Popular Performer 1970s

Rich textures, sophisticated harmonies and inventive rhythms make these arrangements ideal for hobbyists, advancing students, professional musicians or any Popular Performer. Titles: * Bridge Over Troubled Water * Killing Me Softly with His Song * How Deep Is Your Love * If You Don't Know Me * Moondance * Raindrops Keep Fallin' on My Head * Sunshine on My Shoulders * Time in a Bottle * Weekend in New England * What a Fool Believes.

Johnny Mercer is one of the most prolific lyricists in history, having written the words for more than 1,000 songs. He collaborated with many composers, including Harold Arlen, Hoagy Carmichael and Henry Mancini, to name a few. These beautiful arrangements by Melody Bober are perfect piano solos for lessons, recitals, or social gatherings. To show the clever brilliance of Mercer’s craft, the lyrics have been included. Titles: * Blues in the Night * Come Rain or Come Shine * Days of Wine and Roses * The Glow Worm * Hooray for Hollywood * Jeepers Creepers * On the Atchison, Topeka and the Santa Fe * Skylark * Summer Wind * You Must Have Been a Beautiful Baby.

This biographical dictionary shines the spotlight on several hundred unheralded stunt performers who created some of the cinema's greatest action scenes without credit or recognition. The time period covered encompasses the silent comedy days of Buster Keaton and Harold Lloyd, the early westerns of Tom Mix and John Wayne, the swashbucklers of Douglas Fairbanks, Errol Flynn, and Burt Lancaster, the costume epics of Charlton Heston and Kirk Douglas, and the action films of Steve McQueen, Clint Eastwood, and Charles Bronson. Without stuntmen and women working behind the scenes the films of these action superstars would not have been as successful. Now fantastic athletes and leading stunt creators such as Yakima Canutt, Richard Talmadge, Harvey Parry, Allen Pomeroy, Dave Sharpe, Jock Mahoney, Chuck Roberson, Polly Burson, Bob Morgan, Loren Janes, Dean Smith, Hal Needham, Martha Crawford, Ronnie Rondell, Terry Leonard, and Bob Minor are given their proper due. Each entry covers the performer's athletic background, military service, actors doubled, noteworthy stunts, and a rundown of his or her best known screen credits.

Country music, an original American artform, has been around since before the recording industry began and long before a singer even had the opportunity to sing into a microphone. From the early beginnings in the hills of Appalachia, to the rise of Hank Williams, Patsy Cline, and the more recent megastars, including Garth Brooks and Carrie Underwood, country music has proven to have staying power. It is one of the most popular styles of music in the world today, garnering more sales and downloads currently than any other genre. Many talented individuals are aspiring to sing country music and are determined to turn it into a successful career. Because of this growing popularity, there is a need to educate interested singers with information and methods that will give them the best possible chance at either having a career as a artist, working in the industry as a background vocalist or session singer, or simply realizing their potential in country music. Kelly K. Garner's So You Want To Sing Country is a book devoted to briefly reviewing the rich heritage of country singing and thoroughly examining the techniques and methods of singing in a country style. Additional topics of discussion will include country song types and structure, instrumentation, performing on stage and in the studio, and career options in country music. Additional chapters by Scott McCoy and Wendy LeBorgne, and Matthew Edwards address universal questions of voice science and pedagogy, vocal health, and audio enhancement technology. The So You Want to Sing series is produced in partnership with the National Association of Teachers of Singing. Like all books in the series, So You Want to Sing Country features online supplemental material on the NATS website. Please visit www.nats.org to access style-specific exercises, audio and video files, and additional resources.

Japanese popular culture has been steadily increasing in visibility both in Asia and beyond in recent years. This book examines Japanese popular music, exploring its historical development, technology, business and production aspects, audiences, and language and culture. Based both on extensive textual and aural analysis, and on anthropological fieldwork, it provides a wealth of detail, finding differences as well as similarities between the Japanese and Western pop music scenes. Carolyn Stevens shows how Japanese popular music has responded over time to Japan's relationship to the West in the post-war era, gradually growing in independence from the political and cultural hegemonic presence of America. Similarly, the volume explores the ways in which the Japanese artist has grown in independence vis-à-vis his/her role in the production process, and examines in detail the increasingly important role of the jimusho, or the entertainment management agency, where many individual artists and music industry professionals make decisions about how the product is delivered to the public. It also discusses the connections to Japanese television, film, print and internet, thereby providing through pop music a key to understanding much of Japanese popular culture more widely.

The global icon is an omnipresent but poorly understood element of mass culture. This book asks why audiences around the world have embraced particular iconic figures, how perceptions of these figures have changed, and what this tells us about transnational relations since the Cold War era. Prestholdt addresses these questions by examining one type of icon: the anti-establishment figure. As symbols that represent sentiments, ideals, or something else recognizable to a wide audience, icons of dissent have been integrated into diverse political and consumer cultures, and global audiences have reinterpreted them over time. To illustrate these points the book examines four of the most evocative and controversial figures of the past fifty years: Che Guevara, Bob Marley, Tupac Shakur, and Osama bin Laden. Each has embodied a convergence of dissent, cultural politics, and consumerism, yet popular perceptions of each reveal the dissonance between shared, global references and locally contingent interpretations. By examining four very different figures, Icons of Dissent offers new insights into global symbolic idioms, the mutability of common references, and the commodification of political sentiment in the contemporary world.

This book, on Jimi Hendrix’s life, times, visual-cultural prominence, and popular music, with a particular emphasis on Hendrix’s relationships to the cultural politics of race, gender, sexuality, ethnicity, class, and nation. Hendrix, an itinerant “Gypsy” and “Voodoo child” whose racialized “freak” visual image continues to internationally circulate, exploited the exoticism of his race, gender, and sexuality and Gypsy and Voodoo transnational political cultures and religion. Aaron E. Lefkovitz argues that Hendrix can be located in a legacy of black-transnational popular musicians, from Chuck Berry to the hip hop duo Outkast, confirming while subverting established white supremacist and hetero-normative codes and conventions. Focusing on Hendrix’s transnational biography and centrality to US and international visual cultural and popular music histories, this book links Hendrix to traditions of blackface minstrelsy, international freak show spectacles, black popular music’s global circulation, and visual-cultural racial, gender, and sexual stereotypes, while noting Hendrix’s place in 1960s countercultural, US-exceptionalist, cultural Cold War, and rock histories.

The work that is about to be surveyed by the reader represents decades of painstaking work to provide him or her with the most positive and freshest perspective with respect to what the discipline of history teaches him or her to improve the quality of not only his or her daily life but also those of all other whom he or she comes into contact with. This task is accomplished when he or she becomes aware of the fact that the greatest possible good can only be achieved through the promotion of the adequate satisfaction of the greatest number of needs of the maximum number of people within the context of its being mutually beneficial to all parties involved. Furthermore, the reader of this volume gains the widest perspective on how the above assertion is valid for and has a positive impact on all fields of human endeavor, individual human lives, and human institutions, since the content of historical subject matter consists of nothing less than the past and present record of all the events and developments of the above entities. Thus, since everything that people learn is through past and present experiences, history teaches them everything and nothing can be perceived outside the framework of its subject matter. To present a graphic example to the reader of this volume to clearly illustrate the truth and validity of the above points, the author has used the comparison and contrast of the values, beliefs, and cultures of two very different societies in variant times and places to do so. The retrograde valuing of power and wealth placed on them by a small elite in European medieval society, resulting in limited social mobility in a primarily agrarian society, is in marked contrast to the emphasis on limited individual freedom within the framework of the rule of law as espoused by modern America. Within the latter framework, it was possible to develop a modern industrial and postindustrial community to provide individual social advancement through educational and employment opportunities as well as through the availability of quality health care. Finally, through all that has been stated above, it is worthwhile for society at large as well as the academic community to peruse through the contents of this volume in order to accomplish the above objectives.