DOCSLIB.ORG

Texas Musical Journey

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Texas Musical Journey TTeexxaass:: AA MMuussiiccaall JJoouurrnneeyy Dear Texas History Lover, Texas has a special place in history and in the minds of people throughout the world. It has a mystique that no other state and few foreign countries have ever equaled. Texas also has the distinction of being the only state in America that was an independent country for almost 10 years, free and separate, recognized as a sovereign government by the United States, France, and England. The pride and confidence of Texans started in those years, and the "Lone Star" emblem, a symbol of those feelings, was developed through the adventures and sacrifices of those that came before us. This rich history is also reflected in the music of Texas, which presents itself as vast and diverse as the Lone Star State’s landscape. The Texas State Historical Association’s Handbook of Texas—a multidisciplinary online encyclopedia of Texas history, geography, and culture—has explored this musical voice through two print volumes—The Handbook of Texas Music (2003) and The Handbook of Texas Music, Second Edition (2012), published in partnership with the Texas Music Office (Office of the Governor) and the Center for Texas Music History (Texas State University). We are proud to announce the launch of the Handbook of Texas Music Online which will carry on scholarship on the many facets of music in Texas. With almost 900 entries and counting, along with hundreds of illustrations and audio samples, the Handbook of Texas Music Online invites readers to explore their own musical journeys through the musicians, festivals, businesses, ensembles, organizations and more that have helped define the state’s identity. The Texas State Historical Association gratefully acknowledges the Handbook of Texas staff and the Digital Projects staff, as well as an outstanding team of music advisors for their dedication to this ongoing work. To celebrate this launch, the Texas State Historical Association is offering this special e-book. TEXAS: A Musical Journey, which draws from the resources of the Handbook of Texas as well as articles from the Texas Almanac and Southwestern Historical Quarterly, presents a sampling of the impressive history of Texas music through the performers, songs, programs, and events that have crafted a colorful and significant legacy that has reached far beyond the state’s borders. Light Crust Doughboys Buddy Holly Eddie Durham and Texas Jazz Big D Jamboree Selena South by Southwest Texas Tornados Little Joe y La Familia Former Texas Music Office Director Casey Monahan, who originally proposed the Handbook of Texas Music project in 1998, has appropriately assessed, “To travel Texas with music as your guide is a year-round opportunity to experience first-hand this amazing cultural force….Texas music offers a vibrant and enjoyable experience through which to understand and enjoy Texas culture.” For more than a century, the Texas State Historical Association has played a leadership role in Texas history research and education, helping to identify, collect, preserve, and tell the stories of Texas. It has now entered into a new collaboration with the University of Texas at Austin to carry on and expand its work. In the coming years these two organizations, with their partners and members, will create a collaborative whole that is greater than the sum of its parts. The collaboration will provide passion, talent, and long-term support for the dissemination of scholarly research, educational programs for the K-12 community, and opportunities for public discourse about the complex issues and personalities of our heritage. Texas State Historical Association PaP a g e g 1 TTeexxaass:: AA MMuussiiccaall JJoouurrnneeyy The TSHA’s core programs include the Texas Almanac, the Southwestern Historical Quarterly, the Handbook of Texas Online, the TSHA Press, and an Education Program that reaches out to students and teachers at all levels throughout the state. The central challenge before the TSHA is to seize the unprecedented opportunities of the digital age in order to reshape how history will be accessed, understood, preserved, disseminated, and taught in the twenty-first century. In the coming years, we will capitalize on these momentous opportunities to expand the scope and depth of our work in ways never before possible. In the midst of this rapid change, the Texas State Historical Association will continue to provide a future for our heritage and to ensure that the lessons of our history continue to serve as a resource for the people of Texas. I encourage you to join us today as a member of the Texas State Historical Association, and in doing so, you will be part of a unique group of people dedicated to standing as vanguards of our proud Texas heritage and will help us continue to develop innovative programs that bring history to life. With Texas Pride, Brian A. Bolinger CEO Texas State Historical Association Randolph “Mike” Campbell Chief Historian Texas State Historical Association Texas State Historical Association PaP a g e g 2 TTeexxaass:: AA MMuussiiccaall JJoouurrnneeyy TABLE OF CONTENTS TEXAS IN SONG I. “Texas, Our Texas” 5 II. “Beautiful Texas” 6 III. “The Eyes of Texas” 7 VOICES OF TEXAS IV. Julius Lorenzo Cobb Bledsoe 9 V. Damita Jo DeBlanc 10 VI. Daisy Pettit Elgin 11 VII. Baldemar Huerta [Freddy Fender] 12 VIII. Janis Lyn Joplin 14 IX. Melody Maids 16 X. Lydia Mendoza 17 XI. Roy Kelton Orbison 19 XII. James Travis Reeves 21 XIII. Selena Quintanilla Perez 22 XIV. Soul Stirrers 25 XV. Louis Charles Stevenson [Buckwheat, B.W.] 27 XVI. John Townes Van Zandt 29 LONE STAR COUNTRY XVII. Light Crust Doughboys 31 XVIII. James Robert Wills 33 XIX. Orvon Gene Autry 35 XX. Dale Evans 37 XXI. George Glenn Jones 39 XXII. Ace in the Hole Band 42 XXIII. Dave Stone 44 XXIV. Willie Nelson and the Birth of the Austin Music Scene 47 THE CROSSROADS OF MUSICAL CULTURES XXV. Bacas of Fayetteville 53 XXVI. Música Norteña 54 XXVII. Narciso Martínez 57 XXVIII. Joseph Patek 59 XXIX. Little Joe y La Familia 61 XXX. Texas Tornados 63 XXXI. West Side Sound 64 XXXII. Zydeco 66 JAZZ! XXXIII. Eddie Durham and the Texas Contribution to Jazz History 68 Texas State Historical Association PaP a g e g 3 TTeexxaass:: AA MMuussiiccaall JJoouurrnneeyy CLASSICAL TEXAS XXXIV. David Wendel Guion 92 XXXV. Scott Joplin 94 XXXVI. Leonora Rives-Díaz 96 XXXVII. Van Cliburn International Piano Competition 98 TEXAS BLUES XXXVIII. Blind Lemon Jefferson 100 XXXIX. Aaron Thibeaux Walker [T-Bone] 102 XL. Victoria Regina Spivey 104 XLI. Stevie Ray Vaughan 105 ROCKIN’ THROUGH TEXAS---THE ROCK-AND-ROLL REVOLUTION XLII. Elvis in Texas 108 XLIII. Charles Hardin Holley [Buddy Holly] 111 XLIV. Sam the Sham and the Pharaohs 114 XLV. Sir Douglas Quintet 115 XLVI. 13th Floor Elevators 117 XLVII. Bloodrock 119 XLVIII. Pantera 121 TEXAS MUSIC OVER THE AIRWAVES XLIX. Austin City Limits 122 L. Big D Jamboree 124 LI. Border Radio 126 LII. Harry A. Lieberman [Larry Kane] 128 LIII. Sump’n Else 130 LIV. The !!!! Beat 131 MUSICAL HAPPENINGS LV. Cowboys’ Christmas Ball 133 LVI. Kerrville Folk Festival 134 LVII. South by Southwest 136 LVIII. Texas International Pop Festival, 1969 137 LIX. Willie Nelson’s Fourth of July Picnic 138 HIDDEN GEMS IN MUSIC LX. Margaret Cage Whitley Adams 140 LXI. Charline Arthur 141 LXII. James A. Beck [Jim] 143 LXIII. John Washington Dollar, Jr. [Johnny Dollar] 145 LXIV. Evelyn Joyce Johnson 147 LXV. Carl Eric Lewis 149 LXVI. Carl T. Morene 151 LXVII. Sarg Records 153 Texas State Historical Association PaP a g e g 4 TTeexxaass:: AA MMuussiiccaall JJoouurrnneeyy TEXAS IN SONG I. “Texas, Our Texas” Written by Charles A. Spain, Jr. The state song of Texas was adopted by the Forty-first Legislature after a statewide contest in 1929. The music was originally written in 1924 by William J. Marsh of Fort Worth, and the lyrics were written by Marsh and Gladys Yoakum Wright. Alaska's statehood in 1959 necessitated the only change that has been made in the lyrics—modifying the line “largest and grandest” to “boldest and grandest.” The Seventy-third Legislature again adopted “Texas, Our Texas” as the state song in a 1993 law. Vocal Sheet Music—“Texas Our Texas” (Southern Music Company, San Antonio). Reportedly, John Philip Sousa once praised the “Official State Song of Texas” as the finest state song he had ever heard. Courtesy of Southern Music Company. Texas State Historical Association PaP a g e g 5 TTeexxaass:: AA MMuussiiccaall JJoouurrnneeyy II. “Beautiful Texas” Written by Laurie E. Jasinski W. Lee “Pappy” O'Daniel composed “Beautiful Texas” in 1933, and the song was first performed by his band, the Light Crust Doughboys, and later by his Hillbilly Boys. The tune became a theme song for O’Daniel during his campaign for Texas governor. Upon his political victory and inauguration in January 1939, Life magazine commented that sheet music sales boasted 75,000 sold during O’Daniel’s campaign, and record sales had skyrocketed to more than 100,000 sold by the inauguration. The sheet music cover was “designed by Lee O’Daniel himself” and depicts a montage of Texan scenery, industry, agriculture, and history under the six flags of the Lone Star State. Chorus: (Oh) Beautiful, Beautiful Texas, Where the beautiful bluebonnets grow, We’re proud of our forefathers Who fought at the Alamo. You can live on the plains or the mountain Or down where the sea-breezes blow, And you’re still in Beautiful Texas, Sheet Music—“Beautiful Texas” by W. Lee O’Daniel (Shapiro, The most beautiful place that I know. Bernstein & Co., Inc., New York). Courtesy of Texas State Library and Archives Commission, Prints & Photographs, Sheet Music #328. Courtesy of Southern Music Company.
Load more

Recommended publications
  • Artie Shaw, 1910-2004: Last Great Musician of the Big Band Era
    12 May 2012 | MP3 at voaspecialenglish.com Artie Shaw, 1910-2004: Last Great Musician of the Big Band Era AP Artie Shaw playing the clarinet in 1941 DOUG JOHNSON: I'm Doug Johnson with PEOPLE IN AMERICA in VOA Special English. Today we tell the story of a musician who led one of the most popular American bands during the nineteen thirties and forties. His name was Artie Shaw. Listen for a few minutes to one of his many hit songs. This one is called "Frenesi." Artie Shaw plays the clarinet. (MUSIC) On December thirtieth, two thousand four, Artie Shaw died after a long sickness. He was ninety-four years old. He was the last great musician and bandleader of what has been called the "Big Band Era." Some of the others were Benny Goodman and Glenn Miller. In the nineteen thirties and nineteen forties Artie Shaw was one of the most popular musicians and bandleaders in the United States. Just a few notes from his clarinet could start people dancing. His music sold millions of records. It still is difficult to listen to an old Artie Shaw recording and not tap your foot in time with the music. Or want to dance. Or sing along with his great sound. 2 Listen to Shaw on the clarinet and his band play part of a song recorded in Hollywood, California in nineteen forty. It is called "Summit Ridge Drive." (MUSIC) Artie Shaw was born in New York City in nineteen ten. His name was Arthur Arshawsky. His parents were poor immigrants who had come to the United States from Eastern Europe.
    [Show full text]
  • The Role of a Gendered Policy Agenda in Closing the Mayoral Ambition Gap
    Journal of Research on Women andJournal Gender of Research 81 on Women and Gender The role of a gendered policy agenda Volume 6, 81-93 © The Author(s) 2015, 2016 in closing the mayoral ambition gap: Reprints and Permission: email [email protected] Texas Digital Library: The case of Texas female city council members http://www.tdl.org Darlene Budd, Angelique Myers, and Thomas Longoria Abstract This study explores female city council member political ambition to run for mayor. Women who hold mayoral office are potentially more competitive for higher elected office at the state and federal level. This study is based on a survey sent to Texas city council members in cities over 30,000. Forty-one percent of respondents said they would most likely run for mayor at some point, and we do find a gender gap in ambition (50% of men and 36% of women). However, we find that women who advocated a gendered local government political agenda exhibited higher levels of political ambition compared women who do not, and the ambition gap is reduced significantly. This finding holds up, controlling for other factors suggested by the literature that are predictors of political ambition. Two of these other factors—age and personal support—also increase city council member mayoral ambition. The findings are dis- cussed in terms of strategies to increase female mayoral ambition. Keywords political science, women’s studies, sociology, political ambition, gender, local government he underrepresentation of women representation through education, leader- in the United States occurs at the ship training, and networking. However, the national, state, and local levels of barriers women face when considering run- Tgovernment.
    [Show full text]
  • Premium Blend: Middle School Percussion Curriculum Utilizing Western and Non-Western Pedagogy
    Premium Blend: Middle School Percussion Curriculum Utilizing Western and Non-Western Pedagogy Bob Siemienkowicz Winfield School District 34 OS 150 Park Street Winfield, Illinois 60190 A Clinic/Demonstration Presented by Bob Siemienkowicz [email protected] And The 630.909.4974 Winfield Percussion Ensembles ACT 1 Good morning. Thank you for allowing us to show what we do and how we do it. Our program works for our situation in Winfield and we hope portions of it will work for your program. Let’s start with a song and then we will time warp into year one of our program. SONG – Prelude in E minor YEAR 1 – All those instruments The Winfield Band program, my philosophy has been that rhythm is the key to success. I tell all band students “You can learn the notes and fingerings fine, but without good rhythm, no one will understand what you are playing.” This is also true in folkloric music. Faster does not mean you are a better player. How well you communicate musically establishes your level of proficiency. Our first lessons with all band students are clapping exercises I design and lessons from the Goldenberg Percussion method book. Without the impedance of embouchure, fingerings and the thought of dropping a $500 instrument on the floor, the student becomes completely focused on rhythmic study. For the first percussion lesson, the focus is also rhythmic. Without the need for lips, we play hand percussion immediately. For the first Western rudiment, we play paradiddles on conga drums or bongos (PLAY HERE). All percussion students must say paradiddle while they play it.
    [Show full text]
  • Sohnewreleasebook.Pdf
    Cypress Spring American White Trash on Average Joes Entertainment $15.99 SRP street: 10.12.18 UPC: 661869003207 Holding true to the cliché ‘country to the core,’ Florida-based country rap group Cypress Spring’s beat-driven music and down-home Southern lifestyle continue to connect with fans far and wide. On their long-awaited 12- track album American White Trash, the country rap trio flies a proud flag espousing the virtues of hard work and partying harder, patriotism, God and family – virtues closely aligned with their exploding fan base. Cypress Spring’s music was first introduced on CMT’s highest rated hit show “Party Down South.” Since then, the band has gggarnered over 18 million YouTube views of their breakthrough video “Way of Life” with over 25 million streams across digital radio platforms, over 100,000 fans across social media and more than 500,000 sales on the popular Mud Digger compilation albums. Sonically, the 12-track album has something for every fan. Patriotism shines through on the driving, hit song and video “America,” while “Whiskey’s Always Strong,” a standout ballad, will surely tug at the heartstrings and “Needle Junkie,” a clever throwback, sings the praises of vinyl records. Recognized as the hottest newcomers on the country rap music scene, the band is quickly gaining fans and growing their fan base. An extensive tour booked by Nashville’s Buddy Lee Agency is planned to support the new album. In addition, the marketing campaign includes major media mailings, playlist procurement on digital streaming platforms, online reviews, features and interviews, weekly webisodes with band members, Facebook live sessions, social media engagement, digital marketing and contesting and giveaways.
    [Show full text]
  • Southeast Texas: Reviews Gregg Andrews Hothouse of Zydeco Gary Hartman Roger Wood
    et al.: Contents Letter from the Director As the Institute for riety of other great Texas musicians. Proceeds from the CD have the History of Texas been vital in helping fund our ongoing educational projects. Music celebrates its We are very grateful to the musicians and to everyone else who second anniversary, we has supported us during the past two years. can look back on a very The Institute continues to add important new collections to productive first two the Texas Music Archives at SWT, including the Mike Crowley years. Our graduate and Collection and the Roger Polson and Cash Edwards Collection. undergraduate courses We also are working closely with the Texas Heritage Music Foun- on the history of Texas dation, the Center for American History, the Texas Music Mu- music continue to grow seum, the New Braunfels Museum of Art and Music, the Mu- in popularity. The seum of American Music History-Texas, the Mexico-North con- Handbook of Texas sortium, and other organizations to help preserve the musical Music, the definitive history of the region and to educate the public about the impor- encyclopedia of Texas tant role music has played in the development of our society. music history, which we At the request of several prominent people in the Texas music are publishing jointly industry, we are considering the possibility of establishing a music with the Texas State Historical Association and the Texas Music industry degree at SWT. This program would allow students Office, will be available in summer 2002. The online interested in working in any aspect of the music industry to bibliography of books, articles, and other publications relating earn a college degree with specialized training in museum work, to the history of Texas music, which we developed in cooperation musical performance, sound recording technology, business, with the Texas Music Office, has proven to be a very useful tool marketing, promotions, journalism, or a variety of other sub- for researchers.
    [Show full text]
  • Austinmusicawards2017.Pdf
    Jo Carol Pierce, 1993 Paul Ray, Stevie Ray Vaughan, and PHOTOS BY MARTHA GRENON MARTHA BY PHOTOS Joe Ely, 1990 Daniel Johnston, Living in a Dream 1990 35 YEARS OF THE AUSTIN MUSIC AWARDS BY DOUG FREEMAN n retrospect, confrontation seemed almost a genre taking up the gauntlet after Nelson’s clashing,” admits Moser with a mixture of The Big Boys broil through trademark inevitable. Everyone saw it coming, but no outlaw country of the Seventies. Then Stevie pride and regret at the booking and subse- confrontational catharsis, Biscuit spitting one recalls exactly what set it off. Ray Vaughan called just prior to the date to quent melee. “What I remember of the night is beer onto the crowd during “Movies” and rip- I Blame the Big Boys, whose scathing punk ask if his band could play a surprise set. The that tensions started brewing from the outset ping open a bag of trash to sling around for a classed-up Austin Music Awards show booking, like the entire evening, transpired so between the staff of the Opera House, which the stage as the mosh pit gains momentum audience visited the genre’s desired effect on casually that Moser had almost forgotten until was largely made up of older hippies of a Willie during “TV.” the era. Blame the security at the Austin Stevie Ray and Jimmie Vaughan walked in Nelson persuasion who didn’t take very kindly About 10 minutes in, as the quartet sears into Opera House, bikers and ex-Navy SEALs from with Double Trouble and to the Big Boys, and the Big “Complete Control,” security charges from the Willie Nelson’s road crew, who typical of the proceeded to unleash a dev- ANY HISTORY OF Boys themselves, who were stage wings at the first stage divers.
    [Show full text]
  • 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.
    [Show full text]
  • HISTORICAL FIGURES in SOCIAL STUDIES TEKS DRAFT ONE: July
    HISTORICAL FIGURES IN SOCIAL STUDIES TEKS DRAFT ONE – July 31, 2009 FOLLOW THE WORD FOLLOW THE WORDS “SUCH GRADE OR INTRODUCTION “INCLUDING” (REQUIRED TO BE AS” (EXAMPLES OF WHAT MAY COURSE TAUGHT) BE TAUGHT) Kindergarten George Washington Stephen F. Austin No additional historical figures are George Washington listed. Grade 1 Abraham Lincoln Sam Houston Clara Harlow Barton (moved to Gr. 3) Martin Luther King, Jr. Alexander Graham Bell Abraham Lincoln Thomas Edison (moved to Gr. 5) Nathan Hale Sam Houston (moved to including) Martin Luther King, Jr. (to including) Abraham Lincoln (moved to including) Benjamin Franklin Garrett Morgan Eleanor Roosevelt Grade 2 No historical figures are listed. No specific historical figures are George Washington Carver required. Amelia Earhart Robert Fulton Henrietta C. King Thurgood Marshall Florence Nightingale Irma Rangel Paul Revere Theodore Roosevelt Sojourner Truth WASP pilots of World War II Black = In Current TEKS and 7/31/09 Draft; Green = Recommended Additions; Red = Recommended Deletions 1 Historical figures listed alphabetically by last name HISTORICAL FIGURES IN SOCIAL STUDIES TEKS DRAFT ONE – July 31, 2009 FOLLOW THE WORD FOLLOW THE WORDS “SUCH GRADE OR INTRODUCTION “INCLUDING” (REQUIRED TO BE AS” (EXAMPLES OF WHAT MAY COURSE TAUGHT) BE TAUGHT) Grade 3 Paul Bunyan No specific historical figures are Wallace Amos required. Mary Kay Ash Jane Addams (moved to Gr. 5) Benjamin Banneker Clara Barton Todd Beamer Pecos Bill Daniel Boone Paul Bunyan Sandra Cisneros William Clark (moved to Gr. 5) Christopher Columbus David Crockett (moved to Gr. 4) Robinson Crusoe Louis Daguerre Henry Ford (moved to U.S.H.) Founding Fathers Benjamin Franklin Dr.
    [Show full text]
  • The Digital Deli Online - List of Known Available Shows As of 01-01-2003
    The Digital Deli Online - List of Known Available Shows as of 01-01-2003 $64,000 Question, The 10-2-4 Ranch 10-2-4 Time 1340 Club 150th Anniversary Of The Inauguration Of George Washington, The 176 Keys, 20 Fingers 1812 Overture, The 1929 Wishing You A Merry Christmas 1933 Musical Revue 1936 In Review 1937 In Review 1937 Shakespeare Festival 1939 In Review 1940 In Review 1941 In Review 1942 In Revue 1943 In Review 1944 In Review 1944 March Of Dimes Campaign, The 1945 Christmas Seal Campaign 1945 In Review 1946 In Review 1946 March Of Dimes, The 1947 March Of Dimes Campaign 1947 March Of Dimes, The 1948 Christmas Seal Party 1948 March Of Dimes Show, The 1948 March Of Dimes, The 1949 March Of Dimes, The 1949 Savings Bond Show 1950 March Of Dimes 1950 March Of Dimes, The 1951 March Of Dimes 1951 March Of Dimes Is On The Air, The 1951 March Of Dimes On The Air, The 1951 Packard Radio Spots 1952 Heart Fund, The 1953 Heart Fund, The 1953 March Of Dimes On The Air 1954 Heart Fund, The 1954 March Of Dimes 1954 March Of Dimes Is On The Air With The Fabulous Dorseys, The 1954 March Of Dimes Is On The Air, The 1954 March Of Dimes On The Air 1955 March Of Dimes 1955 March Of Dimes Is On The Air, The 1955 March Of Dimes, The 1955 Pennsylvania Cancer Crusade, The 1956 Easter Seal Parade Of Stars 1956 March Of Dimes Is On The Air, The 1957 Heart Fund, The 1957 March Of Dimes Galaxy Of Stars, The 1957 March Of Dimes Is On The Air, The 1957 March Of Dimes Presents The One and Only Judy, The 1958 March Of Dimes Carousel, The 1958 March Of Dimes Star Carousel, The 1959 Cancer Crusade Musical Interludes 1960 Cancer Crusade 1960: Jiminy Cricket! 1962 Cancer Crusade 1962: A TV Album 1963: A TV Album 1968: Up Against The Establishment 1969 Ford...It's The Going Thing 1969...A Record Of The Year 1973: A Television Album 1974: A Television Album 1975: The World Turned Upside Down 1976-1977.
    [Show full text]
  • March, April, May 2013 Vol. 31 No. 1 March
    MARCH, APRIL, MAY 2013 VOL. 31 NO. 1 George Strait Bids An Emotional Farewell To Oklahoma City On His “The Cowboy Rides Away Tour” By Brandy McDonnell…The Daily McBride opened her 70-minute crowd- declared McBride, who looked sassy in a Oklahoman warming set with the feisty toe-tapper red leather jacket over black jeans, a black The King of Country took on the role of “When God-Fearin’ Women Get the Blues” scooped-neck top and tall black boots with “The King of Broken Hearts” Saturday skinny skyscraper heels. night, bidding an emotional and engaging The Kansas native told the packed house farewell to Oklahoma City. that one of her favorite parts of planning George Strait embarked on his “The Cow- a tour is choosing cover songs, and she boy Rides Away Tour” Friday night with a wowed the crowd with her crystalline coun- home-state show in Lubbock, Texas. The try version of Etta James’ “At Last” and got second stop on his 2013-14 farewell trek fans wailing along with a medley of the Cat was the sold-out Chesapeake Energy Arena, Stevens classic “The First Cut Is the Deep- where he has reigned as a top concert draw est” and Tom Petty’s “Free Fallin’.” since the venue opened in 2002. “We’re not clapping; we’re snapping. It’s As usual, Strait put on a frills-free show the new thing. All the cool kids are do- designed to spotlight outstanding singing, ing it,” she quipped before launching into songwriting and musicianship. He and his a lively rendition of “King of the Road,” excellent opening act, Martina McBride, paying double tribute to her tourmate and along with their strong respective bands, the late, great Erick-bred singer-songwriter performed in the round on a massive Roger Miller.
    [Show full text]
  • Soundies Research
    Soundies Disc 1 Golden Oldies Opening & © notice Listed in the order they appear on the disc: Del Casino Surrender 1946 Three Suns with Artie Dunn Beyond the Blue Horizon 1944 Emil Coleman with June Barton Gotta Be This or That 1945 Six Hits and a Miss Sweet Sue, Just You 1941 Harry Cool Stardust 1945 Yvonne De Carlo with Spike Jones band Lamp of Memory 1942 Ray Bloch with Carolyn Marsh I Can’t Give You Anything But Love Baby 1941 Seven Sarongs Heaven Help a Sailor 1941 Zarek and Zarina Male Order 1941 3 Car Hops At Your Service 1941 Juvenile Jubilee with Merle Pitt I Don’t Want to Walk W/out You 1942 Thelma White Hollywood Boogie 1946 Andy Iona Orchestra Tropical Swingaroo 1941 Johnny Long and Orchestra Maria Elena 1943 Varios and Vida (dancers) Begin the Beguine 1943 Larry Clinton Semper Fidelis 1943 Johnny Long In a Shanty In Old Shanty Town 1943 Billy MacDonald & His Highlanders Playmates 1944 Jimmy Dorsey Bar Babble 1943 Jimmy Dorsey with Helen O’Connell Man That’s Groovy 1943 Jimmy Dorsey La Rosita 1943 Gene Krupa with Anita O’Day Let Me Off Uptown 1942 Gene Krupa with Anita O’Day Thanks for the Boogie Ride 1942 Al Donahue with Ellen Connor Java Jive 1943 Al Donahue with Phil Brito Lonesome Road 1943 Victor Young Hold That Tiger 1940 Al Donahue Anvil Chorus 1943 Al Donahue with Ellen Connor Jumpin’ at the Juke Box 1943 Will Bradley Boardwalk Boogie 1941 Will Bradley Barnyard Bounce 1941 Johnny Long Boogie Man 1943 Charlie Spivak Hop, Skip and Jump 1942 Johnny Long It Must Be Jelly 1946 Nat King Cole Frim Fram Sauce 1945 Nat King Cole Calypso Girl (?) Mills Brothers Cielito Lindo 1944 Cab Calloway Minnie the Moocher 1942 Soundies Disc 2 All of these are Soundies except the Artie Shaw number from Second Chorus.
    [Show full text]
  • The Ticker, December 4, 2000
    / .. VOLUME 78, ISSUE 8 For.the Students and the Community December 4, 2000 Stress Busters The BathrooRi 'Solution Free Massages at Stress Management Workshop ·More -.... lion and· By, Vaaessa Wite-ko By Adam Ostaszewski News Editor JlI":. .... Nt!WS Editor It has been two months since the article was In preparation for another grueling finals published on the unsanitary conditions of the week, Baruch will be holding a "Stress Women's bathrooms. There have been some a-USfe-rS"""-worKsnop-on-DecemberiWam:r-t4th. - --improvemenis~-and an-extra service was- aaoed The program, which is co-sponsored by the to the women's bathrooms, however certain Counseling Center and the Health Center, will conditions remain in deadlock. be held in room 1704 ofthe 360 PAS building The following improvements have occurred. from 12:00 to 3:30. The neglecting of OSHA health code, section The Health and Counseling Centers have I 910.141(d)(2)(iii) "Each lavatory shall be pro­ aranged for two independent massage thera­ vided with hot and cold running water, or tepid pists, Shakti Tatlan and Nelle Davis, to come in running water," was fixed. The hot water has and give massages to anyone that chooses to been. turned on, and all sinks are functioning participate. Light refreshments will be also properly. served. Additional trashcans were placed in the bath­ Aurora Ocampo ofthe Center for Health and rooms of the 18 street building to help control Healing at Beth Israel Hospital will be speaking the level oftrash. Also, the soap was replaced at the workshop. Ocampo is a clinical nurse in the women's bathroom 00 the 14 floor of360 specializing in therapeutic touch; she is also PAS.
    [Show full text]