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Second Grade Music Curriculum
Second Grade General Music Units September: October: November: December: January: Music Elements Music Elements Composition Performance Performance Rhythm Meter Rhythmic Composition Rhythmic Composition Performance Rhythmic Notation Intro to Meter Compose 8 measure Continue work on Practice using drum Top number rhythmic rhythmic Sticks& Pads Rhythmic Values Bottom number composition composition Counting Procedures -Mrs. Music May I? Bar Lines Review Dynamics Class work Practice performing -Rhythmic Pac Man Measure Add Dynamics original rhythmic -Musical Math Musical Rest to composition compositions Measure Completion Review Rough Performance Add other rhythm band Performance Draft with teacher Special Celebrations; instruments Special Celebrations: Performance Final draft (Songs & Activities) Perform composition (Song & activities) Special Celebrations: Graded Project Hanukkah for class Welcome Back songs (Songs & Activities) Kwanzaa Graded performance Character Ed Songs Fire Safety Songs Performance Christmas Performance Apple Songs Columbus Songs (Special Celebrations) Character Ed Special Celebrations: Butterfly Cycle Halloween Songs -Hiawatha Rhythm (Songs & Activities) th September 11 -Patriot Red Ribbon Songs Story -Month of the Year Rap Day Rhythm Pumpkin Patch -Thanksgiving Songs -Bundled Up September 17th- -I’m Thankful… -Martin Luther King Songs Constitution Day -Character Ed -Winter Songs February: March: April: May: June: Performance Music In Our Schools Music Elements Music Elements Performance Performance -
"World Music" and "World Beat" Designations Brad Klump
Document généré le 26 sept. 2021 17:23 Canadian University Music Review Revue de musique des universités canadiennes Origins and Distinctions of the "World Music" and "World Beat" Designations Brad Klump Canadian Perspectives in Ethnomusicology Résumé de l'article Perspectives canadiennes en ethnomusicologie This article traces the origins and uses of the musical classifications "world Volume 19, numéro 2, 1999 music" and "world beat." The term "world beat" was first used by the musician and DJ Dan Del Santo in 1983 for his syncretic hybrids of American R&B, URI : https://id.erudit.org/iderudit/1014442ar Afrobeat, and Latin popular styles. In contrast, the term "world music" was DOI : https://doi.org/10.7202/1014442ar coined independently by at least three different groups: European jazz critics (ca. 1963), American ethnomusicologists (1965), and British record companies (1987). Applications range from the musical fusions between jazz and Aller au sommaire du numéro non-Western musics to a marketing category used to sell almost any music outside the Western mainstream. Éditeur(s) Canadian University Music Society / Société de musique des universités canadiennes ISSN 0710-0353 (imprimé) 2291-2436 (numérique) Découvrir la revue Citer cet article Klump, B. (1999). Origins and Distinctions of the "World Music" and "World Beat" Designations. Canadian University Music Review / Revue de musique des universités canadiennes, 19(2), 5–15. https://doi.org/10.7202/1014442ar All Rights Reserved © Canadian University Music Society / Société de musique Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des des universités canadiennes, 1999 services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne. -
BEACH BOYS Vs BEATLEMANIA: Rediscovering Sixties Music
The final word on the Beach Boys versus Beatles debate, neglect of American acts under the British Invasion, and more controversial critique on your favorite Sixties acts, with a Foreword by Fred Vail, legendary Beach Boys advance man and co-manager. BEACH BOYS vs BEATLEMANIA: Rediscovering Sixties Music Buy The Complete Version of This Book at Booklocker.com: http://www.booklocker.com/p/books/3210.html?s=pdf BEACH BOYS vs Beatlemania: Rediscovering Sixties Music by G A De Forest Copyright © 2007 G A De Forest ISBN-13 978-1-60145-317-4 ISBN-10 1-60145-317-5 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, recording or otherwise, without the prior written permission of the author. Printed in the United States of America. Booklocker.com, Inc. 2007 CONTENTS FOREWORD BY FRED VAIL ............................................... XI PREFACE..............................................................................XVII AUTHOR'S NOTE ................................................................ XIX 1. THIS WHOLE WORLD 1 2. CATCHING A WAVE 14 3. TWIST’N’SURF! FOLK’N’SOUL! 98 4: “WE LOVE YOU BEATLES, OH YES WE DO!” 134 5. ENGLAND SWINGS 215 6. SURFIN' US/K 260 7: PET SOUNDS rebounds from RUBBER SOUL — gunned down by REVOLVER 313 8: SGT PEPPERS & THE LOST SMILE 338 9: OLD SURFERS NEVER DIE, THEY JUST FADE AWAY 360 10: IF WE SING IN A VACUUM CAN YOU HEAR US? 378 AFTERWORD .........................................................................405 APPENDIX: BEACH BOYS HIT ALBUMS (1962-1970) ...411 BIBLIOGRAPHY....................................................................419 ix 1. THIS WHOLE WORLD Rock is a fickle mistress. -
Final Version
This research has been supported as part of the Popular Music Heritage, Cultural Memory and Cultural Identity (POPID) project by the HERA Joint Research Program (www.heranet.info) which is co-funded by AHRC, AKA, DASTI, ETF, FNR, FWF, HAZU, IRCHSS, MHEST, NWO, RANNIS, RCN, VR and The European Community FP7 2007–2013, under ‘the Socio-economic Sciences and Humanities program’. ISBN: 978-90-76665-26-9 Publisher: ERMeCC, Erasmus Research Center for Media, Communication and Culture Printing: Ipskamp Drukkers Cover design: Martijn Koster © 2014 Arno van der Hoeven Popular Music Memories Places and Practices of Popular Music Heritage, Memory and Cultural Identity *** Popmuziekherinneringen Plaatsen en praktijken van popmuziekerfgoed, cultureel geheugen en identiteit Thesis to obtain the degree of Doctor from the Erasmus University Rotterdam by command of the rector magnificus Prof.dr. H.A.P Pols and in accordance with the decision of the Doctorate Board The public defense shall be held on Thursday 27 November 2014 at 15.30 hours by Arno Johan Christiaan van der Hoeven born in Ede Doctoral Committee: Promotor: Prof.dr. M.S.S.E. Janssen Other members: Prof.dr. J.F.T.M. van Dijck Prof.dr. S.L. Reijnders Dr. H.J.C.J. Hitters Contents Acknowledgements 1 1. Introduction 3 2. Studying popular music memories 7 2.1 Popular music and identity 7 2.2 Popular music, cultural memory and cultural heritage 11 2.3 The places of popular music and heritage 18 2.4 Research questions, methodological considerations and structure of the dissertation 20 3. The popular music heritage of the Dutch pirates 27 3.1 Introduction 27 3.2 The emergence of pirate radio in the Netherlands 28 3.3 Theory: the narrative constitution of musicalized identities 29 3.4 Background to the study 30 3.5 The dominant narrative of the pirates: playing disregarded genres 31 3.6 Place and identity 35 3.7 The personal and cultural meanings of illegal radio 37 3.8 Memory practices: sharing stories 39 3.9 Conclusions and discussion 42 4. -
Press Coverage That the Scranton Jazz Festival Has Received
scrantonjazzfestival.org SCRANTON JAZZ FESTIVAL ABOUT This summer The Scranton Jazz Festival will celebrate its 11th year at the historic Radisson Lackawanna Station Hotel and various downtown Scranton venues. Attracting international, national, and regional jazz/blues and world beat artists, the SJF has proven its true potential to become a long-term musical event. Only with your support, does the festival continue to have the opportunity for an enormous impact on the cultural and economic development of our region. Fostering America’s original art form, jazz, Scranton has a rich history, dating back to the 1930’s when two jazz legends, Tommy Dorsey and Jimmy Dorsey, performed regularly with the Scranton Sirens Jazz Band. Our area is also credited with hosting the first known recorded jazz festival, “The Cavalcade of Dixieland Jazz”, in 1951. Since its premiere in 2005 the festival has drawn audiences from the entire Mid-Atlantic region, resulting in tremendous notoriety and exposure to the international jazz world. The SJF can help revive our region as a cultural epicenter, spreading the arts throughout the northeast, no different than such festivals as Newport, Rhode Island; Saratoga Springs, Florida; and Monterey, California. With your generosity, to support this program, we will be able to significantly enrich our community and region. Your donation will help us to defer costs for production, artists fees, advertising, and promotional expenses. In addition, your contribution will enable us to receive matching funds, provided by local and state funding organiza- tions. Together, as a united team, we can make artistic magic happen for Scranton. How incredible would it be to see this festival, in time, be considered a major summer destination place for the jazz/blues and world beat community? Only with your help will that magic happen. -
HEART of the WEST by O. Henry
HEART OF THE WEST 1 HEART OF THE WEST by O. Henry CONTENTS I. Hearts and Crosses II. The Ransom of Mack III. Telemachus, Friend IV. The Handbook of Hymen V. The Pimienta Pancakes VI. Seats of the Haughty VII. Hygeia at the Solito VIII. An Afternoon Miracle IX. The Higher Abdication by O. Henry 2 X. Cupid a la Carte XI. The Caballero's Way XII. The Sphinx Apple XIII. The Missing Chord XIV. A Call Loan XV. The Princess and the Puma XVI. The Indian Summer of Dry Valley Johnson XVII. Christmas by Injunction XVIII. A Chaparral Prince XIX. The Reformation of Calliope HEART OF THE WEST I HEARTS AND CROSSES Baldy Woods reached for the bottle, and got it. Whenever Baldy went for anything he usually--but this is not Baldy's story. He poured out a third drink that was larger by a finger than the first and second. Baldy was in consultation; and the consultee is worthy of his hire. "I'd be king if I was you," said Baldy, so positively that his holster creaked and his spurs rattled. Webb Yeager pushed back his flat-brimmed Stetson, and made further disorder in his straw-coloured hair. The tonsorial recourse being without by O. Henry 3 avail, he followed the liquid example of the more resourceful Baldy. "If a man marries a queen, it oughtn't to make him a two-spot," declared Webb, epitomising his grievances. "Sure not," said Baldy, sympathetic, still thirsty, and genuinely solicitous concerning the relative value of the cards. "By rights you're a king. -
The Jacaranda Club, Slater Street, Liverpool, United Kingdom
“This Is Our Home: The Jacaranda Club 1958-2018” The Jacaranda Club, Slater Street, Liverpool, United Kingdom. Friday 24th - Sunday 26th August,! 2018.! “[The Beatles] were a photographer’s dream, ! ! they were my dream” - Astrid Kirchherr.! “There is a popular notion that the photographer is by nature a voyeur. ! The last one invited to the party. But I’m not crashing; this is my party. ! ! This is my family, my history” - Nan Goldin.! A new exhibition to celebrate the 60th anniversary of Liverpool’s iconic Jacaranda Club opens Friday 24! August during a celebratory weekend of events. “This is Our Home”: The Jacaranda Club 1958-2018 is! an exhibition of photographs, advertisements, posters, and ephemera relating to the past and present! !history of the iconic Slater Street club, curated by Marlie Centawer, and runs 24-26 August 2018.! As one of the first coffee bars in post-war Britain, The Jacaranda Club - affectionately known as “The Jac”! - was opened by Allan Williams in 1958, featuring a record shop upstairs and live music in its basement.! One of these groups was The Silver Beetles, featuring art students John Lennon and Stuart Sutcliffe, who! !Williams employed to paint the walls and a mural in the basement.! “This is Our Home”: The Jacaranda Club 1958-2018 features artefacts and ephemera from the Jac’s legacy and history; then and now. The exhibition is curated by Liverpool-based Marlie Centawer, a writer, musician and photographer, as well as an adjunct lecturer with the Centre for Studies in Arts and Culture !at Brock University, Canada <http://www.marliecentawer.com> ! Much of the exhibition has been donated from original attendees, some loaned from galleries and collectors, and other images extracted from Beatle books and documentaries, including members-only cards used for entry to the club in the 1960s, advertisements in local Liverpool music newspapers, and !images of the venues’ interiors and layouts over the years. -
Broadcasting Regulatory Policy 2010-819
Broadcasting Regulatory Policy 2010-819 PDF version Ottawa, 5 November 2010 Revised content categories and subcategories for radio This regulatory policy revises the list of content categories and subcategories for radio by adding a new subcategory 36 (Experimental Music), as announced in Broadcasting Regulatory Policy 2010-499 which sets out the new policy for campus and community radio. This regulatory policy will take effect only when the Radio Regulations, 1986 are amended to make reference to it. 1. In Broadcasting Regulatory Policy 2010-499, which sets out the new policy for campus and community radio, the Commission announced its intention to revise the content categories and subcategories for radio by adding a new subcategory 36 (Experimental Music). The Commission indicated that, in interpreting the new definition of Experimental Music, it would rely on the definitions of musique actuelle, electro acoustic and sound ecology set out in the appendix to Broadcasting Notice of Consultation 2009- 418, as well as the Turntablism and Audio Art Study 2009, which was prepared to assist parties in preparing their comments for the review of campus and community radio. The Commission also provided clarification as to how it would measure the Canadian content of musical selections falling into this new subcategory at paragraphs 77 and 78 of Broadcasting Regulatory Policy 2010-499. 2. In order to implement this determination, the content categories and subcategories contained in the appendix to this regulatory policy, including the new definition of Experimental Music, will replace the content categories set out in the appendix to Public Notice 2000-14. The Commission will propose amendments to the Radio Regulations, 1986 for the purpose of removing all references to the appendix to Public Notice 2000-14 and replacing them with references to the appendix to this regulatory policy. -
The Beatles on Film
Roland Reiter The Beatles on Film 2008-02-12 07-53-56 --- Projekt: transcript.titeleien / Dokument: FAX ID 02e7170758668448|(S. 1 ) T00_01 schmutztitel - 885.p 170758668456 Roland Reiter (Dr. phil.) works at the Center for the Study of the Americas at the University of Graz, Austria. His research interests include various social and aesthetic aspects of popular culture. 2008-02-12 07-53-56 --- Projekt: transcript.titeleien / Dokument: FAX ID 02e7170758668448|(S. 2 ) T00_02 seite 2 - 885.p 170758668496 Roland Reiter The Beatles on Film. Analysis of Movies, Documentaries, Spoofs and Cartoons 2008-02-12 07-53-56 --- Projekt: transcript.titeleien / Dokument: FAX ID 02e7170758668448|(S. 3 ) T00_03 titel - 885.p 170758668560 Gedruckt mit Unterstützung der Universität Graz, des Landes Steiermark und des Zentrums für Amerikastudien. Bibliographic information published by Die Deutsche Bibliothek Die Deutsche Bibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available on the Internet at http://dnb.ddb.de © 2008 transcript Verlag, Bielefeld This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 License. Layout by: Kordula Röckenhaus, Bielefeld Edited by: Roland Reiter Typeset by: Roland Reiter Printed by: Majuskel Medienproduktion GmbH, Wetzlar ISBN 978-3-89942-885-8 2008-12-11 13-18-49 --- Projekt: transcript.titeleien / Dokument: FAX ID 02a2196899938240|(S. 4 ) T00_04 impressum - 885.p 196899938248 CONTENTS Introduction 7 Beatles History – Part One: 1956-1964 -
Infomail Nr. 791: Die Originale Buchausgabe the FOOL on the HILL Freitag, 22
InfoMail Nr. 791: die originale Buchausgabe THE FOOL ON THE HILL Freitag, 22. Februar 2008 (Datum dieser Email) Hallo M.B.M., hallo BEATLES-Fan, der erste Manager der BEATLES, ALLAN WILLIAMS, ist zu Gast bei THE HAMBURG SOUND FESTIVAL 2 (Samstag, 29. und Sonntag, 30. März 2008) Bei uns gibt es noch die originale Ausgabe des Buches ALLAN WILLIAMS IS … THE FOOL ON THE HILL … zum Signieren in Hamburg. BUCH ALLAN WILLIAMS IS ... THE FOOL ON THE HILL. 25,00 € Autor: Lew Baxter. Verlag: Praxis Publications, England. Gebundene Ausgabe; Hochformat 24 cm x 16,5 cm; ca. 240 Seiten; 54 Schwarzweissfotos; englischsprachig Inhalt: Acknowledgements; Prologue – The charmer and chancer who John Lennon asserted was the main man; Missing Macca at the Cavern – again – and those early Beatles days that led to the crazy steamy but character building Hamburg nights; How to cops and council wimps screwed up Allan´s – and Britain´s – first open air pop festival; The tale of the bull´s testicles and ´rocking´ adventures on the Spanish Costas; A spell in a Welsh jail looms and hard days nights at the Blue Angel as celebrities line up to be insulted; Yet for all those friends and lovers, there is no one compared to Beryl Adams and Bob Wooler; Letting rip in Russia and Georgia as Allan´s ´new´ Beatles-Blitz plan collapses into a shambles; Allan tells Blitz to ´f**k off , just like the Fab Four, but ´at least they could play´….and gives the Russians a run for their roubles while painting Moscow red; The frolics continue in Moscow as Allan is nearly murdered by a jealous -
The Beatles on Film. Analysis of Movies, Documentaries, Spoofs and Cartoons 2008
Repositorium für die Medienwissenschaft Roland Reiter The Beatles on Film. Analysis of Movies, Documentaries, Spoofs and Cartoons 2008 https://doi.org/10.25969/mediarep/1299 Veröffentlichungsversion / published version Buch / book Empfohlene Zitierung / Suggested Citation: Reiter, Roland: The Beatles on Film. Analysis of Movies, Documentaries, Spoofs and Cartoons. Bielefeld: transcript 2008. DOI: https://doi.org/10.25969/mediarep/1299. Erstmalig hier erschienen / Initial publication here: https://doi.org/10.14361/9783839408858 Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons - This document is made available under a creative commons - Namensnennung - Nicht kommerziell - Keine Bearbeitungen 3.0 Attribution - Non Commercial - No Derivatives 3.0 License. For Lizenz zur Verfügung gestellt. Nähere Auskünfte zu dieser Lizenz more information see: finden Sie hier: https://creativecommons.org/licenses/by-nc-nd/3.0 https://creativecommons.org/licenses/by-nc-nd/3.0 Roland Reiter The Beatles on Film 2008-02-12 07-53-56 --- Projekt: transcript.titeleien / Dokument: FAX ID 02e7170758668448|(S. 1 ) T00_01 schmutztitel - 885.p 170758668456 Roland Reiter (Dr. phil.) works at the Center for the Study of the Americas at the University of Graz, Austria. His research interests include various social and aesthetic aspects of popular culture. 2008-02-12 07-53-56 --- Projekt: transcript.titeleien / Dokument: FAX ID 02e7170758668448|(S. 2 ) T00_02 seite 2 - 885.p 170758668496 Roland Reiter The Beatles on Film. Analysis of Movies, Documentaries, Spoofs and Cartoons 2008-02-12 07-53-56 --- Projekt: transcript.titeleien / Dokument: FAX ID 02e7170758668448|(S. 3 ) T00_03 titel - 885.p 170758668560 Gedruckt mit Unterstützung der Universität Graz, des Landes Steiermark und des Zentrums für Amerikastudien. -
The Last Days of John Lennon
Copyright © 2020 by James Patterson Hachette Book Group supports the right to free expression and the value of copyright. The purpose of copyright is to encourage writers and artists to produce creative works that enrich our culture. The scanning, uploading, and distribution of this book without permission is a theft of the author’s intellectual property. If you would like permission to use material from the book (other than for review purposes), please contact [email protected]. Thank you for your support of the author’s rights. Little, Brown and Company Hachette Book Group 1290 Avenue of the Americas, New York, NY 10104 littlebrown.com twitter.com/littlebrown facebook.com/littlebrownandcompany First ebook edition: December 2020 Little, Brown and Company is a division of Hachette Book Group, Inc. The Little, Brown name and logo are trademarks of Hachette Book Group, Inc. The publisher is not responsible for websites (or their content) that are not owned by the publisher. The Hachette Speakers Bureau provides a wide range of authors for speaking events. To find out more, go to hachettespeakersbureau.com or call (866) 376-6591. ISBN 978-0-316-42907-8 Library of Congress Control Number: 2020945289 E3-111020-DA-ORI Table of Contents Cover Title Page Copyright Dedication Prologue Chapter 1 Chapter 2 Chapter 3 Chapter 4 Chapter 5 — Chapter 6 Chapter 7 Chapter 8 Chapter 9 Chapter 10 Chapter 11 Chapter 12 Chapter 13 Chapter 14 Chapter 15 Chapter 16 Chapter 17 Chapter 18 — Chapter 19 Chapter 20 Chapter 21 Chapter 22 Chapter 23 Chapter 24