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Rosemary Lane the Pentangle Magazine
Rosemary Lane the pentangle magazine Issue No 12 Summer 1997 Rosemary Lane Editorial... (thanks, but which season? and we'd Seasonal Greetings! rather have had the mag earlier!) o as the summer turns into autumn here we extensive are these re-issues of the Transatlantic are once more with the latest on Pentangle years - with over 30 tracks on each double CD in Rosemary Lane. In what now seems to be that the juxtaposition of the various musical its characteristic mode of production - i.e. long styles is frequently quite startling and often overdue and much anticipated - thanks for the refreshing in reminding you just how broad the reminders! - we nevertheless have some tasty Pentangle repertoire was in both its collective morsels of Pentangular news and music despite and individual manifestations. More on these the fact that all three current recording projects by in news and reviews. Bert and John and Jacqui remain works in progress - (see, Rosemary Lane is not the only venture that runs foul of the limitations of one human being!). there’s a piece this time round from a young Nonetheless Bert has in fact recorded around 15 admirer of Bert’s who tells how he sounds to the or 16 tracks from which to choose material and in ears of a teenage fan of the likes of Morrissey and the interview on page 11 - Been On The Road So Pulp. And while many may be busy re-cycling Long! - he gives a few clues as to what the tracks Pentangle recordings, Peter Noad writes on how are and some intriguing comments on the feel of Jacqui and band have been throwing themselves the album. -
Sound Recording in the British Folk Revival: Ideology, Discourse and Practice, 1950–1975
Sound recording in the British folk revival: ideology, discourse and practice, 1950–1975 Matthew Ord Submitted in fulfilment of the degree of PhD International Centre for Music Studies Newcastle University March 2017 Abstract Although recent work in record production studies has advanced scholarly understandings of the contribution of sound recording to musical and social meaning, folk revival scholarship in Britain has yet to benefit from these insights. The revival’s recording practice took in a range of approaches and contexts including radio documentary, commercial studio productions and amateur field recordings. This thesis considers how these practices were mediated by revivalist beliefs and values, how recording was represented in revivalist discourse, and how its semiotic resources were incorporated into multimodal discourses about music, technology and traditional culture. Chapters 1 and 2 consider the role of recording in revivalist constructions of traditional culture and working class communities, contrasting the documentary realism of Topic’s single-mic field recordings with the consciously avant-garde style of the BBC’s Radio Ballads. The remaining three chapters explore how the sound of recorded folk was shaped by a mutually constitutive dialogue with popular music, with recordings constructing traditional performance as an authentic social practice in opposition to an Americanised studio sound equated with commercial/technological mediation. As the discourse of progressive rock elevated recording to an art practice associated with the global counterculture, however, opportunities arose for the incorporation of rock studio techniques in the interpretation of traditional song in the hybrid genre of folk-rock. Changes in studio practice and technical experiments with the semiotics of recorded sound experiments form the subject of the final two chapters. -
Informal Popular Music Learning Practice and Their Relevance for Formal Music Educators
17 INFORMAL POPULAR MUSIC LEARNING PRACTICE AND THEIR RELEVANCE FOR FORMAL MUSIC EDUCATORS Lucy Green Institute of Education, University of London Introduction I would like to start by listening to the opening of a song. It is performed by Nanette Welmans, an English popular musician who I interviewed as part of a study on how popular musicians learn. Nanette does all the singing on the recording, including the backing vocals; she plays all the instruments and she mixed the recording herself. She also composed the music and wrote the lyrics. Like the majority of popular musicians, she had hardly any formal music education at all. She had taken a few piano lessons when she was ten years old, but gave up because in her words: ‘I just couldn’t relate to them, at all’. She became a professional singer at the age of 17, but only went to a singing teacher later. She had two separate periods of taking lessons, mainly concentrating on diaphragm breathing. At the time of creating this song, she did not know how to read notation; and it emerged after the interview that she had notation dyslexia. She had never had any education in composition, form, harmony or counterpoint. There are three main questions I wish to address in this presentation. Firstly, how did she, and other musicians like her, go about the informal processes of acquiring their skills and knowledge; secondly, what kinds of attitudes and values did they bring to their learning experiences; thirdly, and more briefly, to what extent might it be beneficial to incorporate these learning practices into the formal environment of the general school music classroom? The research involved detailed interviews and some observations with 14 popular musicians living in and around London, UK, aged 15 to 50. -
Research and Analysis Essay
Research and Analysis Essay OBJECTIVES The purpose of this essay is for you to: a) broaden your knowledge of 1970s American cinema and society and b) hone skills of writing and critical analysis. GUIDELINES You will choose one of the general topics provided below and carve out of it your own specific analysis. Try to be specific and focused. Construct a thesis in your introduction that outlines what you will argue and focus on; then, continually reinforce, point back to, and illustrate this thesis in the body; and wrap up your paper and thesis in the conclusion. Regardless of which topic you choose, this essay requires you to combine the following: A) research, whereby you will locate and cite scholarly writings that strengthen your study; and B) analysis, in which you will make sense of and think critically about the subject matter. Be sure, as well – again, regardless of topic – to examine in some way the relationship between American cinema and society in the 1970s. TOPICS Choose one of these below. Be careful not to tackle the entire topic, which would not be advisable in such a short paper. Instead find a topic below that interests you and go about finding a particular area within it that will permit you to accomplish the objectives and follow the guidelines. 1. New genres — Pick one of the new genres that came out of the 1970s. Consider why this genre and movie (could be as many as two movies) emerge during the 1970s. How does it generically address issues particularly relevant to 1970s America? And, in turn, how does the film generically determine its aesthetics, themes, and/or ideology? How is the film representative of that genre and of the decade? The films below are mere suggestions; you may find others. -
Smash-Hits-1980-12-J
TLY ...,., man League lbums lncolour be won ROXY MUSIC FLESH+BLOOD Phone 01-200 0200 To find out the nearest shop where you can obtain "Flesh & Blood" at a minimwn of £1.00 off tlte album's R.R.P. ALBUM & CASSETTE 1.,.,~.1EiJ NEW AMSTERDAM June 12-25 1980 Elvis Costello ...........................................4 It's tough atthe top. Jerry TIN SOLDIERS Dammers just popped in to Stiff Little Fingers ....................................4 borrow a picture of himself. Seems he was trying to cash a CHRISTINE cheque at the bank and the Siouxsie & The Banshees ....................... 5 people didn't recognise him . .. Our apologies next to the folks CRYING who were disappointed by the Don Mclean .............................................8 absence of the promised Dexy's colour poster in the lastjssue. CHINATOWN r----...:S~ee, thei:O• haef'already been 4 rattled off to the prlntws before THT:~EL~.1oivi. M·~A~s·~·H ........................ ·1 the actual shot arrived and we decided we needed to~ bett.er. The Mash ............................................... 14 have atlence ,and we1t bring LITTLE JEANNIE one soon. This time around eve definitely got a fantastic Elton John .............................................. 16 vid,c> game for our new IF LOVING YOU IS WRONG d prize, our Irresistible lffer OD page 26 plus a Rod Stewart ........................................... 16 S etro"c:ompetition on page • EVERYBODY'S GOTTO LEARN 28. So'-Juat think yourself lucky - we UNd_"to'"1ive7n a _rolled u SOMETIME -~e'.lnidHle ofthe"' The Korgis .............................................. 19 BACK TOGETHER AGAIN Roberta Flack & Donny Hathaway ........22 THE MAN WHO DIES EVERYDAY ntributon Ultravox .................................................29 qb' K'-atz TO BE OR NOT TO BE R~ttrr Fr,cl Deller B. -
Country Joe Mcdonald------3 Rivers Co-Op Natural Grocery & Deli
OUR SPONSORS -----------------------Cover Story • Country Joe McDonald --------------------- 3 Rivers Co-op Natural Grocery & Deli ....................27 Aboite Grill ....................................................................26 Allen Co. Public Library/Rock the Plaza ....................15 Alley Sports Bar ..........................................................16 Beamer’s Sports Grill .................................................11 C2G Music Hall/Pink Droyd ........................................15 C2G Music Hall on TV .....................................................7 ‘F’ Is for Flower Power Calhoun Street Soups, Salads & Spirits ................13 Champions Sports Bar & Restaurant .....................16 By Mark Hunter website. “My father, Worden ‘Mac’ McDon- Wall Street and released on McDonald’s Rag CLASSIFIEDS ...............................................................31 ald, grew up in the little Oklahoma town of Baby label. Club Paradise ........................................................15, 18 If there’s one thing Joe McDonald Sallisaw, 100 miles from the Woody’s birth- McDonald was born in Washington, Columbia Street West ................................................14 knows about, it would be how to write a place of Okemah. My father was a farm boy D.C. in 1942 but grew up in Los Angeles. Digitracks Recording Studio .............................14, 31 good protest song. Or maybe it’s Florence and hobo like Woody. He talked about this He moved from the Los Angeles suburb of Duty’s Buckets Sports -
America's Changing Mirror: How Popular Music Reflects Public
AMERICA’S CHANGING MIRROR: HOW POPULAR MUSIC REFLECTS PUBLIC OPINION DURING WARTIME by Christina Tomlinson Campbell University Faculty Mentor Jaclyn Stanke Campbell University Entertainment is always a national asset. Invaluable in times of peace, it is indispensable in wartime. All those who are working in the entertainment industry are building and maintaining national morale both on the battlefront and on the home front. 1 Franklin D. Roosevelt, June 12, 1943 Whether or not we admit it, societies change in wartime. It is safe to say that after every war in America’s history, society undergoes large changes or embraces new mores, depending on the extent to which war has affected the nation. Some of the “smaller wars” in our history, like the Mexican-American War or the Spanish-American War, have left little traces of change that scarcely venture beyond some territorial adjustments and honorable mentions in our textbooks. Other wars have had profound effects in their aftermath or began as a result of a 1 Telegram to the National Conference of the Entertainment Industry for War Activities, quoted in John Bush Jones, The Songs that Fought the War: Popular Music and the Home Front, 1939-1945 (Lebanon, NH: University Press of New England, 2006), 31. catastrophic event: World War I, World War II, Vietnam, and the current wars in the Middle East. These major conflicts create changes in society that are experienced in the long term, whether expressed in new legislation, changed social customs, or new ways of thinking about government. While some of these large social shifts may be easy to spot, such as the GI Bill or the baby boom phenomenon in the 1940s and 1950s, it is also interesting to consider the changed ways of thinking in modern societies as a result of war and the degree to which information is filtered. -
De MORAES RON CREDITS
Ron de Moraes Ron de Moraes 2015 - 2020 NBC: MACY’S THANKSGIVING DAY PARADE Live three-hour specials from New York City featuring balloons, floats, marching bands and Broadway shows. 2020 CBS: ESSENTIAL HEROES: A MOMENTO LATINO EVENT Prime Time Special honoring the contributions of the Latinx community to the United States and their importance to its future with a focus on Latinx culture through musical performances, comedy pieces, and docu-shorts. 2020 DISCOVERY: SPACE LAUNCH LIVE: AMERICA RETURNS TO SPACE Two Specials from the Kennedy Space Center in Cape Canaveral, Florida. This event marked the first crewed space mission to be launched into orbit from U.S. soil in almost a decade and was directed from my dining room in North Palm Beach because of the Covid pandemic. 2020 ABC: VOLCANO LIVE! WITH NIK WALLENDA Two Hour Prime Time Special from the Masaya Volcano in Nicaragua. Nik Wallenda became the first person to cross on an active volcano lava lake on a highwire. 2019 DISNEY+/DISNEY MUSIC GROUP: A CELEBRATION OF MUSIC FROM COCO TV Special of Disney and Pixar’s COCO brought to life on stage for the first time at the Hollywood Bowl. Performers included Benjamin Bratt, Eva Longoria, Carlos Rivera, Miguel, Alanna Ubach, Alex Gonzalez, Jaime Camil, Rudy Mancuso and Natalia Jimenez who appeared as the beloved film played on the Bowl’s movie screen accompanied by a full, live orchestra. 2018, 2019 (? Seasons) ABC: MATCH GAME FremantleMedia NA. Prime Time panel game show starring Alec Baldwin. Contact: Evan Warner at 310-859-4519 [email protected] Ron de Moraes 2019 ABC: HIGHWIRE LIVE IN TIMES SQUARE WITH NIK WALLENDA Two Hour Prime Time Special. -
Sponsorship Opportunities Killebrew
KILLEBREW-THOMPSON MEMORIAL SPONSORSHIP OPPORTUNITIES August 19-22, 2020 | Sun Valley, Idaho A Leukemia & Cancer Research Benefit ©Jordyn Dooley Dear Friend of KTM, We are pleased to invite you to the 44th Annual Killebrew-Thompson Memorial, August 19-22, 2020 at beautiful Sun Valley Resort. Thanks to the generosity of our 2019 supporters, $800,000 was donated to our beneficiaries to fund cutting-edge cancer research and patient care. The resulting innovations in cancer treatments and therapies are improving outcomes for an untold number of cancer patients and their families. Hannah Stauts We hope you will join us, as a sponsor or participant, for a fun-filled weekend Executive Director enjoying all that Idaho has to offer. With your support, we will be one step closer to a cancer-free tomorrow. Board of Directors Marc Butler, Chairman Evan Robertson, Secretary Georgie Fenton Mark Johnson Doug Oppenheimer CEO, JR Butler, Inc. Robertson & Slette, PLLC (Former) President, KTM News Anchor, KTVB/NBC President, Oppenheimer Denver, CO Twin Falls, ID Sun Valley, ID Boise, ID Companies Boise, ID Joe Puishys, Vice Chairman Terrance Dolan Russell Huffer Ross Matthews CEO, Apogee Enterprises Vice Chairman, US Bank CEO (Retired), Apogee Enterprises President, Sinclair Oil Minneapolis, MN Minneapolis, MN Eden Prairie, MN Salt Lake City, UT Paul Hartzell, Treasurer John Elmore John D. Jackson Marvin May Founder/Partner, Verichain Partners Vice Chairman (Retired), US Bank CEO, Jackson Food Stores Owner, May Trucking Company Hailey, ID Minneapolis, MN Boise, ID Salem, OR ABOUT US History The Killebrew-Thompson Memorial is dedicated to raising funds for Danny Thompson played shortstop for the Minnesota leukemia and cancer research through an annual charity event held in Twins for only one season before being diagnosed with Sun Valley, Idaho. -
MUSIC 351: Psychedelic Rock of the 1960S Spring 2015, T 7:00–9:40 P.M., ENS-280
MUSIC 351: Psychedelic Rock of the 1960s Spring 2015, T 7:00–9:40 p.m., ENS-280 Instructor: Eric Smigel ([email protected]) M-235, office hours: Mondays & Tuesdays, 3:00–4:00 p.m. This is a lecture class that surveys psychedelic rock music and culture of the 1960s. Psychedelic music played an important role in the development of rock music as a predominant art form during one of the most formative decades in American history. Emerging along with the powerful counterculture of hippies in the mid-1960s, psychedelic rock reflects key elements of the “Love Generation,” including the peace movement, the sexual revolution, the pervasive use of recreational drugs (especially marijuana and LSD), and the growing awareness of Eastern philosophy. The main centers of countercultural activity—the Haight-Ashbury district of San Francisco and the London Underground—drew a high volume of media exposure, resulting in the famous “Summer of Love” and culminating in popular music festivals in Monterey, Woodstock, and Altamont. Students in this course will examine the music and lyrics of a selection of representative songs by The Grateful Dead, The Jefferson Airplane, Big Brother and the Holding Company, The Beatles, Pink Floyd, The Jimi Hendrix Experience, and other bands closely associated with the burgeoning psychedelic scene. Students will also consult primary source material—including interviews with several of the musicians, influential literature of the period, and essays by key figures of the movement—in order to gain insight into the social, political, -
Label: Artwork Location: Title: Review Locati
Bob Dylan Title: 04271992 Start Date: 04/27/1992 Location: Paramount Theater, Seattle, WA Label: Artwork Location: Review Location: Recording Source: Disc Number: 1 73:28 1 Rainy Day Women #12 & 35 01:24 2 I Don't Believe You 04:40 3 Union Sundown 04:23 4 Just Like A Woman 05:24 5 Tangled Up In Blue 08:23 6 She Belongs To Me 05:01 7 Everything's Broken 04:02 8 Love Minus Zero/No Limit 02:39 9 Little Moses 03:47 10 A Hard Rain's A-Gonna Fall 06:48 11 It;s All Over Now, Baby Blue 06:32 12 Cats In The Well 04:36 13 Idiot Wind 09:12 14 The Times They Are A-Changin' 06:37 Disc Number: 2 65:22 1 Highway 61 06:35 2 Absolutely Sweet Marie 05:38 3 All Along The Watchtower 04:20 cut 4 Blowin' In The Wind 03:25 start of 4/28 filler 5 Sally Sue Brown 02:56 6 Stuck Inside Of Mobile 06:35 7 Simple Twist Of Fate 07:40 8 Watching The River Flow 03:45 9 Female Rambling Sailor 03:04 10 Gates Of Eden 04:51 11 Shooting Star 05:24 12 Like A Rolling Stone 05:33 13 Ballad Of A Thin Man 05:36 Bob Dylan Title: 07011978 Start Date: 07/01/1978 Location: Zeppelindfeld, Nurnberg, West Germany Label: Artwork Location: http://www.angelfire.com/yt/tyamabe/nurnberg/ Review Location: Recording Source: Disc Number: 1 70:28 1 She's Love Crazy 02:30 2 Baby Stop Crying 05:39 3 Mr, Tambourine Man 04:28 4 Shelter From The Storm 04:51 5 It's All Over Now, Baby Blue 04:24 6 Tangled Up In Blue 07:07 7 Ballad Of A Thin Man 04:35 8 Maggie's Farm 04:47 9 I Don't Belive You 04:26 10 Like A Rolling Stone 06:39 11 I Shall Be Released 04:13 12 Going, Going, Gone 04:23 13 A Change Is -
“Quiet Please, It's a Bloody Opera”!
UNIVERSITETET I OSLO “Quiet Please, it’s a bloody opera”! How is Tommy a part of the Opera History? Martin Nordahl Andersen [27.10.11] A theatre/performance/popular musicology master thesis on the rock opera Tommy by The Who ”Quiet please, it’s a bloody opera!” Martin Nordahl Andersen 2011 “Quiet please, it’s a bloody opera!” How is Tommy part of the Opera History? Print: Reprosentralen, University of Oslo All photos by Ross Halfin © All photos used with written permission. 1 ”Quiet please, it’s a bloody opera!” Aknowledgements I would like to thank my supervisors Ståle Wikshåland and Stan Hawkins for superb support and patience during the three years it took me to get my head around to finally finish this thesis. Thank you both for not giving up on me even when things were moving very slow. I am especially thankful for your support in my work in the combination of popular music/performance studies. A big thank you goes to Siren Leirvåg for guidance in the literature of theatre studies. Everybody at the Institute of Music at UiO for helping me when I came back after my student hiatus in 2007. I cannot over-exaggerate my gratitude towards Rob Lee, webmaster at www.thewho.com for helping me with finding important information on that site and his attempts at getting me an interview with one of the boys. The work being done on that site is fantastic. Also, a big thank you to my fellow Who fans. Discussing Who with you makes liking the band more fun.