk rock concert. The assassination of Abraham Lincoln in 1865, the sinking of the Titanic in 1912, and the epic dust storm that took place on what Americans call “Black Sunday” in 1935 all serve as a backdrop to Welch’s ballad, which also revolves around the real scene of a failed punk show that she and musical partner David Rawlings had encountered on one of their earlier tours. The historical disasters in question all coincidentally occurred on the fourteenth day of April. Perhaps even more important, the history of Welch’s “Ruination Day” reveals the important relationship between history and art as well as the enduring relevance of Woody Guthrie’s influence on American songwriting.2 Welch’s ouevre, like Guthrie’s, often nods to history. From the very instruments that she and Rawlings play to the themes in her original songs to the tunes she covers, she displays a keen awareness and reverence for the past. The sonic quality of her recordings, along with her singing and musical style, also echo the past. This historical quality is quite deliberate. Welch and Rawlings play vintage instruments to achieve much of that sound. Welch’s axes are all antiques—her main guitar is a 1956 Gibson J-50. -
Summer Institute Class of 2019 Individual Pieces Copyright ©2019 by Their Respective Authors
Multitudes edited by Siyanda Mohutsiwa The Summer Institute Class of 2019 Individual pieces copyright ©2019 by their respective authors. All rights reserved. International Writing Program 430 North Clinton Street, Shambaugh House Iowa City, Iowa 52245 United States of America www.iwp.uiowa.edu/programs/summer-institute Contents Foreword vi Peter Gerlach . vi Acknowledgements ix Contributors x 1 Dusk 1 Ghazal . 2 Azhar Wani . 2 Bargain Witchcraft . 3 Tanvi Chowdhary . 3 The Godfather . 14 Cherene Aniyan Puthethu . 14 Fair is Lovely . 18 Suyashi Smridhi . 18 2 Night 22 golden shovel ending in outer space after fleetwood mac .................... 23 Anna Sheppard . 23 What I Look To When Holdin' My Tongue . 24 Darius Christiansen . 24 i Contents Sandalwood . 25 Amna Shoaib . 25 Hermanita de la Mar . 29 KayLee Chie Kuehl . 29 3 Midnight 35 Table Etiquette . 36 Ashley Hajimirsadeghi . 36 Sapphirical Slick . 38 Darius Christiansen . 38 Almost Over . 40 Mahnoor Imran Sayyed . 40 Ward SSK 37: Eric . 50 Medha Faust-Nagar . 50 4 Small Hours 51 Altar . 52 Nyeree Boyadjian . 52 Capital ............................ 53 Nyeree Boyadjian . 53 Taxi . 54 Jishnu Bandyopadhyay . 54 Intruder . 65 Amna Shoaib . 65 The Reflection . 67 Fazila Nawaz . 67 5 Dawn 69 seasonal . 70 Anna Sheppard . 70 Hurricane . 72 Ashley Hajimirsadeghi . 72 Home from The Hospital . 73 Medha Faust-Nagar . 73 ii Contents Passing . 75 Aalia Waqas . 75 The Way Things Are . 76 Anna Magana . 76 House Key . 84 Martina Litty . 84 6 Noon 90 Absence . 91 Hafsa Nouman . 91 Six Months . 94 Payal Nagpal . 94 Yes, You Are . 97 Hafsa Ghani . 97 On Air . 100 Aalia Waqas . 100 The Safe Side . -
San Antonio's West Side Sound
Olsen: San Antonio's West Side Sound San Antonio’s SideSound West Antonio’s San West Side Sound The West Side Sound is a remarkable they all played an important role in shaping this genre, Allen O. Olsen amalgamation of different ethnic beginning as early as the 1950s. Charlie Alvarado, Armando musical influences found in and around Almendarez (better known as Mando Cavallero), Frank San Antonio in South-Central Texas. It Rodarte, Sonny Ace, Clifford Scott, and Vernon “Spot” Barnett includes blues, conjunto, country, all contributed to the creation of the West Side Sound in one rhythm and blues, polka, swamp pop, way or another. Alvarado’s band, Charlie and the Jives, had such rock and roll, and other seemingly regional hits in 1959 as “For the Rest of My Life” and “My disparate styles. All of these have Angel of Love.” Cavallero had an influential conjunto group somehow been woven together into a called San Antonio Allegre that played live every Sunday sound that has captured the attention of morning on Radio KIWW.5 fans worldwide. In a sense, the very Almendarez formed several groups, including the popular eclectic nature of the West Side Sound rock and roll band Mando and the Chili Peppers. Rodarte led reflects the larger musical environment a group called the Del Kings, which formed in San Antonio of Texas, in which a number of ethnic during the late 1950s, and brought the West Side Sound to Las communities over the centuries have Vegas as the house band for the Sahara Club, where they exchanged musical traditions in a remained for nearly ten years.6 Sonny Ace had a number of prolific “cross-pollination” of cultures. -
Resb.F:E:Ii9~Ncjl AGEND/\ to BE POSTED #S1f Woody Guthrie Day- --·- ~~~
.' _'';"'~·.•>'.;,_(.f_~""'-n.~~.-- .......,.,., ........... ~ _,,I · I ·~? pny CLtrxr< FOR P=-:-L-/{C_E_M_Er·~-r~o-N_N_o_o_·-r---.... REsb.f:e:ii9~NCJl AGEND/\ TO BE POSTED #S1f Woody Guthrie Day- --·- ~~~ .... -':...~~~ April12, 2012 WHEREAS, Woody Guthrie is a renowned singer-songwriter who stands as one of America's most important folk music artists of the first half of the 20th Century; and WHEREAS, Woody Guthrie stood out for his songwriting abilities and will best be remembered for his seminal folk music piece "This Land if Your Land" amongst many other hits like "Deportee," "Do Re Mi,'' ,.Grand Coulee Dam/' "Hard, Ain't It Hard,'' "Hard Travelin'," "I Ain't Got No Home," "1913 Massacre,'1 11 0klahoma Hills,~~ "Pastures ofPlenty,rr "Philadelphia Lawyer,'1 "Pretty Boy Floyd," 11 Ramblin1 Round," "So Long It'sBeen Good to Know You,t' "Talking Dust Bowl, '1 and 11 Vigilante Man" that have been covered by other artists throughout the century; and WHEREAS, Woodrow Wilson Guthrie was born in Okemah, Oklahoma learning folk songs from his mother as a child; and WHEREAS, in 1940, assembling works that were based on his experience as an "Okie" during the Dust Bowl era, in which many migrant workers suffered tremendous economic hardship on their way to California, he released the "Dust Bowl Ballads" that are renowned for their dramatic retelling of Great Depression era plight; and .i WHEREAS, A century after his birth in July of 1912, Woody Guthrie has acquired an iconic stature in American popular culture and music. Guthrie was known in the as a folksinger who in the 1930s and 1940s gave a voice to the working class, the mentor and musical image to Bob Dylan and other singer-songwriters in the 1950s and 1960s, and the author of great American songs like "This Land is Your Land." WHEREAS, In 193 7, when many dust bowl refugees were making a new life in California, Woody Guthrie lived in Los Angeles. -
My Guitar Is a Camera
My Guitar Is a Camera John and Robin Dickson Series in Texas Music Sponsored by the Center for Texas Music History Texas State University–San Marcos Gary Hartman, General Editor Casey_pages.indd 1 7/10/17 10:23 AM Contents Foreword ix Steve Miller Acknowledgments xi Introduction xiii Tom Reynolds From Hendrix to Now: Watt, His Camera, and His Odyssey xv Herman Bennett, with Watt M. Casey Jr. 1. Witnesses: The Music, the Wizard, and Me 1 Mark Seal 2. At Home and on the Road: 1970–1975 11 3. Got Them Texas Blues: Early Days at Antone’s 31 4. Rolling Thunder: Dylan, Guitar Gods, and Joni 54 5. Willie, Sir Douglas, and the Austin Music Creation Myth 60 Joe Nick Patoski 6. Cosmic Cowboys and Heavenly Hippies: The Armadillo and Elsewhere 68 7. The Boss in Texas and the USA 96 8. And What Has Happened Since 104 Photographer and Contributors 123 Index 125 Casey_pages.indd 7 7/10/17 10:23 AM Casey_pages.indd 10 7/10/17 10:23 AM Jimi Hendrix poster. Courtesy Paul Gongaware and Concerts West. Casey_pages.indd 14 7/10/17 10:24 AM From Hendrix to Now Watt, His Camera, and His Odyssey HERMAN BENNETT, WITH WATT M. CASEY JR. Watt Casey’s journey as a photographer can be In the summer of 1970, Watt arrived in Aus- traced back to an event on May 10, 1970, at San tin with the intention of getting a degree from Antonio’s Hemisphere Arena: the Cry of Love the University of Texas. Having heard about a Tour. -
***Thesis Manuscript for Pr Uricchio
A Proposal for a Code of Ethics for Collaborative Journalism in the Digital Age: The Open Park Code by Florence H. J. T. Gallez B.A. English and Russian The University of London, 1996 M.S. Journalism Boston University, 1999 Submitted to the Program in Comparative Media Studies in partial fulfillment of the requirements for the degree of Master of Science in Comparative Media Studies at the Massachusetts Institute of Technology June 2012 © 2012 Florence Gallez. All rights reserved The author hereby grants to MIT permission to reproduce publicly paper and electronic copies of this thesis document in whole or in part in any medium now known or hereafter created. Signature of Author: __________________________________________________ Program in Comparative Media Studies June 2012 Certified by: ________________________________________________________ David L. Chandler Science Writer MIT News Office Accepted by: ________________________________________________________ William Charles Uricchio Professor of Comparative Media Studies Director, Comparative Media Studies 1 A Proposal for a Code of Ethics for Collaborative Journalism in the Digital Age: The Open Park Code by Florence H. J. T. Gallez Submitted To The Program in Comparative Media Studies in Partial Fulfillment of the Requirements for the Degree of Master of Science in Comparative Media Studies ABSTRACT As American professional journalism with its established rules and values transitions to the little-regulated, ever-evolving world of digital news, few of its practitioners, contributors -
1308 DOUG SAHM.Cdr
International PO Box 935, Byron Bay Tel: 61 2 6687 4441 NSW, 2481 Australia Fax: 61 2 6687 4445 Tel: (02) 6687 4441 Web:http://www.aiminternational.com Fax: (02) 6687 4445 E-Mail:[email protected] TRADING GROUP Pty Ltd ABN 78 093 907 914 AVAILABLE NOW AS DOUG SAHM TEX In The Beginning HIS CLASSIC 60’s TEXAS RECORDINGS The broad scope of Texas music is well known, but not many people embody all it’s variety as Doug Sahm does. Born in Texas in 1942 he was a child prodigy on the fiddle and lap steel guitar at the age of five. Known as “Little Doug”, he performed country music on stage and on radio with the likes of Faron Young, Webb Pierce, Hank Thompson, Goldie Hill and many others. On the tiny Sarg label of Luling, Texas, he released “A Real American Joe” b\w “Rollin’, Rollin” at the age of twelve. This particular CD reflects Doug’s late ‘50s and early ‘60s output on the Texas Labels of Harlem, 1. Crazy Daisy - Doug Sahm & The Pharaos - Harlem Records 1958 Cobra & Renner Records. The Alamo City was home to many R&B acts back then as well as the 2. I Can’t Believe You Want To Leave Me - only place in Texas where doo-wop caught on. The Doug Sahm & The Pharaos - Harlem Records - A side/ 1st single. Sunglows recorded “Peanuts” there, huge hit in the 3. Why, Why, Why (Doug Sahm) - early ‘60s, which Doug covers here. “Peanuts” also Doug Sahm & the Markays - Harlem Records 1960 - A side/ 2nd single was a million seller for Herb Alpert & the Tijuana 4. -
Biography: Doug Sahm
BIOGRAPHY: DOUG SAHM THE ORIGINAL COSMIC COWBOY Doug Sahm was a wildly creative artist best known for his pop-rock music, but for a time in the 1970s in Austin, he became the role model for a group of Outlaw country artists that included Willie Nelson. “Doug was the organizer of what blew up into the Austin music scene,” said Joe Nick Patoski, who directed a 2015 documentary on Sahm. “ . Doug made Willie possible in so many ways.” Born on November 6, 1941, in San Antonio, Texas, Sahm was performing country music on the radio by age five and playing fiddle, steel guitar, and mandolin by age eight. By his teens, he had performed on stages as “Little Doug” with country “Willie wanted that rock & roll crowd, and Doug legends Hank Thompson, Hank Williams, and had them,” recalled Speedy Sparks, who played Faron Young. Still, his musical tastes stretched to in the Sir Douglas Quintet. “Willie would come include blues and rock & roll. out and watch Doug and figure out what Sahm left country behind for rock in the 1950s, Doug was doing.” and after high school he built a regional career Both Sahm and Nelson signed to record albums as a performing and recording artist. In 1964, he for New York producer Jerry Wexler. The raw, helped found the Sir Douglas Quintet, and he country-flavored Doug Sahm and Band was wrote their 1965 smash hit, “She’s About a Mover.” released in January 1973, but it failed to gain A year later, the group moved to San Francisco, attention. -
Sir Doug & the Texas Tornados
Sir Doug & The Texas Tornados Texas Rock For Country Rollers mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock / Folk, World, & Country Album: Texas Rock For Country Rollers Country: UK Released: 1997 Style: Country Rock, Classic Rock, Psychedelic Rock, Country MP3 version RAR size: 1987 mb FLAC version RAR size: 1105 mb WMA version RAR size: 1173 mb Rating: 4.8 Votes: 227 Other Formats: FLAC DXD AHX VQF MP2 FLAC APE Tracklist Hide Credits I Love The Way You Love (The Way I Love You) 1 5:17 Written-By – Atwood Allen Cowboy Peyton Place 2 3:35 Written-By – Doug Sahm Give Back The Key To My Heart 3 2:51 Written-By – Doug Sahm Wolverton Mountain 4 2:30 Written-By – Claude King , Merle Kilgore Texas Ranger Man 5 3:24 Written-By – Doug Sahm Float Away 6 2:38 Written-By – Doug Sahm I'm Missing You 7 3:02 Written-By – Doug Sahm Gene Thomas Medley: Sometimes/Cryin' Inside 8 2:41 Written-By – Gene Thomasson Country Groove 9 2:21 Written-By – Doug Sahm You Can't Hide A Redneck (Under That Hippy Hair) 10 3:55 Written-By – Doug Sahm Companies, etc. Recorded At – Sugar Hill Studios Phonographic Copyright (p) – MCA Records Copyright (c) – Demon Records Ltd. Licensed From – MCA Records Published By – Crazy Cajun Music Published By – Menace Music Ltd. Published By – Shapiro Bernstein & Co. Ltd. Published By – Grand Prize Credits A&R [Director] – Uncle Mickey Moody Acoustic Guitar – Uncle Mickey Moody Arranged By – Doug Sahm Art Direction – Tom Wilkes Bass – Jack Barber Coordinator [Talent Co-ordinator] – Jim Groenewegen Crew [Executive Crew] – Augie Meyers, J.T.Groenewegen, Lucky Tomblin Crew [Road Crew] – Billy Bob, Speedy Sparks Drums – George Rains Engineer – Uncle Mickey Moody Fiddle – Doug Sahm Guitar – Doug Sahm Harp – Harry Hess Liner Notes – Ed Ward Liner Notes [Last Four Paragraphs] – Val Jennings Management [Agent] – Jim Groenewegen Organ [Hammond] – Augie Meyers Organ [Vox] – Augie Meyers Photography By – Tom Wilkes Photography By [Juke Box Picture] – Burton Wilson Piano – Augie Meyers, Doug Sahm Producer – Huey P. -
2011-Charts-Billboar
AIRPLAY SALES DATA MONI-OREO AY COMPILED BY nichcn nichon MAR BDS SoundScan BillbarI R 24 I-EATSEEKERS ALBUMS GOOD OLD WAR GALACTIC Come Badc As Rain 26 13 Carnivale Electricos SARGENT HOUSE 072.115.961 GALACTIC FUNK/ANTI- 8718r/EPITAPH 119961 CHOCOLATE DROPS NERO CAROLINA Leaving Eden 27 35 Welcome Reality NONESUCH 529809/WARNER BROS 115.981 MTNMERCURY /CHERRYTREE/INTERSCOPE 016371/IGA 19 TYRONE WELLS ANDY GRAMMER NEW Where We Meet The album takes an 28 33 Andy Grammer POSITION 617130 EX 111 981 S CURVE 151602 19 981 overall 14% jump in OF MONSTERS AND MEN 2 AR MINVAN BUUREN Into The Woods (EP) 429 21 A State OfTrance 2012 UNIVERSAL REPUBLIC DIGITAL EX 14981 sales, with a 26% '.IODA DIGITAL EX (15.961 GREATEST TIE IEIDAIW THE HEART spike in downloads. eh HONEYHONEY © 10 51 The Head AndThe Heart =I Billy Jack GAINER SLID POPIIIWINUM11 HONEYHONEY 001/LOST HIGHWAY 110981 Thus far, of the WHITE RABBITS IMELDA MAY NEW Milk Famous 31 37 20 Mayhem TBD 0020.111961 set's total 43,000 '.IOASSADOR 015743/DECCA 113.981 MOONSHINE BAND sales, digital units MINIATURE TIGERS Elr JB ANDTHE Beer For Breakfast Mia Pharaoh 110 AVERAGE JOE'S 237 113 981 account for 6200. ® DERN ART 016.114.989 THE MEN NAPALM DEATH NEW Open Your Heart 33 14 2 Utilitarian 110 SACRED BONES 071.114.981 'JURY MEDIA 81365 115 981 LOVEDRUG 11 LINDSAY MCCAUL I1E11/ Wild Blood 34 36 ..I If It Leads Me Back D ( ET TALK MEDIA 1201 WI The Minneapolis .ANION 10157/SONY MUSIC 19.961 JAY FARRAR/WILL JOHNSON /ANDERS PARKER/VIM YAMES ANDY CHERRY 2 New Multitudes band's second full - Nothing LeftTo Fear D NDER 619129 /CONCORD 114961 ag) . -
Charlie Parr Trucking Into Madison April 21 at the Brink
Volume 38, No. 4 April 2012 Charlie Parr trucking into Madison April 21 at The Brink f you ever listened to ancient field re- which he describes as “...grief, poverty, death, ger picking and plaintive but wry songs have Icordings of eerie mountain music or social justice and hopefully a little humor once made him one of the most important contem- early scratchy blues recordings or the more stark in a while...” The humor is not hard to find, as porary protagonists of the American folk tradi- cuts of Harry Smith’s Anthology of American his website advertises him as “One Man, One tion.” Folk Music, or felt moved by some of the odder Guitar, One Foot In The Grave.” He has been - Bath International Music Festival pieces in the film Oh Brother, Where Art Thou, compared to Dave Van Ronk, and he does have and wondered where the spirit of that earthy some of Van Ronk’s characteristics, like the Charlie has trucked this great raw show all mournful music has gone, well, look no further. rough hewn persona and vocal delivery over a around the world, from Australia to England It has found a home in the performances and rock solid but unassumingly complex accom- back to Duluth, and now, on Saturday, April 21 recordings of Charlie Parr. paniment. Piedmont style fingerpicking -- the to the Brink Lounge in Madison. Charlie Parr, currently based in Duluth, thumb alternating on bass strings while the Minnesota, is one of those rare performers fingers play melody and embellishments, some- who is gaining a worldwide reputation for thor- what like stride piano