1955 - The movie Blackboard Jungle is released featuring Bill Haley & The Comets' "Rock Around The Clock." RCA signs Elvis Presley. The Everly Bros. make their first studio recordings.
1956 - Elvis' first film, Love Me Tender. An impromptu recording session at Sun Studios for Jerry Lee Lewis, Carl Perkins, Elvis Presley and Johnny Cash, the million dollar quartet.
1957 - Chuck Berry releases the hits "School Day" and "Rock And Roll Music"
1970 - Deaths of Jimi Hendrix and Janis Joplin within a month of each other. The Grateful Dead release both Workingman's Dead and American Beauty. The Beatles break up.
1971 - Deaths of Jim Morrison (The Doors) and Duane Allman (Allman Bros. Band). Songwriter Carole King releases her Tapesty album.
1972 - Smokey Robinson leaves The Miracles to go solo.
1973 - Led Zeppelin's tour is a record breaker. Pink Floyd release Dark Side Of The Moon.
1985 - "We Are The World" is recorded by 46 U.S. artists in support of suffering people in the USA and Africa.
1986 - The Rolling Stones are awarded a Lifetime Achievement Grammy.
1987 - Billy Joel tours and records an album in Russia.
1988 - Whitney Houston earns her seventh consecutive Number One single. Superstar ensemble The Traveling Wilburys release an album, just before Roy Orbison's passing.
1989 - Milli Vanilli wins 1989 Best New Artist Grammy, only to have the award taken back when it is revealed that they did not sing on their own debut album.
1990 - Curtis Mayfield (The Impressions) is paralyzed preparing for a stage concert. Stevie Ray Vaughan is killed in a helicopter crash.
1991- Cardinal O'Connor asks The Pope to excommunicate Madonna. Guns N' Roses release Use Your Illusion I and II. Queen's Freddy Mercury dies from complications related to AIDS.
1992 - Seattle becomes the core of Grunge Rock with groups like Nirvana and Pearl Jam. Prince changes his name.
1993 - U2 finishes up a two year Zoo/Zooropa '93 world tour.
1994 - Kurt Cobain's death is shared by a new generation of rock fans. Sheryl Crow flies with her Tuesday Night Music Club, and a tour opening for the reunited Eagles. Hootie & The Blowfish debut Cracked Rear View Mirror.
1995 - The Rock And Roll Hall Of Fame And Museum opens in Cleveland. Alanis Morissette's Jagged Little Pill is a multi-million seller. Neil Young and Pearl Jam perform and record together.
1996 - Mariah Carey and Boyz II Men team up for "One Sweet Day," which tops the charts for an unprecedented 16 consecutive weeks.
1998 - "Ginger Spice" Geri Halliwell exits the popular Spice Girls. The Rolling Stones give concerts in Russia, followed shortly by Ringo Starr's Fourth All-Starr Band.
The origins of blues is not unlike the origins of life. For many years it was recorded only by memory, and relayed only live, and in person. The Blues were born in the North Mississippi Delta following the Civil War. Influenced by African roots, field hollers, ballads, church music and rhythmic dance tunes called jump-ups evolved into a music for a singer who would engage in call-and-response with his guitar. He would sing a line, and the guitar would answer.
From the crossroads of Highways 61 and 49, and the platform of the Clarksdale Railway Station, the blues headed north to Beale Street in Memphis. The blues have strongly influenced almost all popular music including jazz, country, and rock and roll and continues to help shape music worldwide. The Blues... it's 12-bar, bent-note melody is the anthem of a race, bonding itself together with cries of shared self victimization. Bad luck and trouble are always present in the Blues, and always the result of others, pressing upon unfortunate and down trodden poor souls, yearning to be free from life's' troubles. Relentless rhythms repeat the chants of sorrow, and the pity of a lost soul many times over. This is the Blues.
The blues form was first popularized about 1911-14 by the black composer W.C. Handy (1873-1958). However, the poetic and musical form of the blues first crystallized around 1910 and gained popularity through the publication of Handy's "Memphis Blues" (1912) and "St. Louis Blues" (1914). Instrumental blues had been recorded as early as 1913. During the twenties, the blues became a national craze. Mamie Smith recorded the first vocal blues song, 'Crazy Blues' in 1920. The Blues influence on jazz brought it into the mainstream and made possible the records of blues singers like Bessie Smith and later, in the thirties, Billie Holiday
The Blues are the essence of the African American laborer, whose spirit is wed to these songs, reflecting his inner soul to all who will listen. Rhythm and Blues, is the cornerstone of all forms of African American music.
Many of Memphis' best Blues artists left the city at the time, when Mayor "Boss" Crump shut down Beale Street to stop the prostitution, gambling, and cocaine trades, effectively eliminating the musicians, and entertainers' jobs, as these businesses closed their doors. The Blues migrated to Chicago, where it became electrified, and Detroit.
In northern cities like Chicago and Detroit, during the later forties and early fifties, Muddy Waters, Willie Dixon, John Lee Hooker, Howlin' Wolf, and Elmore James among others, played what was basically Mississippi Delta blues, backed by bass, drums, piano and occasionally harmonica, and began scoring national hits with blues songs. At about the same time, T-Bone Walker in Houston and B.B. King in Memphis were pioneering a style of guitar playing that combined jazz technique with the blues tonality and repertoire.
Meanwhile, back in Memphis, B.B. King invented the concept of lead guitar, now standard in today's Rock bands. Bukka White (cousin to B.B. King), Leadbelly, and Son House, left Country Blues to create the sounds most of us think of today as traditional unamplified Blues.
Arthur "Big Boy" Crudup, Wyonnie Harris, and Big Mama Thorton wrote and preformed the songs that would make a young Elvis Presley world renown.
In the early nineteen-sixties, the urban bluesmen were "discovered" by young white American and European musicians. Many of these blues-based bands like the Paul Butterfield Blues Band, the Rolling Stones, the Yardbirds, John Mayall's Bluesbreakers, Cream, Canned Heat, and Fleetwood Mac, brought the blues to young white audiences, something the black blues artists had been unable to do in America except through the purloined white cross-over covers of black rhythm and blues songs. Since the sixties, rock has undergone several blues revivals. Some rock guitarists, such as Eric Clapton, Jimmy Page, Jimi Hendrix, and Eddie Van Halen have used the blues as a foundation for offshoot styles. While the originators like John Lee Hooker, Albert Collins and B.B. King--and their heirs Buddy Guy, Otis Rush, and later Eric Clapton and the late Roy Buchanan, among many others, continued to make fantastic music in the blues tradition. The latest generation of blues players like Robert Cray and the late Stevie Ray Vaughan, among others, as well as gracing the blues tradition with their incredible technicality, have drawn a new generation listeners to the blues.
1. Chris Barber and his Band working for a TV show in the 1950s
2. Dizzie Gillespie (Sam Wright, left) and Charlie "Bird" Parker (Forest Whitaker) on stage performing in Los Angeles in "Bird," a Malpaso Production for Warner Bros. release.
3. Count Basie at Warner Bros. for the shooting of "Sex and the Single Girl."
4. Duke Ellington (left), Mort Sahl and Otto Preminger working on "Anatomy of a Murder" (1959).
5. Director Bertrand Tavernier, left, with Herbie Hancock and Dexter Gordon on "Autour de minuit" (1986).
This searchable filmography documents the work of some 1,000 major jazz and blues figures in over 16,000 cinema, television and video productions. Jazz on the Screen reflects the opinions of its author, David Meeker, and not the views of the Library of Congress.
This is the fifth corrected and expanded edition of a database attempting to document, in a purely factual manner and with a very minimum of editorial flourish, the work of some 1,000 major jazz and blues figures in what presently amounts to over 15,700 cinema, television and video productions, whether the result of their involvement in these media is apparent on camera or is hidden, whether behind the scenes on soundtrack or perhaps deeper back into production, whether their resulting work is jazz or not. In other words, this is an attempt to achieve the impossible: a filmography of musicians’ screen work. It does not purport to contain any discographical information. It attempts to include not only active participation by an individual musician in visually recorded media, where he or she has actually contributed creatively to a production, but also those many instances where their pre-composed work has been used on soundtrack or where their image has been interpreted aurally or visually, with or without their collaboration, often posthumously and more often than not, previously uncredited.
Included here are films produced professionally for the screen, whether released commercially or non-commercially on 70mm, 35mm or 16mm gauges, notwithstanding their length. Some films are included that were completed but not released; even a few that remain uncompleted. Films, teleplays and television series made for distant transmission are also included no matter how they were eventually released. In all cases it is quite irrelevant whether the item was shot on film, videotape or digital formats.
Perhaps more importantly the user should be aware of what is excluded from this database. Except for a handful of rather special and generally well-known examples there are no newsreels, no actuality footage, no cinema or television commercials or other promotional material such as music promos, no instructional shorts, trailers, video games, home movies, amateur work, 9.5mm, 8mm or other small gauge productions -- except in those cases when they have been incorporated into other films. Furthermore, television production is generally limited to dramatic representation and to those programmes that actually headline jazz personnel. Therefore, other variety shows, sports and children’s programmes, ceremonial events, talk shows, news bulletins, game shows, soap operas, panel games, quiz shows, comedy shows, etc., and guest appearances in other non-jazz, light entertainment programmes are generally excluded, though where details were already at hand they have been included simply because it would have been eccentric to omit them deliberately.
Each entry includes a jazz or blues reference whether the involvement is as musician, actor, conductor, producer, songwriter, etc. The extraneous details that are included, particularly the names of participating non-jazz musicians, are done so purely as a matter of information and general interest, though often of contextual relevance and on the principle that one cannot have too much information. As to which musicians are included and which are excluded has been decided by the undersigned to whom polite comments may be directed. Fine musicians such as Allyn Ferguson, Artie Kane, George Benson, Nat Peck, the late Sacha Distel and the late Gil Mellé, though unlikely to be considered strictly jazz musicians nowadays, demand inclusion by virtue of their impeccable jazz credentials: similarly, many performers who might be seen as being somewhat marginal are included (such as Fats Domino, Claus Ogermann, Frank Comstock, John McLaughlin, Helmut Zacharias, Antonio Carlos Jobim, Friedrich Gulda); the history of jazz would be considerably lessened without reference to them. On the other hand it is appreciated that similar arguments could be made in favour of many other distinguished but excluded but talents who have been involved in jazz throughout their careers, such as Dudley Moore, André Previn, Henry Mancini, Lena Horne, Dave Grusin, Michel Legrand, Tony Bennett, Jerry Fielding and even Bing Crosby and Frank Sinatra - but a line has had to be drawn somewhere... Note also that a few major jazz names (Quincy Jones, Buddy Bregman, Bill Richmond, George Melly, Med Flory, for example) have non-musical second and even third careers as producers, directors or writers, credits for which have been considered as being outside the scope of this work. Furthermore, some figures such as Mark Isham have been included only as music performers. Incidentally, those jazz hounds who may come across director credits elsewhere for James P. Johnson, Dave Tough or Clifford Brown should contain their excitement and note that these are actually pseudonyms for the ubiquitous, jazz-loving Spanish filmmaker Jesús Franco!
The data, where known, is arranged as follows:
Title of production. As given on screen and in original language excepting where a non-Roman alphabet is involved in which case a transliteration is used. Listed in strict alphabetical order, ignoring the article, under the terms of the long established Rules for Cataloguing as set out by the Library of Congress.
Alternative title/s. These may be working titles, co-production alternatives, UK or USA release titles, re-issue titles, television or video or DVD release titles. Alternative foreign titles are only given in the case of authorized co-productions. (An inordinate amount of pirated material - particularly Soundies, Telescriptions and European tv shows - is being re-cycled time and time again by less than honest American DVD companies, using bootleg material, under their own made-up titles; In general, these are ignored.)
Country of production.
Copyright date or, where unregistered, production date.
tvm=made-for-tv movie
tvs= made-for-tv series
tv= made-for-tv programme or made-for-video/-DVD release
f= feature film over 60 minutes
m= medium length film 30-60 minutes
s= short film under 30 minutes
Director
Composer
Music director and/or conductor
Orchestrator
Music supervisor
Arranger
Personnel (or part personnel) on soundtrack
Songs, whether new or pre-composed
Personnel on camera
Notes
This database has been devised as a result of research undertaken over a period of some 45 years whilst attending and working with international film festivals, film institutes and archives across Europe and the USA. It arose out of the initial commitment to the subject made during the preparation of three editions of my book “Jazz in the Movies”. Grateful thanks must be acknowledged to the publishers of those volumes for their support of the work.
So many kind people have helped me compile this documentation over such a long period of time that they can’t possibly all be acknowledged individually though that doesn’t lessen the thanks that are due to them - particularly those whose names from the past I regret to have long forgotten. But there have been some especially generous people without whom this work simply would not and could not exist and they are owed an enormous debt of gratitude. Above all I must cite the late Karl Emil Knudsen, Markku Salmi, Bud Shank, Lennie Niehaus, Andrzej Wasylewski, Tony Middleton and late maestro Shorty Rogers. For many kindnesses, for facts, practical assistance and friendship my sincere personal thanks are due to Angus Trowbridge, the late Bud Freeman, Don McGlynn, David Shire, the late Howard Roberts, Julian Benedikt, Hubert Niogret, Robert Wagner, Christian Braad Thomsen, the late Eddie Sauter, Jacques Lourcelles, Hans-Michael Bock, the late David Raksin, Ken Wlaschin, the late Heinie Beau, Martin Scorsese, Thelma Schoonmaker, Andrew Bottomley, Anthony Frewin, James A. Harrod, Rob White, Peter von Bagh, John Jeremy, Peter Scarlet, Lorenzo DeStefano, Jan Kaspersen, Anja Baron, the late Hugo Montenegro, Howard Shore, Tise Vahimagi, Robert E. Mugge, Tommy Vig, Bruce Ricker, Vic Lewis, Larry Appelbaum, Barbara Schwarz, Helma Schleif, BBC Written Archives Centre, Richard Dacre, Tom Kemp, Navlika Ramjee, Caroline Vié-Toussaint and Maria Fernanda Borges. Additionally, I am much indebted to the numerous Internet websites that are so helpful nowadays, among which are those devoted to the work of Raymond Scott, Rondo Magazin, Mezzo TV, Wayne Bergeron, Bruce Fowler, Walt Fowler, Dennis Budimir, Dan Higgins, Gary Grant, Plas Johnson, Alex Acuña, Terry Harrington, Carol Kaye, Bob Findley, Alan Kaplan, Malcolm McNab and Emil Richards. At the Library of Congress David Francis and the ever-patient Samuel S. Brylawski and Morgan Cundiff and their staff have miraculously made it all happen.
Wherever possible the films, television programmes, video and DVD releases have been viewed in order to verify the available details but inevitably one has to rely on secondary sources more than anyone would wish. They have been many and varied; again, too numerous to list. But some essential sources of information deserve mention and thanks:
The Motion Picture Herald,
The Hollywood Reporter,
Film Dope,
Variety,
The Monthly Film Bulletin,
Sight and Sound (Review section),
The American Film Institute Catalogs,
CineGraph Lexikon zum deutschsprachigen Film edited by Hans-Michael Bock,
The Soundies Distributing Corporation of America by Maurice Terenzio, Scott MacGillivray, Ted Okuda,
The Norwegian Broadcasting Corporation,
Des Compositeurs pour l’Image by Alain Lacombe,
The Montreux Jazz Festival List of Audiovisual Archives 1966-2001,
Les Fictions françaises à la Television by Jean-Marc Doniak and Nicolas Shmidt,
Crescendo & Jazz Music,Lissauer’s Encyclopedia of Popular Music in America 1888 to the Present,
The Internet Movie Database,
The Complete Directory to Prime Time Network and Cable TV Shows by Tim Brooks and Earle Marsh,
Unsold Television Pilots 1955 through 1988 by Lee Goldberg,
The Newport Jazz Festival: Rhode Island 1954-1971 by Anthony J Agostinelli,
Jazz Journal International (the only periodical to devote an occasional column to Jazz on the Screen - a title that they coined),
Jazz on Film and Video in The Library of Congress by Rebecca D. Clear,
and, first among the many filmographies, biographies and discographies consulted over the years, Jazz Records 1942 - 1980 by Erik Raben.
The copyright for the concept and style of this database is assigned to the author, David Meeker, who retains all rights. No part of this work may be directly reproduced, stored in a retrieval system or transmitted for any commercial purpose without the prior permission in writing of the author or as expressly permitted by law..
Suggestions for improving this database will be very welcome. Being basically a work in continuous progress, corrections and additions are particularly sought - though these should be accompanied by source validation. All correspondence and requests for reproduction should be addressed in the first instance to:
Jazz on the Screen
Motion Picture, Broadcasting and Recorded Sound Division
Library of Congress
Washington,D.C. 20540-4698
USA
This database is dedicated to the late Milton ‘Shorty’ Rogers, composer, bandleader, conductor, orchestrator, arranger, music director, trumpet and fluegel horn soloist, music supervisor, songwriter, A. & R. honcho and inspiration to all who care to listen.
An anthology of historical writings on tattooing. Each selection is accompanied by an introduction which provides background information and comment. The selections were written by historians, adventurers, explorers, anthropologists, criminologists, psychoanalysts and journalists,and include accounts of tattooing in the Ancient World, Polynesia, Japan,the pre-Columbian Americas, 19th century Europe and the US. Also included are interviews with contemporary tattoo artists and historians such as Ed Hardy, Lyle Tuttle, Tricia Allen and Kazuo Oguri. Tattoo History Source Book will be of interest to everyone with a serious case of tattoo mania.
The following selection is from Memoirs of a Tattooist by George Burchett. [London: Oldbourne, 1958.] Copyright 1958 by George Burchett. Quoted here by kind permission of George Burchett's son, Leslie Burchett.George Burchett was London's leading tattooist for over 50 years. In the course of a long and full life he traveled throughout the world and assembled an extensive collection of documents, pictures, and books on the history of tattooing. Among his clients were actresses, doctors, judges, a bishop, and assorted royalty - including King George V of England and the late King Frederick of Denmark.
If I were a scholar, which I am not-the"Professor" before my name being traditional, honorary and unofficial-I would love to write a history of tattooing. Very little has been published about it. I have gone to the trouble of having translations made of passages which interested me, in some of the works published by foreign scientists, and I have read all the books on the subject published in English. But, apart from Dr. W.D. Hambly's great work,The History of Tattooing And It's Significance, published in 1925, and a shorter study by Dr. Cyril Polson, F.R.C.P., Professor of Forensic Medicine in the University of Leeds, in 1948, I know of no important book which appeared since the end of the last century. Tattooing by puncture, with a sharp tool or needle which introduces a dye under the top layer of skin, was first practiced, so far as we know, in Ancient Egypt. Clay dolls fashioned during that civilization are the earliest evidence of tattooing to have been preserved. I have seen two of these dolls, with their tattoo-marks, in the Ashmolean Museum in Oxford. Dr. Hambly says there is positive archeological proof that body markings by puncture tattoo were applied to human beings as well as female clay figurines in Egypt between 4000 and 2000 B.C.
It was from Egypt that the tattooing art traveled across the world, to appear, disappear and reappear throughout recorded history. Egypt of the third and fourth dynasties-when the great pyramids of Gizeh were built between 2800 and 2600 B.C.-was in communication with Crete, Greece, Persia, and Arabia. By 2000 B.C. the art had spread across Southern Asia as far as that part of China which lies south of the Yangtze Kiang. The Ainu people, a migrant race from Western Asia, must have adopted it very early, because when they crossed the sea to Japan tattooing was highly developed among them and considered a devine gift.The Shans acquired the craft in their original home in Southern China and brought it to the Burmese, who later were to evolve a most elaborate technique of tattooing, making it until the present day part of their magical and religious belief. Similarly, the tattooing introduced to Japan by the Ainu people, it's ancient inhabitants, gained a great importance, though the Japanese only adopted it as an ornamental art, rejecting the magical beliefs attached to it by the Ainu. Nowhere in the world was the technique and style of the Japanese tattooists-the Horis - surpassed by beauty of designs, colour, expression of movement and the use of shade and light which made the tattoo marks appear almost three-dimensional.
Programa de busqueda: Librarian´s Internet Index Search
Programa de Busqueda:Exalead Image Search Descriptor Utilizado: Psychobilly Disponible en:i166.photobucket.com Fuente:Web Autor, Derechos Reservados
History of Psychobilly
At first glance it is hard to imagine a more unlikely combination than Punk and Rockabilly, but the Psychobillies made a virtue of such apparent incompatibility. At the wonderfully named 'Klub Foot', the West London venue where the Psychobillies first came together as a subculture, their fusion of 1950s Americana and 1970s British Punk seemed both obvious and inevitable. To make the connection one must forget the soft drizzle of sentimentality which in the end became all too typical of the Rockabillies (Elvis singing about Teddy Bears in Vegas) and go back to the angry, licentious snarf of their early days. From this perspective it is clear that the thumping beat, the in-your-face sexuality, the deliberate shunning of prissy sophistication and the greasy quiffs of the early Rockabillies were in tune with Punk's gutsy spirit of raw rebellion. The Punks simply added a stylistic extremism, an assumption of gender equality and fetishistic trashiness which could not conceivably have existed in Memphis in the mid-fifties. The common denominator is rock 'n' roll energy in its purest form. Although the slezoid music and style of the American post-Punk band The Cramps was clearly an inspiration, the first 100-percent-proof Psychobilly band was The Meteors, which formed in South London in 1980. With musicians consisting of one Rockabilly, one Punk and one psychedelic horror enthusiast, The Meteors constituted a complete microcosm of the subculture which would almost immediately form around it. By 1982, with the opening of Klub Foot, the Psychobillies were more than simply the followers of a cult band. Their style has been termed 'Mutant Rockabilly' and it is an apt description - with cartoon quiffs sometimes dyed green or purple and always thrust out far beyond the expectations of gravity, aggressive studded belts ans Doc Martens, shredded, bleached jeans and leather jackets painted with post-nuclear-holocaust imagery. Here were creatures straight out of tacky comic books or ketchup-splattered horror movies brought to life (?) and waiting patiently for the last bus to Planet Zorch.
Needless to say, such an extreme styletribe never reached an enormous size and its bands (in time including the likes of Guana Batz, Demented are Go, Batmobile and the truly unbelievable King Kurt) never appeared on TV's Top of the Pops. It did however, quickly acquire members throughout most of Europe (especially Germany, Italy and Spain) and a large, dedicated following in Japan. Stylistically, the Psychobillies' principal effect seems to have been on the Rockabillies - causing a shift towards battered denim workwear and away from fancy suits and pristine footwear. From there (and it should be remembered that the Rockabilly movement was huge in Britain in the early eighties) this look moved into the street mainstream in the form of the 'Hard Times' look.
At one level the Psychobillies exhibited an alarming fixation with violence and wanton destruction, but this was always tempered by a wonderful, surreal sense of humour, which made you smile, even as you crossed hurriedly to the other side of the street. Programa de Busqueda:Exalead Descriptor Utilizado: History of psychobilly Disponible en:www.geocities.com/madsinnekro/hisory.html Fuente:From the book "Street Style", written by Ted Polhemus, Derechos Reservados
Programa de Busqueda:Exalead Videos Search Descriptor Utilizado: Psychobilly Disponible en:http://www.youtube.com/watch?v=-PACStt2ecg&feature=player_embedded Fuente:ghstgrls, Derechos Reservados
Programa de Busqueda: Yahoo! Image Search Descriptor Utilizado: Rockabilly Disponible en: http://www.myspace.com/vegasrockabilly Fuente:R.I.P. Colin Winkski &Janice Martin 2007, Derechos Reservados
Ersel Hickey and Ray Smith the personification of early rock and roll
A brash, lively, unselfconscious hybrid of blues and country that became rock and roll. It came from Sam Phillip's Sun Studios in Memphis, where Phillips recorded small bands - slapping string bass, twanging lead guitar, acoustic rhythm guitar - with plenty of echo while singers made astonishing yelps, gulps, hiccups and stutters as they sang about girls, cars, slacks and even little green men from outer space. The original rockabilly style ended with the fifties.
"We shook the devil loose!" We bopped those blues!" It's uptempo, it's rhythm. You ain't sitting there worrying about car payments or house notes. You're out there shakin" dust loose on those honky-tonk floors." Carl Perkins
Sam Phillips was a white man who genuinely love black music and in 1950 he opened the Memphisrrneon.gif (7563 bytes) Recording Studio. There blues legends B.B. King, Howling' Wolf and Elmore James made some of their first recordings. After first leasing recordings to other labels Phillips began his own label Sun Records in 1952. Phillips often said "If I could only find a white man who had the Negro sound and the Negro feel, I could make a million dollars".
July 5, 1954 was a warm summer night in Memphis, Tennessee. Elvis Presley, Scotty Moore and Bill Black were recording that night at the Sun Records. According to Scotty Moore "we were taking a break, I don't know, we were having Cokes and coffee, and all of a sudden Elvis was singing a song, jumping around and acting the fool, and then Bill picked up the bass and he began acting the fool, too, and you know, I started playing with them. Sam had the door to the control room open- I don't know, he was either editing some tape or doing something - and he stuck his head out and said, "What are you doing?" and we said, "We don't know." "Well back up," he said "try to find a place to start and do it again'"
Rockabilly was invented that night in Memphis. It's rough southern edges were an exciting contrast to the group oriented rhythm and blues produced in the Northern cities. Fading from the scene by the late nineteen fifties, Rockabilly for many remained the "purest" form of rock and roll. Though it only last a few brief years it provided a crucial sound, image and rebellious spirit for rock's initial wave.
"We were young, you know, we didn't really know what we were doing. But I'll tell you buddy, we really did something!" Charlie Feathers
Programa de Busqueda: Yahoo! Descriptor Utilizado: Historyof Rockabilly Music Disponible en: http://www.history-of-rock.com/rockabilly.htm Fuente:Web del Autor, Derechos Reservados
Contra la imprecisión actual sobre el significado del término información, este artículo propone una interpretación cultural de los procesos informativos y los hechos: la información se entiende la importancia de las condiciones de comunicación, así como la fragmentación funcional y modular de los textos, y también de su adaptación a los formatos de psico-orientación técnica para el control de la actividad de recepción. El desarrollo histórico de la información como formación cultural se debe en gran parte a las circunstancias técnicas, a las formas de conocimiento y la cultura visual, que nacieron de la imprenta, así como a las exigencias de la homologación y la reproducción implicados en el desarrollo del capitalismo.
