Act 101 Reinstated; Administrators Admit Mistalte
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Blues Notes October 2015
VOLUME TWENTY, NUMBER TEN • OCTOBER 2015 SELWYN BIRCHWOOD MARIA BSO Halloween Party MULDAUR Sat. Oct 31st Saturday @ 7 pm $10 Oct. 3rd 21st Saloon @ 6 pm Zoo Bar Lincoln, NE Oct. 1st ..................................................................Red Elvises ($10) Oct. 4th (Sunday @ 4 pm) ...The Nebraska Blues Challenge Finals ($5) Oct. 8th ................................................................ Eleanor Tallie ($10) Oct. 15th ................................................................ John Primer ($12) NEBRASKA BLUES CHALLENGE Oct. 22nd ...........................................Cedrick Burnside Project ($10) Oct. 29th .....................Gracie Curran & Her High Falutin’ Band ($10) FINALS COMPETITION Oct. 31st (Saturday @ 7 pm)..................... Halloween Party with the Selwyn Birchwood Band ($10) 21st Saloon, Omaha, NE Nov. 5th ................................................. The Bart Walker Band ($10) Sunday, Oct. 4th @ 4 pm • $5 cover Nov. 7th (Saturday @ 9 pm) ................................Sinners and Saints Nov. 12th ..................................................... Crystal Shawanda ($10) — More info inside — Nov. 19th ............................................. The Scottie Miller Band ($10) PAGE 2 BLUES NEWS • BLUES SOCIETY OF OMAHA Please consider switching to the GREEN VERSION of Blues Notes. You will be saving the planet while saving BSO some expense. Contact Becky at [email protected] to switch to e-mail newsletter delivery and get the scoop days before snail mail members! BLUES ON THE RADIO: -
A Conversation with Vassar Clements by Frank Goodman (Puremusic.Com, 8/2004)
A Conversation with Vassar Clements by Frank Goodman (Puremusic.com, 8/2004) Perhaps like many who will enjoy the interview that follows, among my first recollections of Vassar’s playing is the 1972 Nitty Gritty Dirt Band recording Will the Circle Be Unbroken. As long ago as that seems (and is), he’d already been at it for over twenty years! In 1949, although only 14 years old and still in school, he began playing with Bill Monroe, the father of bluegrass. Aside from a few years off early on to check out some other things, Vassar’s been playing music professionally ever since. He’s recognized as the most genre-bending fiddler ever. “The Father of Hillbilly Jazz” is a handle that comes from several CDs he cut at that crossroads, but you can hear jazz and blues in any of the playing he’s done. He grew up listening to big band and Dixieland, and still listens to a lot of it today. Vassar says that many of the tunes he writes or passages he’ll fly into in a solo come from half remembered horn lines deep in his musical memory. Between his beginnings with Bill Monroe and the Circle album, Clements did many years with Jim and Jesse and then years with the late and much loved John Hartford, a lifelong friend who gave him the legendary fiddle he plays today. Circle turned a whole generation of hippies and acoustic music fans on to his music, and the children of that generation are following him today, as his popularity continues to recycle. -
Diana Davies Photograph Collection Finding Aid
Diana Davies Photograph Collection Finding Aid Collection summary Prepared by Stephanie Smith, Joyce Capper, Jillian Foley, and Meaghan McCarthy 2004-2005. Creator: Diana Davies Title: The Diana Davies Photograph Collection Extent: 8 binders containing contact sheets, slides, and prints; 7 boxes (8.5”x10.75”x2.5”) of 35 mm negatives; 2 binders of 35 mm and 120 format negatives; and 1 box of 11 oversize prints. Abstract: Original photographs, negatives, and color slides taken by Diana Davies. Date span: 1963-present. Bulk dates: Newport Folk Festival, 1963-1969, 1987, 1992; Philadelphia Folk Festival, 1967-1968, 1987. Provenance The Smithsonian Ralph Rinzler Folklife Archives and Collections acquired portions of the Diana Davies Photograph Collection in the late 1960s and early 1970s, when Ms. Davies photographed for the Festival of American Folklife. More materials came to the Archives circa 1989 or 1990. Archivist Stephanie Smith visited her in 1998 and 2004, and brought back additional materials which Ms. Davies wanted to donate to the Ralph Rinzler Folklife Archives. In a letter dated 12 March 2002, Ms. Davies gave full discretion to the Center for Folklife and Cultural Heritage to grant permission for both internal and external use of her photographs, with the proviso that her work be credited “photo by Diana Davies.” Restrictions Permission for the duplication or publication of items in the Diana Davies Photograph Collection must be obtained from the Ralph Rinzler Folklife Archives and Collections. Consult the archivists for further information. Scope and Content Note The Davies photographs already held by the Rinzler Archives have been supplemented by two more recent donations (1998 and 2004) of additional photographs (contact sheets, prints, and slides) of the Newport Folk Festival, the Philadelphia Folk Festival, the Poor People's March on Washington, the Civil Rights Movement, the Georgia Sea Islands, and miscellaneous personalities of the American folk revival. -
Dan Hicks’ Caucasian Hip-Hop for Hicksters Published February 19, 2015 | Copyright @2015 Straight Ahead Media
Dan Hicks’ Caucasian Hip-Hop For Hicksters Published February 19, 2015 | Copyright @2015 Straight Ahead Media Author: Steve Roby Showdate : Feb. 18, 2015 Performance Venue : Yoshi’s Oakland Bay Area legend Dan Hicks performed to a sold-out crowd at Yoshi’s on Wednesday. The audience was made up of his loyal fans (Hicksters) who probably first heard his music on KSAN, Jive 95, back in 1969. At age 11, Hicks started out as a drummer, and was heavily influenced by jazz and Dixieland music, often playing dances at the VFW. During the folk revival of the ‘60s, he picked up a guitar, and would go to hootenannies while attending San Francisco State. Hicks began writing songs, an eclectic mix of Western swing, folk, jazz, and blues, and eventually formed Dan Hicks and his Hot Licks. His offbeat humor filtered its way into his stage act. Today, with tongue firmly planted in cheek, Hicks sums up his special genre as “Caucasian hip-hop.” Over four decades later, Hicks still delivers a unique performance, and Wednesday’s show was jammed with many great moments. One of the evenings highlights was the classic “I Scare Myself,” which Hicks is still unclear if it’s a love song when he wrote it back in 1969. “I was either in love, or I’d just eaten a big hashish brownie,” recalled Hicks. Adding to the song’s paranoia theme, back-up singers Daria and Roberta Donnay dawned dark shades while Benito Cortez played a chilling violin solo complete with creepy horror movie sound effects. -
Off the Beaten Track
Off the Beaten Track To have your recording considered for review in Sing Out!, please submit two copies (one for one of our reviewers and one for in- house editorial work, song selection for the magazine and eventual inclusion in the Sing Out! Resource Center). All recordings received are included in “Publication Noted” (which follows “Off the Beaten Track”). Send two copies of your recording, and the appropriate background material, to Sing Out!, P.O. Box 5460 (for shipping: 512 E. Fourth St.), Bethlehem, PA 18015, Attention “Off The Beaten Track.” Sincere thanks to this issue’s panel of musical experts: Richard Dorsett, Tom Druckenmiller, Mark Greenberg, Victor K. Heyman, Stephanie P. Ledgin, John Lupton, Angela Page, Mike Regenstreif, Seth Rogovoy, Ken Roseman, Peter Spencer, Michael Tearson, Theodoros Toskos, Rich Warren, Matt Watroba, Rob Weir and Sule Greg Wilson. that led to a career traveling across coun- the two keyboard instruments. How I try as “The Singing Troubadour.” He per- would have loved to hear some of the more formed in a variety of settings with a rep- unusual groupings of instruments as pic- ertoire that ranged from opera to traditional tured in the notes. The sound of saxo- songs. He also began an investigation of phones, trumpets, violins and cellos must the music of various utopian societies in have been glorious! The singing is strong America. and sincere with nary a hint of sophistica- With his investigation of the music of tion, as of course it should be, as the Shak- VARIOUS the Shakers he found a sect which both ers were hardly ostentatious. -
Appreciation of Popular Music 1/2
FREEHOLD REGIONAL HIGH SCHOOL DISTRICT OFFICE OF CURRICULUM AND INSTRUCTION MUSIC DEPARTMENT APPRECIATION OF POPULAR MUSIC 1/2 Grade Level: 10-12 Credits: 2.5 each section BOARD OF EDUCATION ADOPTION DATE: AUGUST 30, 2010 SUPPORTING RESOURCES AVAILABLE IN DISTRICT RESOURCE SHARING APPENDIX A: ACCOMMODATIONS AND MODIFICATIONS APPENDIX B: ASSESSMENT EVIDENCE APPENDIX C: INTERDISCIPLINARY CONNECTIONS Course Philosophy “Musical training is a more potent instrument than any other, because rhythm, harmony, and melody find their way into the inward place of our soul, on which they mightily fasten, imparting grace, and making the soul of him who is educated graceful.” - Plato We believe our music curriculum should provide quality experiences that are musically meaningful to the education of all our students. It should help them discover, understand and enjoy music as an art form, an intellectual endeavor, a medium of self-expression, and a means of social growth. Music is considered basic to the total educational program. To each new generation this portion of our heritage is a source of inspiration, enjoyment, and knowledge which helps to shape a way of life. Our music curriculum enriches and maintains this life and draws on our nation and the world for its ever- expanding course content, taking the student beyond the realm of the ordinary, everyday experience. Music is an art that expresses emotion, indicates mood, and helps students to respond to their environment. It develops the student’s character through its emphasis on responsibility, self-discipline, leadership, concentration, and respect for and awareness of the contributions of others. Music contains technical, psychological, artistic, and academic concepts. -
Maria Muldaur
CLASSIC CUTS MARIA MULDAUR MARIA MULDAUR EXHIBIT ven if you didn’t know at the time crying all the way up to the gig and he’d say, of the release of this album in 1973 ‘Okay, dry your eyes and wash your face. who Muldaur was, if you flipped We’re on in half an hour.’ And he was just a the LP over and just glanced at very supportive little brother to me". the twelve names and faces who The album was not only well received it supported her on this album, you produced a single. And what a single! “Yes, it Ecouldn’t help but be impressed. happened to have a little hit called ‘Midnight Let me give you a few of those. We have: At The You-Know-What’ on it". Mac Rebennack or, as he is best known, Dr She’s talking about ‘Midnight at the Oasis’, John. A formidable boogie and blues pianist of course. This was her first big hit which is with a lovable growl of a voice; there’s Ry still seen as ‘the’ Muldaur song and is popular, Cooder, an excellent musician and guitar- even now with so many people. toting genius who brought the Buena Vista “With everybody – it’s amazing. It’s so Social Club to wider notice; Clarence White, a weird to me” she said. “Not a gig goes by gifted guitarist and folk-rock pioneer who was that several people don’t come up and tell part of The Byrds; David Grisman a bluegrass me exactly where they were when they first specialist, Grateful Dead and Jerry Garcia heard that. -
May 30, 2013 Edition
PRESORTED STANDARD PERMIT #3036 WHITE PLAINS NY Vol. VI I No. XXIII Thursday, May 30, 2013 $1.00 Westchester’s Most Influential Weekly SHERIF AWAD Federal Adrift Page 6 Agencies JOHN F. McMULLEN 1982 Our Mexican Adventure Must Be Page 8 A.G. ERIC SCHNEIDERMAN Investigated Tips to Protect Consumers from Summer Scams Page 12 JOHN SIMON Demolition Job Ibsen’s The Master Builder Page 15 “We are flirting with BARBARA BARTON SLOANE San Francisco Highlights the dark side of history.” Page 16 By KURT COLUCCI, Page 3 ROBERT SCOTT Meeting Aleister Crowley Page 17 Perks Exclusive HENRY J. STERN to the Friends No Honor Among Thieves and Family A Haunting Page 22 Network Revealed BOB WEIR Past GOP Should Not Be By NANCY KING, Page 4 By HEZI ARIS, Page 4 Forced to Discriminate! Page 23 Page 26 THE WESTCHESTER GUARDIAN THURSDAY, FEBRUARY 23, 2012 CLASSIFIED ADS LEGAL NOTICES Office Space Available- FAMILY COURT OF THE STATE OF NEW YORK Prime Location, Yorktown Heights COUNTY OF WESTCHESTER 1,000 Sq. Ft.: $1800. Contact Wilca: 914.632.1230 In the Matter of ORDER TO SHOW CAUSE SUMMONS AND INQUEST NOTICE Prime Retail - Westchester County Chelsea Thomas (d.o.b. 7/14/94), Best Location in Yorktown Heights A Child Under 21 Years of Age Dkt Nos. NN-10514/15/16-10/12C 1100 Sq. Ft. Store $3100; 1266 Sq. Ft. store $2800 and 450 Sq. Ft. Store $1200. Page 26 Adjudicated to beTHE Neglected WEST byCHES T ER GUARDIAN NN-2695/96-10/12B THURSDAY, FEBRUARY 23, 2012 Suitable for any type of business. -
PURE PRAIRIE LEAGUE/THE SHOE FIT Simon, Capt
March 13, 1976 >T1 CD (t) SD es '21 D (-3 CD C) "Nee. PURE PRAIRIE LEAGUE/THE SHOE FIT Simon, Capt. & Tennille, Ian, Sondheim - Grammy Winners WB Demonstrates R&B Credentials With California Soul Concerts In N.Y. Fire Destroys One -Stop In Chicago k MCA Earnings And Sales Set Records In 1975 Music & Dollars - The Happy Medium (Ed) www.americanradiohistory.com *Also available on Tape. "Livin'forZs458- the Weekend"is the blistering new O'Jays single with"monster"written all over it.It's the follow-up single to their million-seller,"I Love Music;'and it's from their platinum plus album,"Family Reunion'."`Livin'for the Weekend"is hot off the presses, and it's already hitbound on Top 40 stations all over. The OJays Family Reunion /Love Music/Leviincluding:ForThe And Weekend She's OnlyOn/ Unity/youWoman/Stairway Me To Heaven "Livin'for the Weekend'. Thank God it's The O'Jays. On Philadelphia Records. DIS-RIBUTED BY CBS RECORDS ® 1976 CBS INC. www.americanradiohistory.com THE INTERNATIONAL MUSIC -RECORD WEEKLY CASHVOLUME XXXVII BOXNUMBER 43 -- March 13. 1976 7CM1-1VC PeLOGIII I President and Publisher MARTY OSTROW Executive Vice President cash box editorial Editorial DAVID BUDGE Editor In Chief IAN DOVE East Coast Editorial Director New York GARY COHEN BOB KAUS PHIL DIMAURO Music & Dollars --- The Happy Medium ERIC RUDOLPH Hollywood The sales and earnings reports of companies involved in the JESS LEVITT MARC SHAPIRO record industry are important news to For record STEPHEN FUCHS everyone. the J B. CARMICLE JOHN MANKIEWICZ business, like any other business, is a money making enterprise. -
Jan. 24, 1970 – Mike Bloomfield & Nick Gravenites
Jan. 24, 1970 – Mike Bloomfield & Nick Gravenites – 750 Vallejo In North Beach, SF “The Jam” Mike Bloomfield and friends at Fillmore West - January 30-31-Feb. 1-2, 1970? Feb. 11, 1970 -- Fillmore West -- Benefit for Magic Sam featuring: Butterfield Blues Band / Mike Bloomfield & Friends / Elvin Bishop Group / Charlie Musselwhite / Nick Gravenites Feb. 28, 1970 – Mike Bloomfield, Keystone Korner, SF March 19, 1970 – Elvin Bishop Group plays Keystone Korner , SF Bloomfield was supposed to show for a jam. Did he? March 27,28, 1970 – Mike Bloomfield and Nick Gravenites, Keystone Korner ***** MICHAEL BLOOMFIELD AND FRIENDS 1970. Feb. 27. Eagles Auditorium, Seattle 1. “Wine” (8.00) This is the encore from Seattle added on the bootleg as a “filler”! The rest is from Long Beach Auditorium Apr. 8, 1971. 1970 1 – CDR “JAMES COTTON W/MIKE BLOOMFIELD AND FRIENDS” Bootleg 578 ***** JANIS JOPLIN AND THE BUTTERFIELD BLUES BAND 1970. Mar. 28. Columbia Studio D, Hollywood, CA Janis Joplin, vocals - Paul Butterfield, hca - Mike Bloomfield, guitar - Mark Naftalin, organ - Rod Hicks, bass - George Davidson, drums - Gene Dinwiddle, soprano sax, tenor sax - Trevor Lawrence, baritone sax - Steve Madaio, trumpet 1. “One Night Stand” (Version 1) (3.01) 2. “One Night Stand” (Version 2) wrong speed 1982 1 – LP “FAREWELL SONG” CBS 32793 (NL) 1992 1 – CD “FAREWELL SONG” COLUMBIA 484458 2 (US) ?? 2 – CD-3 BOX SET CBS ***** SAM LAY 1970 Producer Nick Gravenites (and Michael Bloomfield) Sam Lay, dr, vocals - Michael Bloomfield, guitar - Bob Jones, dr – bass ? – hca ? – piano ? – organ ? Probably all of The Butterfield Blues Band is playing. Mark Naftalin, Barry Goldberg, Paul Butterfield 1. -
Island Girl in a Rock-And-Roll World an Interview with June Millington by Theo Gonzalves and Gayle Wald
1 2 GAYLE WALD AND THEO GONZALVES 1 2 George Washington University, National Museum of American History - Smithsonian Institution Email: [email protected] Island Girl in a Rock-and-Roll World An Interview with June Millington by Theo Gonzalves and Gayle Wald EDITED AND ANNOTATED BY GAYLE WALD The following text collects edited excerpts from a 30 July 2018 interview with musician June Millington (b. 1948, Manila, the Philippines) conducted by Theo Gonzalves, curator in the Division of Culture and the Arts at the National Museum of American History, and Gayle Wald, Professor of English and American Studies at George Washington Uni- versity. The interview was conducted at the Institute for the Musical Arts, a Goshen, Massachusetts-based non-profit founded and operated by Millington and her partner, Ann Hackler. The text is based on a transcription by Gracia Brown. This version, which is condensed, edited for clarity, and annotated, was prepared by Gayle Wald. June Millington is co-founder and lead guitarist of the germinal rock-and-roll band Fanny, which formed in Los Angeles in 1969. The other original members of the band were Jean Millington (June’s sister, on bass guitar and drums), Alice de Buhr (drums and vocals), and Nickey Barclay (keyboards and vocals). Fanny recorded four albums with Reprise Records—Fanny (1970), Charity Ball (1971), Fanny Hill (1972), and Mother’s Pride (1973)—and toured widely in the U.S. and internationally. As Ann Powers has recently observed, Fanny, as fronted by June Millington, “was a showcase for the swag- ger of long-haired, bell-bottomed, fierce femmes at the dawn of the women’s liberation 1 movement.” Since the band’s 1973 dissolution, Millington has had a distinguished career working with a wide variety of artists, most notably Cris Williamson, on whose influential 1975 album The Changer and the Changed Millington contributed keyboards, guitar, and vocals. -
Mountain John, Peter Wilson, Moe Dixon – Three Troubadours
Mountain John, Peter Wilson, Moe Dixon – Three Troubadours “[Mountain John has] the greatest voice in country music.” - Johnny Cash "Peter writes, plays and sings wonderfully well and his songs are filled with humor, heart and conscience." - Utah Phillips “[Moe Dixon’s] magical performances are highlighted by masterful guitar playing, powerful vocals and ingenious songwriting." - Sisters Folk Festival Three solo performers first met in the late 1970s in southern Vermont while performing on the New England folk music circuit. Over the years they’ve performed as duos and trios across the country. In 2008 they spent a week in the mountains of Pennsylvania dusting off their musical partnership and writing songs. That gathering has become an annual event – dubbed “Troubadour Camp” – and has generated a body of work that includes over 30 songs and an undetermined number of stories. Johnny Cash said Mountain John Hilligoss has the “the greatest voice in country music.” He’s equal parts cowboy poet, operatic baritone, stand-up comedian and country crooner. His career spans stints in the thick of the LA folk music scene of the 1970s, years working Nashville’s music row and literally millions of miles performing original songs and telling stories at festivals, night clubs and concert halls in every state, Canada and Europe. His videos have been featured on the Nashville Network and TNN. His travels have brought him onto stages with Willie Nelson, Waylon Jennings, Emmylou Harris and more. His poetry has been given the “Editors Choice Award” by the National Library of Poetry. www.mountainjohn.com Moe Dixon is a familiar name on the festival and concert club circuit with inspiring original songs, fiery finger-style and ragtime guitar and inventive ukulele playing.