DOCSLIB.ORG

Stripped Down Itunes Booklet

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Stripped Down Itunes Booklet John Lennon Double Fantasy Yo ko O n o STRIPPED DOWN 2 (JUST LIK E) STA RTING OVER KISS K ISS K ISS CL EA NUP TIME GI VE ME SO METHING I’M L OSING YOU I’M M OVING ON BEAUTIFUL B OY (DARLING BOY) WATCHING THE WHEE LS YES, I’M YOUR A NGEL WOMAN BEAUTIFUL BOYS DEA R YOKO EVERY M AN HAS A WOMAN W HO L OVES HIM HARD TIMES ARE OVER ORIGINAL ALBUM (JUST LIK E) STA RTING OVER KISS K ISS K ISS CL EA NUP TIME GI VE ME SO METHING I’M L OSING YOU I’M M OVING ON BEAUTIFUL B OY (DARLING BOY) WATCHING THE WHEE LS YES, I’M YOUR A NGEL WOMAN BEAUTIFUL BOYS DEA R YOKO EVERY M AN HAS A WOMAN W HO L OVES HIM HARD TIMES ARE OVER 3 Since 1975, the year his fresh and unique idea. John was concerned that another singer/songwriter couple might son, Sean was born, John do an album of this format before us, and Lennon’s life had seen some thought it was important to do this album right away. But nobody did it, and nobody has unaccustomed tranquillity, done it since then. It was probably not a very later called the Dakota Days. easy record to make for any singer/songwriter couple. We were just very lucky that we didn't While John had devoted himself to fatherhood even have a fight between us while making it. and domesticity, he asked Yoko to supervise It was a miracle.” their business affairs. The exchange of roles which they excercised, gave food for thought “After the five-year hiatus, for John to come to all couples then and now. out and do his album, the whole of the music industry was totally, totally excited and they But at the time, the wider world could not all wanted John’s music and was not very comprehend what John was doing. John’s happy that I was there. So, while we were withdrawal as a recording artist was recording, John really had to protect me, in so unprecedented. many ways.” Suddenly, in 1980, a welcome surprise was Double Fantasy was a brave album on John’s heard. John went into the studio with Yoko to part, and not only for his loyalty to Yoko. Here make the next album. was a man whose image was frozen in rock’n’roll, with all its connotations of youth, From its inception, then, Double Fantasy was rebellion and extremity. Yet his goal this time a John and Yoko collaboration, just as their was to address middle age, and the early “avant garde” albums had been. And in generation who had grown up with him, and its “Heart Play” of alternating viewpoints, it to consider questions – of parenthood, of formalised a pattern they’d instinctively marriage, of mature relations between the adopted on Some Time In New York City . sexes – that pop music scarcely touches. Yoko: “We thought Double Fantasy was a The silvery tinkle of bells that introduces ‘(Just 4 Like) Starting Over’ was a deliberate contrast this album, it’s as if the arrival of a child has to the ominous tolling that opened John wrought a transformational magic. ‘Watching Lennon/Plastic Ono Band ten years earlier. The Wheels’ is the contented father’s defiance Double Fantasy was to embrace the future of a world so silly it thinks he could possibly with hope, and treat the past with affection. have any role more important. And in ‘Yes, I’m Two heroes of his youth, Elvis Presley and Your Angel’, the parents enjoy a little recuper- Roy Orbison, are playfully mimicked in John’s ative time together. We reach the album’s first track, a life-affirming celebration of the pivotal point, perhaps, in John’s outstanding new decade just dawning. Yoko responds ‘Woman’ – a song that is often compared with with ‘Kiss Kiss Kiss’, flagrantly sensuous; in his ‘Girl’ of 15 years earlier, as a measure of the Lennons’ mind, “double fantasy” had the man’s personal development. In Yoko’s definite erotic aspects. ‘Beautiful Boys’ we hear a stirring message of encouragement for any man on such a path. Yet this was not a one-dimensional depiction of bliss. ‘Cleanup Time’ tells of John’s resolve The remaining songs serve to consolidate to face the future in better shape, but Yoko’s this hard-won harmony. John’s ‘Dear Yoko’, ‘Give Me Something’ is a stinging challenge propelled by exuberant Buddy Holly gurgles, to show emotional engagement. ‘I’m Losing shines with the same pure joy as Imagine’s You’ and ‘I’m Moving On’ plunge still deeper ‘Oh Yoko!’. Her own ‘Every Man Has A into discord, the former like an echo of John’s Woman Who Loves Him’ is similarly sweet. “Lost Weekend” record Walls And Bridges , And her wistful ‘Hard Times Are Over’ draws the latter a second instance of Yoko as the the story to its graceful conclusion – though impatient realist. its message is subtly qualified, we note, by the cautious addition of “for awhile”… “It’s not a happy go lucky album,” she affirms. “John’s song ‘I’m Losing You’, even now There would, of course, be no further when I hear that, I get choked up. And ‘I’m recordings issued in John Lennon’s lifetime. Moving On’ Well... that was how we were.” It’s true there were still some unheard songs, most notably on Double Fantasy’s intended Tensions melt with wonderful suddenness in sequel Milk And Honey – but they were for ‘Beautiful Boy (Darling Boy)’, John’s tender another day. On December 9th, 1980, song for Sean. Within the narrative flow of the world awoke to ponder what it had lost. 5 6 STRIPPED DOWN Jack Douglas in Avatar Studios in New York. Thirty years has passed. “I’m so glad I decided to do this.” says Yoko. “I never liked the way songs were mixed in And in 2010, the year of the 70s and the 80s, raising the tracks and Lennon’s 70th birthday, burying the voice. In this Stripdown, John’s voice comes across so powerfully. His voice, Yoko was happy to know his diction, are all very clear in these remixes. that EMI was planning a big His voice is going back to the days of John Lennon/Plastic Ono Band . His soul was tribute to John. She wanted talking to you directly then. Now it is in to do something very Stripped Down . In that sense, this is the first Double Fantasy you’ll be hearing... powerful to enhance the with John’s natural voice, and his lyrics clear project. ‘Stripdown,’ she as a bell. He is brilliant. No other rocker was ever able to come near him in his voice, his heard, was what musicians passion, and in his articulation. He is a were doing now. modern day Shakespeare in his diction. And Stripped Down shows this.” “That was right up John’s alley. So I asked Jack Douglas, the co-producer of the original John Lennon’s singing voice really Double Fantasy , to join me to make this deserves to be heard in a pure state. It’s edition. Both Jack and I were the closest Yoko’s belief that John’s thoughts and people to John when we were making the feelings – so timeless in their relevance original Double Fantasy . I’m sure John’s – should sound as immediate as he wished sudden passing was painful for Jack, too. his message to be. Experienced this way, So we hadn’t been in touch. But now I’m the songs have much the same immediacy glad I reached to him this time. We worked as his powerful solo debut John Lennon/ well... and fast, since we were both there for Plastic Ono Band . Freed from the legacy the original recording.” of sometimes dated technology, these are now recordings for today, and of course, for Stripped Down was re-mixed by Yoko and the future. 7 (Just Like) Starting Over Kiss kiss kiss kiss me love Absolutely free And a bit of tear and flesh by John Lennon I’m bleeding inside No rats aboard the magic ship It’s not very much but while it’s there Of (perfect) harmony You can have it, you can have it Our Life together is so precious It’s a long, long story to tell together And I can only show you my hell Now it begins I’m Losing You We have grown – we have grown Cleanup Time by John Lennon Although our love is still special Touch touch touch touch me love (Show those mothers how to do it) Let’s take a chance and fly away Just one touch, touch will do Here in some stranger’s room somewhere alone Touch touch touch touch me love However far we travel Late in the afternoon Just one touch, touch will do Wherever we may roam What am I doing here at all? It’s been too long since we The center of the circle Ain’t no doubt about it took the time Why me Will always be our home I’m losing you No-one’s to blame, I know time flies Why you so quickly Broken mirror The gods are in the heavens Somehow the wires have crossed But when I see you darling White terror The angels treat us well Communication’s lost It’s like we both are falling in love again The oracle has spoken Can’t even get you on the telephone It’ll be just like starting over Touch touch touch touch me love We cast the (perfect) spell Just got to shout about it Starting over I’m shaking inside I’m losing you Give Me Something Everyday we used to make it love It’s that faint faint sound of the by Yoko Ono Here in the valley of indecision Why can’t we be making love childhood bell I don’t know what to do nice and easy Ringing in my soul The food is cold I feel you slipping away It’s time to spread our wings and fly Your eyes are cold I feel you slipping away Don’t let another day go by my love Kiss kiss kiss kiss me love The window’s cold I’m losing you It’ll be just like starting over Just one kiss, kiss will do The bed’s cold I’m losing you Starting over Cleanup Time Give me something that’s not cold, You say you’re not getting enough Why don’t we take off alone by John Lennon come on, come on But I remind you of all that bad stuff Take a trip somewhere far, far away Give me something that’s not cold, So what the hell am I supposed to do? We’ll be together on our own again Moonlight on the water come
Load more

Recommended publications
  • Hédi A. Jaouad. “Limitless Undying Love”: the Ballad of John and Yoko and the Brownings
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Revue CMC Review (York University) Hédi A. Jaouad. “Limitless Undying Love”: The Ballad of John and Yoko and the Brownings. Manchester Center, Vermont: Shires Press, 2015. 132 pp. Hédi A. Jaouad is a distinguished scholar known for his expertise on Francophone North African (Maghrebi) literature. Professor of French and Francophone literature at Skidmore College, Saratoga Springs, New York, he is the Editor of CELAAN, the leading North American journal focusing on North African literature and language. He is also interested in Victorian literature, with particular concentration on Robert and Elizabeth Barrett Browning, on whom he published a previous book, The Brownings’ Shadow at Yaddo (2014). However, his current book, “Limitless Undying Love”: The Ballad of John and Yoko and the Brownings, shows a whole other side to his scholarship, for it links the Brownings to those icons of contemporary popular culture, John Lennon and Yoko Ono. This is a concise, economical little study (132 pp.), but it manages, in brief compass, to be pluridisciplinary, building bridges between poetry, music, and painting. As he modestly proclaims, it shows “his passion for more than one liberal art” (7). The title, “Limitless Undying Love,” comes from a late John Lennon song, “Across the Universe.” Hédi Jaouad reminds us that the titular “Ballad” applies to both poetry and music. He compares what he has called 19th-century “Browningmania” to 20th-century “Beatlemania,” both of which spread to North America in what has been popularly described as a “British Invasion.” Lest the reader assume Jaouad is only tracing coincidental parallels, he makes it clear from the outset that John and Yoko actually saw themselves as reincarnations of the Brownings, and consciously exploited the similarities in their lives and careers.
    [Show full text]
  • John Lennon from ‘Imagine’ to Martyrdom Paul Mccartney Wings – Band on the Run George Harrison All Things Must Pass Ringo Starr the Boogaloo Beatle
    THE YEARS 1970 -19 8 0 John Lennon From ‘Imagine’ to martyrdom Paul McCartney Wings – band on the run George Harrison All things must pass Ringo Starr The boogaloo Beatle The genuine article VOLUME 2 ISSUE 3 UK £5.99 Packed with classic interviews, reviews and photos from the archives of NME and Melody Maker www.jackdaniels.com ©2005 Jack Daniel’s. All Rights Reserved. JACK DANIEL’S and OLD NO. 7 are registered trademarks. A fine sippin’ whiskey is best enjoyed responsibly. by Billy Preston t’s hard to believe it’s been over sent word for me to come by, we got to – all I remember was we had a groove going and 40 years since I fi rst met The jamming and one thing led to another and someone said “take a solo”, then when the album Beatles in Hamburg in 1962. I ended up recording in the studio with came out my name was there on the song. Plenty I arrived to do a two-week them. The press called me the Fifth Beatle of other musicians worked with them at that time, residency at the Star Club with but I was just really happy to be there. people like Eric Clapton, but they chose to give me Little Richard. He was a hero of theirs Things were hard for them then, Brian a credit for which I’m very grateful. so they were in awe and I think they had died and there was a lot of politics I ended up signing to Apple and making were impressed with me too because and money hassles with Apple, but we a couple of albums with them and in turn had I was only 16 and holding down a job got on personality-wise and they grew to the opportunity to work on their solo albums.
    [Show full text]
  • Kristine Stiles
    Concerning Consequences STUDIES IN ART, DESTRUCTION, AND TRAUMA Kristine Stiles The University of Chicago Press Chicago and London KRISTINE STILES is the France Family Professor of Art, Art Flistory, and Visual Studies at Duke University. The University of Chicago Press, Chicago 60637 The University of Chicago Press, Ltd., London © 2016 by Kristine Stiles All rights reserved. Published 2016. Printed in the United States of America 24 23 22 21 20 19 18 17 16 15 12345 ISBN­13: 978­0­226­77451­0 (cloth) ISBN­13: 978­0­226­77453­4 (paper) ISBN­13: 978­0­226­30440­3 (e­book) DOI: 10.7208/chicago/9780226304403.001.0001 Library of Congress Cataloguing­in­Publication Data Stiles, Kristine, author. Concerning consequences : studies in art, destruction, and trauma / Kristine Stiles, pages cm Includes bibliographical references and index. ISBN 978­0­226­77451­0 (cloth : alkaline paper) — ISBN 978­0­226­77453­4 (paperback : alkaline paper) — ISBN 978­0­226­30440­3 (e­book) 1. Art, Modern — 20th century. 2. Psychic trauma in art. 3. Violence in art. I. Title. N6490.S767 2016 709.04'075 —dc23 2015025618 © This paper meets the requirements of ANSI/NISO z39.48­1992 (Permanence of Paper). In conversation with Susan Swenson, Kim Jones explained that the drawing on the cover of this book depicts directional forces in "an X­man, dot­man war game." The rectangles represent tanks and fortresses, and the lines are for tank movement, combat, and containment: "They're symbols. They're erased to show movement. 111 draw a tank, or I'll draw an X, and erase it, then re­draw it in a different posmon...
    [Show full text]
  • Downbeat.Com December 2014 U.K. £3.50
    £3.50 £3.50 . U.K DECEMBER 2014 DOWNBEAT.COM D O W N B E AT 79TH ANNUAL READERS POLL WINNERS | MIGUEL ZENÓN | CHICK COREA | PAT METHENY | DIANA KRALL DECEMBER 2014 DECEMBER 2014 VOLUME 81 / NUMBER 12 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Associate Editor Davis Inman Contributing Editor Ed Enright Art Director LoriAnne Nelson Contributing Designer Žaneta Čuntová Bookkeeper Margaret Stevens Circulation Manager Sue Mahal Circulation Associate Kevin R. Maher Circulation Assistant Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] Advertising Sales Associate Pete Fenech 630-941-2030 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, Howard Mandel, John McDonough Atlanta: Jon Ross; Austin: Kevin Whitehead; Boston: Fred Bouchard, Frank- John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman,
    [Show full text]
  • Banner of Light V23 N16 4 Jul 1868
    T i-Banner Lig A At VOL. XXIII yes,00 FEB YEAS,I I8IBGLB OOPIEBA 1 In Advasoe. • > BOSTON, SATURDAY, JULY 4, 1868 < Eight *Oeti. > NO. 16 true human progress I owe and hereby acknowl­ kindred in all Nature, and all-powerful for good thoseI of an honored or despised past. Tliero may nite. Nature is one; but Nature le more than edge our preservatlop. And I am ready, as here­ with tliat which 1bo in our degree of mental recognition, but that form. Law is one; but conditions of law are not ---------“ kept tbo atari from wrong, tofore, to reflect to you or to any my humble Whereby tho moat ancient heavens ore freah aqd strong!" ।only reveals our status and not the harmony of law, however scientifically so-called. Unity ex­ The Union between Human Intuitions measure of realization. all truth. Wo must nnd we will go through the ists, or is I But there is no unity save in diver­ Your own Chalmers—among Theologians, and ( Linked to no party, sect or creed, I rejoice in conflicts of inherited thought, but it is to tbo har­ sity. Tho unity of my body is in tho capacity (inil Scientific Demonstration, after him a host of imitators or followers—had tiie free expression of thought on any and all mony of every recognition of an infinite bestow­ and exercise of every limb thereof; not lhat one mind enough to see tbe unity, and itronost elo­ DELIVERED MARCH S, 1865, AT CAMBRIDGE HALL, al upon tbe race. We cannot despise' any, for all member is auother, but that the free function subjects; willing to hear and -be heard in all that quent strains he helil the cold, chaste thought of LONDON, ENGLAND, tends to secure the good, of all men of every are of Nature to Nature, it may be, in new and of each makes tho unity of the whole.
    [Show full text]
  • Give Me Something to Sing About": Intertextuality and the Audience in "Once More, with Feeling"
    Chapter 12 "Give Me Something to Sing About": Intertextuality and the Audience in "Once More, with Feeling" Amy Bauer "I love all musicals." (Joss Whedon, audio commentary to "Once More, with Feeling.") Critics hailed "Once More, with Feeling" (6.7) as a brilliant example of the television musical. Its musical numbers flow from the narrative, yet prove integral to the seven-year arc of the series, and its eclectic but unified score was written expressly for the talents of a cast (mostly) new to the genre. Notably, its book, score, and concept all sprang from one mind, that of the Buffyverse's primary architect, Joss Whedon. Although untrained in musical composition, Whedon's affection for and knowledge of the American musical are everywhere evident, even if we did not have John Kenneth Muir's admission that he is a "virtual encyclopedia of musical film history."1 Analogous to the combined cinematic genres-from horror to religious epic-that mark Buf/Y the Vampire Slayer and Angel, "Once More, with Feeling" alludes to Sondheim and Loesser alongside the sardonic charm of 1940s music, 1950s swing jazz, 1970s arena rock, 1980s power ballads, and 1990s soft-rock confessionals, all within a lean, swift-moving structure that performs the dramatic functions of the classic American musical. Much has already been written regarding the novelty, influence, and intertextual richness of the Buf/Y musical.2 My contribution to that literature analyzes the musical structure of the songs themselves and places it in a dialogic relationship to the sources they summon. Such intertextual richness acknowledges fans' devotion to and knowledge of both the show's history and cultural references to the John Kenneth Muir, Singing a New Tune: The Rebirth ofthe Modern Film Musical, from Evita to De-Lovely and Beyond (New York, 2005), p.
    [Show full text]
  • Omega Auctions Ltd Catalogue 28 Apr 2020
    Omega Auctions Ltd Catalogue 28 Apr 2020 1 REGA PLANAR 3 TURNTABLE. A Rega Planar 3 8 ASSORTED INDIE/PUNK MEMORABILIA. turntable with Pro-Ject Phono box. £200.00 - Approximately 140 items to include: a Morrissey £300.00 Suedehead cassette tape (TCPOP 1618), a ticket 2 TECHNICS. Five items to include a Technics for Joe Strummer & Mescaleros at M.E.N. in Graphic Equalizer SH-8038, a Technics Stereo 2000, The Beta Band The Three E.P.'s set of 3 Cassette Deck RS-BX707, a Technics CD Player symbol window stickers, Lou Reed Fan Club SL-PG500A CD Player, a Columbia phonograph promotional sticker, Rock 'N' Roll Comics: R.E.M., player and a Sharp CP-304 speaker. £50.00 - Freak Brothers comic, a Mercenary Skank 1982 £80.00 A4 poster, a set of Kevin Cummins Archive 1: Liverpool postcards, some promo photographs to 3 ROKSAN XERXES TURNTABLE. A Roksan include: The Wedding Present, Teenage Fanclub, Xerxes turntable with Artemis tonearm. Includes The Grids, Flaming Lips, Lemonheads, all composite parts as issued, in original Therapy?The Wildhearts, The Playn Jayn, Ween, packaging and box. £500.00 - £800.00 72 repro Stone Roses/Inspiral Carpets 4 TECHNICS SU-8099K. A Technics Stereo photographs, a Global Underground promo pack Integrated Amplifier with cables. From the (luggage tag, sweets, soap, keyring bottle opener collection of former 10CC manager and music etc.), a Michael Jackson standee, a Universal industry veteran Ric Dixon - this is possibly a Studios Bates Motel promo shower cap, a prototype or one off model, with no information on Radiohead 'Meeting People Is Easy 10 Min Clip this specific serial number available.
    [Show full text]
  • (I Can't Get No) Satisfaction Rolling Stones 1965 4 Open Ar
    1 Hey Jude The Beatles 1968 2 Stairway To Heaven Led Zeppelin 1971 3 (I Can't Get No) Satisfaction Rolling Stones 1965 4 Open Arms Journey 1982 5 Yesterday The Beatles 1965 6 American Pie Don McLean 1972 7 Imagine John Lennon 1971 8 Jailhouse Rock Elvis Presley 1957 9 Ebony And Ivory Paul McCartney & Stevie Wonder 1982 10 (We're Gonna) Rock Around The Clock Bill Haley & His Comets 1955 11 Start Me Up Rolling Stones 1981 12 Centerfold J. Geils Band 1982 13 I Want To Hold Your Hand The Beatles 1964 14 I Love Rock And Roll Joan Jett & The Blackhearts 1982 15 Hotel California The Eagles 1977 16 Do You Believe In Love Huey Lewis & The News 1982 17 The House Of The Rising Sun The Animals 1964 18 Don't Talk To Strangers Rick Springfield 1982 19 Won't Get Fooled Again The Who 1971 20 867-5309/Jenny Tommy Tutone 1982 21 Bridge Over Troubled Water Simon & Garfunkel 1970 22 '65 Love Affair Paul Davis 1982 23 Help! The Beatles 1965 24 Don't Stop Believin' Journey 1981 25 Endless Love Diana Ross & Lionel Richie 1981 26 Brown Sugar Rolling Stones 1971 27 Let It Be The Beatles 1970 28 Free Bird Lynyrd Skynyrd 1975 29 Woman John Lennon 1981 30 Nights In White Satin Moody Blues 1972 31 She Loves You The Beatles 1964 32 The Sounds Of Silence Simon & Garfunkel 1966 33 The Twist Chubby Checker 1960 34 Jumpin' Jack Flash Rolling Stones 1968 35 Jessie's Girl Rick Springfield 1981 36 Born To Run Bruce Springsteen 1975 37 A Hard Day's Night The Beatles 1964 38 California Dreamin' The Mamas & The Papas 1966 39 Lola The Kinks 1970 40 Lights Journey 1978 41 Proud
    [Show full text]
  • Bob Dylan – the Original Mono Recordings
    Bob Dylan – The Original Mono Recordings by Roger Ford The eight albums in this box are of course the foundation of a sound that was still integrated but with added presence Bob Dylan’s career and legend, the records that made him and depth. famous. But more specifically, these are the records that made him famous – not the albums as they sound on the But technology marched on, and the mono versions of standard CDs today, not the earlier generation of CDs from Dylan’s LPs were discontinued in 1968 in the US, a year later the late ’80s, not even the stereo LPs that came out as each in the UK, and as far as I know had disappeared from all other record was made. It was the mono LPs (and the singles taken parts of the world by the mid -’70s. For the last quarter of the from them) that people heard on the radio, round at friends’ 20 th century they were completely unavailable, and once houses, in record shops. These were the sounds that were people realised what had been lost, good condition original engraved into the memory of anyone who listened to Dylan copies became increasingly sought after. in the sixties. The mono albums were eventually reissued by the US specialist reissue label Sundazed between 2001 and 2004, though only in vinyl format. They were remastered by Sundazed owner Bob Irwin, a well-respected audio engineer in his own right. Irwin put a lot of work into finding the right master tapes as well as into the remastering process itself, but nonetheless these editions evoked a somewhat mixed response, with some albums better received than others.
    [Show full text]
  • Gender and the Collaborative Artist Couple
    Georgia State University ScholarWorks @ Georgia State University Art and Design Theses Ernest G. Welch School of Art and Design Summer 8-12-2014 Gender and the Collaborative Artist Couple Candice M. Greathouse Georgia State University Follow this and additional works at: https://scholarworks.gsu.edu/art_design_theses Recommended Citation Greathouse, Candice M., "Gender and the Collaborative Artist Couple." Thesis, Georgia State University, 2014. https://scholarworks.gsu.edu/art_design_theses/168 This Thesis is brought to you for free and open access by the Ernest G. Welch School of Art and Design at ScholarWorks @ Georgia State University. It has been accepted for inclusion in Art and Design Theses by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. GENDER AND THE COLLABORATIVE ARTIST COUPLE by CANDICE GREATHOUSE Under the Direction of Dr. Susan Richmond ABSTRACT Through description and analysis of the balancing and intersection of gender in the col- laborative artist couples of Marina Abramović and Ulay, John Lennon and Yoko Ono, and Chris- to and Jeanne-Claude, I make evident the separation between their public lives and their pri- vate lives, an element that manifests itself in unique and contrasting ways for each couple. I study the link between gendered negotiations in these heterosexual artist couples and this divi- sion, and correlate this relationship to the evidence of problematic gender dynamics in the art- works and collaborations. INDEX WORDS:
    [Show full text]
  • View Was Provided by the National Endowment for the Arts
    Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. TOOTS THIELEMANS NEA Jazz Master (2009) Interviewee: Toots Thielemans (April 29, 1922 – August 22, 2016) Interviewer: Anthony Brown with recording engineer Ken Kimery Date: August 31 and September 1, 2011 Repository: Archives Center, National Museum of American History Description: Transcript, 80 pp. Brown: Today is August 31, 2011. My name is Anthony Brown, and I am conducting the Smithsonian Institution Oral History with NEA Jazz Master, harmonica virtuoso, guitarist and whistler, Toots Thielemans. Hello… Thielemans: Yes, my real name is Jean. Brown: Jean. Thielemans: And in Belgium… I was born in Belgium. Jean-Baptiste Frédéric Isidor. Four first names. And then Thielemans. Brown: That’s funny. Thielemans: And in French-speaking Belgium, they will pronounce it Thielemans. But I was born April 29, 1922. Brown: That’s Duke Ellington’s birthday, as well. Thielemans: Yes. For additional information contact the Archives Center at 202.633.3270 or [email protected] 1 Brown: All right. Thielemans: Yes, same day. Brown: Yeah, same day. Just a few years later. [laughs] Thielemans: [laughs] Oh, Duke. Okay. Brown: Where in Belgium? What city? Thielemans: In Brussels. Brown: That’s the capitol. Thielemans: In a popular neighborhood of Brussels called Les Marolles. There was… I don’t know, I wouldn’t know which neighborhood to equivalent in New York. Would that be Lower East Side? Or whatever… popular. And my folks, my father and mother, were operating, so to speak, a little beer café—no alcohol but beer, and different beers—in this café on High Street, Rue Haute, on the Marolles.
    [Show full text]
  • John Lennon & Yoko Ono Double Fantasy Mp3, Flac
    John Lennon & Yoko Ono Double Fantasy mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock Album: Double Fantasy Country: US Released: 1980 Style: Pop Rock MP3 version RAR size: 1612 mb FLAC version RAR size: 1146 mb WMA version RAR size: 1546 mb Rating: 4.4 Votes: 233 Other Formats: XM ADX AC3 AAC DTS MPC DMF Tracklist Hide Credits 1 (Just Like) Starting Over 3:55 2 Kiss Kiss Kiss 2:41 3 Cleanup Time 2:57 4 Give Me Something 1:34 5 I'm Losing You 3:58 6 I'm Moving On 2:19 Beautiful Boy (Darling Boy) 7 4:01 Steel Drums – Robert Greenidge Watching The Wheels 8 3:59 Cimbalom [Hammered Dulcimer] – Matthew Cunningham I'm Your Angel 9 3:08 Arranged By [Horns] – Tony Davilio 10 Woman 3:32 11 Beautiful Boys 2:54 12 Dear Yoko 2:33 13 Every Man Has A Woman Who Loves Him 4:02 14 Hard Times Are Over 3:20 Companies, etc. Phonographic Copyright (p) – Yoko Ono Lennon Copyright (c) – Yoko Ono Lennon Licensed To – Capitol Records, LLC Recorded At – The Hit Factory Remixed At – The Hit Factory Remixed At – Record Plant, N.Y.C. Mastered At – Sterling Sound Remastered At – Sterling Sound Manufactured By – Capitol Records, LLC Credits Art Direction – John Lennon & Yoko Ono Artwork – Art Hotel, Christopher Whorf Artwork, Design – P. Linard Marketing And Advertising Ltd Backing Vocals – Benny Cummings Singers, Cas Mijac, Eric Troyer Bass Guitar – Tony Levin Concertina [English] – Randy Stein Drums – Andy Newmark Engineer – Lee DeCarlo Engineer [Assistant] – James Ball*, Jon Smith , Julie Last Guitar – Earl Slick, Hugh McCracken Guitar, Keyboards – John Lennon Horns – David Tofani*, George "Young" Opalisky*, Grant Hungerford, Howard Johnson , John Parran*, Roger Rosenberg, Ronald Tooley*, Seldon Powell Keyboards – George Small Mastered By [Original] – George Marino Percussion – Arthur Jenkins, Jr.* Photography By [Additional] – Allan Tannenbaum, Bob Gruen, David Spindel, Kishin Shinoyama, Lilo Raymond, Nishi F.
    [Show full text]