The Dukes of Hazzard
The Dukes of Hazzard was an American action-comedy television series that aired on CBS from January 26, 1979, to February 8, 1985. The show aired for a total of 147 episodes spanning seven seasons; the series was inspired by the 1975 film Moonrunners, created by Gy Waldron and had many identical or similar character names and concepts. The Dukes of Hazzard had an ensemble cast, which follows the adventures of "The Duke Boys", cousins Bo Duke and Luke Duke, who live on a family farm in fictional Hazzard County, with their attractive female cousin Daisy and their wise old Uncle Jesse; the Duke boys race around in their customized 1969 Dodge Charger stock car, dubbed General Lee, evading crooked and corrupt county commissioner Boss Hogg and his bumbling and corrupt Sheriff Rosco P. Coltrane along with his deputy, always managing to get caught in the middle of the various escapades and incidents that occur in the area. Bo and Luke had been sentenced to probation for illegal transportation of moonshine.
S. Government to refrain from distilling moonshine in Luke's freedom; as a result, Bo and Luke are on 5 years probation and not allowed to carry firearms – instead, they use compound bows, sometimes with arrows tipped with dynamite – or to leave Hazzard County unless they get probation permission from their probation officer, Boss Hogg, although the exact details of their probation terms vary from episode to episode. Sometimes it is implied that they would be jailed for crossing the county line. Several other technicalities of their probation came into play at various times. Corrupt county commissioner Jefferson Davis "Boss" Hogg, who either runs or has fingers in everything in Hazzard County, is forever angry with the Dukes Bo and Luke, for always foiling his crooked schemes, he is always looking for ways to get them out of the picture so that his plots have a chance of succeeding. Many episodes revolve around Hogg trying to engage in an illegal scheme, sometimes with aid of hired criminal help.
Some of these are get-rich-quick schemes, though many others affect the financial security of the Duke farm, which Hogg has long wanted to acquire for various reasons. Other times, Hogg hires criminals from out of town to do his dirty work for him, tries to frame Bo and Luke for various crimes as part of these plots. Bo and Luke always seem to stumble over Hogg's latest scheme, sometimes by curiosity, by sheer luck, put it out of business. Despite the Dukes coming to his rescue, Hogg forever seems to have an irrational dislike of the clan Bo and Luke accusing them of spying on him, robbing or planning to rob him, other nefarious actions, as he believes they are out to get him; the role of Boss Hogg was played by Sorrell Booke, who performed on radio and film prior to his role in The Dukes of Hazzard. Boss Hogg is one of only two characters to appear in every episode of the TV series, the other being Uncle Jesse Duke; the other main characters of the show include local mechanic Cooter Davenport, who in early episodes was portrayed as a wild, unshaven rebel breaking or treading on the edge of the law, before settling down to become the Duke family's best friend and owns the local garage.
In the third and fourth seasons, when Enos leaves for his own show, he is replaced by Deputy Cletus Hogg, Boss's cousin, more wily than Enos but still a somewhat reluctant player in Hogg's plots. Owing to their fundamentally good natures, the Dukes wind up helping Boss Hogg out of trouble, albeit grudgingly. More than once Hogg is targeted by former associates who are either seeking revenge or have double crossed him after a scheme has unraveled in one way or another. Sheriff Coltrane finds himself targeted in some instances. On such occasions, Bo and Luke have to rescue their adversaries as an inevitable precursor to defeating the bad guys; these instances became more frequent as the show progressed, seasons saw a number of stories where the Dukes and Hogg temporarily work together. The series was developed from the 1975 film Moonrunners. Created by Gy Waldron in collaboration with ex-moonshiner Jerry Rushing, this movie shares many identical and similar names and concepts with the subsequent TV series.
Although itself a comedy, this original movie was much cruder and edgier than the family-friendly TV series that would evolve from it. In 1977, Waldron was approached by Warner Bros. with the idea of developing Moonrunners into a television series. Waldron reworked various elements from Moonrunners, from it was devised what would become The Dukes of Hazzard. Production began in October 1978 with the original intention of only nine episodes being produced as mid-season filler; the first five episodes were filmed in Covington and Conyers and surrounding areas, including some location work in nearby Atlanta. After completing production on the fifth episode, "High Octane", the cast and crew broke
A-side and B-side
The terms A-side and B-side refer to the two sides of 78, 45, 331⁄3 rpm phonograph records, or cassettes, whether singles, extended plays, or long-playing records. The A-side featured the recording that the artist, record producer, or the record company intended to receive the initial promotional effort and receive radio airplay to become a "hit" record; the B-side is a secondary recording that has a history of its own: some artists released B-sides that were considered as strong as the A-side and became hits in their own right. Others took the opposite approach: producer Phil Spector was in the habit of filling B-sides with on-the-spot instrumentals that no one would confuse with the A-side. With this practice, Spector was assured that airplay was focused on the side he wanted to be the hit side. Music recordings have moved away from records onto other formats such as CDs and digital downloads, which do not have "sides", but the terms are still used to describe the type of content, with B-side sometimes standing for "bonus" track.
The first sound recordings at the end of the 19th century were made on cylinder records, which had a single round surface capable of holding two minutes of sound. Early shellac disc records records only had recordings on one side of the disc, with a similar capacity. Double-sided recordings, with one selection on each side, were introduced in Europe by Columbia Records in 1908, by 1910 most record labels had adopted the format in both Europe and the United States. There were no record charts until the 1930s, radio stations did not play recorded music until the 1950s. In this time, A-sides and B-sides existed. In June 1948, Columbia Records introduced the modern 331⁄3 rpm long-playing microgroove vinyl record for commercial sales, its rival RCA Victor, responded the next year with the seven-inch 45 rpm vinylite record, which would replace the 78 for single record releases; the term "single" came into popular use with the advent of vinyl records in the early 1950s. At first, most record labels would randomly assign which song would be an A-side and which would be a B-side.
Under this random system, many artists had so-called "double-sided hits", where both songs on a record made one of the national sales charts, or would be featured on jukeboxes in public places. As time wore on, the convention for assigning songs to sides of the record changed. By the early sixties, the song on the A-side was the song that the record company wanted radio stations to play, as 45 rpm single records dominated the market in terms of cash sales, it was not until 1968, for example, that the total production of albums on a unit basis surpassed that of singles in the United Kingdom. In the late 1960s, stereo versions of pop and rock songs began to appear on 45s; the majority of the 45s were played on AM radio stations, which were not equipped for stereo broadcast at the time, so stereo was not a priority. However, the FM rock stations did not like to play monaural content, so the record companies adopted a protocol for DJ versions with the mono version of the song on one side, stereo version of the same song on the other.
By the early 1970s, double-sided hits had become rare. Album sales had increased, B-sides had become the side of the record where non-album, non-radio-friendly, instrumental versions or inferior recordings were placed. In order to further ensure that radio stations played the side that the record companies had chosen, it was common for the promotional copies of a single to have the "plug side" on both sides of the disc. With the decline of 45 rpm vinyl records, after the introduction of cassette and compact disc singles in the late 1980s, the A-side/B-side differentiation became much less meaningful. At first, cassette singles would have one song on each side of the cassette, matching the arrangement of vinyl records, but cassette maxi-singles, containing more than two songs, became more popular. Cassette singles were phased out beginning in the late 1990s, the A-side/B-side dichotomy became extinct, as the remaining dominant medium, the compact disc, lacked an equivalent physical distinction.
However, the term "B-side" is still used to refer to the "bonus" tracks or "coupling" tracks on a CD single. With the advent of downloading music via the Internet, sales of CD singles and other physical media have declined, the term "B-side" is now less used. Songs that were not part of an artist's collection of albums are made available through the same downloadable catalogs as tracks from their albums, are referred to as "unreleased", "bonus", "non-album", "rare", "outtakes" or "exclusive" tracks, the latter in the case of a song being available from a certain provider of music. B-side songs may be released on the same record as a single to provide extra "value for money". There are several types of material released in this way, including a different version, or, in a concept record, a song that does not fit into the story lin
What's a Memory Like You (Doing in a Love Like This)
"What's a Memory Like You" is a song written by Charles Quillen and John Jarrard, recorded by American country artist and actor John Schneider. It was released in December 1985 as the first single from the album A Memory Like You; the song was Schneider's third number one on the country chart. The single spent a total of fourteen weeks on the country chart, it was recorded by Conway Twitty on his album Chasin' Rainbows. Lyrics of this song at MetroLyrics
A record producer or music producer oversees and manages the sound recording and production of a band or performer's music, which may range from recording one song to recording a lengthy concept album. A producer has varying roles during the recording process, they may gather musical ideas for the project, collaborate with the artists to select cover tunes or original songs by the artist/group, work with artists and help them to improve their songs, lyrics or arrangements. A producer may also: Select session musicians to play rhythm section accompaniment parts or solos Co-write Propose changes to the song arrangements Coach the singers and musicians in the studioThe producer supervises the entire process from preproduction, through to the sound recording and mixing stages, and, in some cases, all the way to the audio mastering stage; the producer may perform these roles themselves, or help select the engineer, provide suggestions to the engineer. The producer may pay session musicians and engineers and ensure that the entire project is completed within the record label's budget.
A record producer or music producer has a broad role in overseeing and managing the recording and production of a band or performer's music. A producer has many roles that may include, but are not limited to, gathering ideas for the project, composing the music for the project, selecting songs or session musicians, proposing changes to the song arrangements, coaching the artist and musicians in the studio, controlling the recording sessions, supervising the entire process through audio mixing and, in some cases, to the audio mastering stage. Producers often take on a wider entrepreneurial role, with responsibility for the budget, schedules and negotiations. Writer Chris Deville explains it, "Sometimes a producer functions like a creative consultant — someone who helps a band achieve a certain aesthetic, or who comes up with the perfect violin part to complement the vocal melody, or who insists that a chorus should be a bridge. Other times a producer will build a complete piece of music from the ground up and present the finished product to a vocalist, like Metro Boomin supplying Future with readymade beats or Jack Antonoff letting Taylor Swift add lyrics and melody to an otherwise-finished “Out Of The Woods.”The artist of an album may not be a record producer or music producer for his/her album.
While both contribute creatively, the official credit of "record producer" may depend on the record contract. Christina Aguilera, for example, did not receive record producer credits until many albums into her career. In the 2010s, the producer role is sometimes divided among up to three different individuals: executive producer, vocal producer and music producer. An executive producer oversees project finances, a vocal producers oversees the vocal production, a music producer oversees the creative process of recording and mixings; the music producer is often a competent arranger, musician or songwriter who can bring fresh ideas to a project. As well as making any songwriting and arrangement adjustments, the producer selects and/or collaborates with the mixing engineer, who takes the raw recorded tracks and edits and modifies them with hardware and software tools to create a stereo or surround sound "mix" of all the individual voices sounds and instruments, in turn given further adjustment by a mastering engineer for the various distribution media.
The producer oversees the recording engineer who concentrates on the technical aspects of recording. Noted producer Phil Ek described his role as "the person who creatively guides or directs the process of making a record", like a director would a movie. Indeed, in Bollywood music, the designation is music director; the music producer's job is to create and mold a piece of music. The scope of responsibility may be one or two songs or an artist's entire album – in which case the producer will develop an overall vision for the album and how the various songs may interrelate. At the beginning of record industry, the producer role was technically limited to record, in one shot, artists performing live; the immediate predecessors to record producers were the artists and repertoire executives of the late 1920s and 1930s who oversaw the "pop" product and led session orchestras. That was the case of Ben Selvin at Columbia Records, Nathaniel Shilkret at Victor Records and Bob Haring at Brunswick Records.
By the end of the 1930s, the first professional recording studios not owned by the major companies were established separating the roles of A&R man and producer, although it wouldn't be until the late 1940s when the term "producer" became used in the industry. The role of producers changed progressively over the 1960s due to technology; the development of multitrack recording caused a major change in the recording process. Before multitracking, all the elements of a song had to be performed simultaneously. All of these singers and musicians had to be assembled in a large studio where the performance was recorded. With multitrack recording, the "bed tracks" (rhythm section accompaniment parts such as the bassline and rhythm guitar could be recorded first, the vocals and solos could be added using as many "takes" as necessary, it was no longer necessary to get all the players in the studio at the same time. A pop band could record their backing tracks one week, a horn section could be brought in a week to add horn shots and punches, a string section could be brought in a week after that.
Multitrack recording had another pro
A Memory Like You
A Memory Like You is the seventh studio album by American country music artist John Schneider. It was released in 1985 via MCA Records; the album peaked at number 1 on the Billboard Top Country Albums chart. "What's a Memory Like You" "You're the Last Thing I Needed Tonight" "Who Cares" "Somebody's Gonna Love Her" "Old Rainbow Jukebox and You" "If We Can't Have Forever" "One More Night" "He Finally Made Up Her Mind" "One Who Got Away" "Welcome Home" Matt Betton – drums Larry Byrom – electric guitar John Catchings – cello Ralph Childs – tuba Sonny Curtis – acoustic guitar on "Old Rainbow Jukebox and You" Thom Flora – background vocals Emory Gordy, Jr. – bass guitar Barry Green – trombone John Barlow Jarvis – keyboards Sam Levine – clarinet Michael Lunn – background vocals Terry Mead – trumpet Farrell Morris – percussion John Schneider – lead vocals, background vocals Lisa Silver – violin Billy Joe Walker, Jr. – acoustic guitar Curtis Young - background vocals Reggie Young – electric guitar
Billboard is an American entertainment media brand owned by the Billboard-Hollywood Reporter Media Group, a division of Eldridge Industries. It publishes pieces involving news, opinion, reviews and style, is known for its music charts, including the Hot 100 and Billboard 200, tracking the most popular songs and albums in different genres, it hosts events, owns a publishing firm, operates several TV shows. Billboard was founded in 1894 by William Donaldson and James Hennegan as a trade publication for bill posters. Donaldson acquired Hennegen's interest in 1900 for $500. In the early years of the 20th century, it covered the entertainment industry, such as circuses and burlesque shows, created a mail service for travelling entertainers. Billboard began focusing more on the music industry as the jukebox and radio became commonplace. Many topics it covered were spun-off into different magazines, including Amusement Business in 1961 to cover outdoor entertainment, so that it could focus on music.
After Donaldson died in 1925, Billboard was passed down to his children and Hennegan's children, until it was sold to private investors in 1985, has since been owned by various parties. The first issue of Billboard was published in Cincinnati, Ohio by William Donaldson and James Hennegan on November 1, 1894, it covered the advertising and bill posting industry, was known as Billboard Advertising. At the time, billboards and paper advertisements placed in public spaces were the primary means of advertising. Donaldson handled editorial and advertising, while Hennegan, who owned Hennegan Printing Co. managed magazine production. The first issues were just eight pages long; the paper had columns like "The Bill Room Gossip" and "The Indefatigable and Tireless Industry of the Bill Poster". A department for agricultural fairs was established in 1896; the title was changed to The Billboard in 1897. After a brief departure over editorial differences, Donaldson purchased Hennegan's interest in the business in 1900 for $500 to save it from bankruptcy.
That May, Donaldson changed it from a monthly to a weekly paper with a greater emphasis on breaking news. He improved editorial quality and opened new offices in New York, San Francisco and Paris, re-focused the magazine on outdoor entertainment such as fairs, circuses and burlesque shows. A section devoted to circuses was introduced in 1900, followed by more prominent coverage of outdoor events in 1901. Billboard covered topics including regulation, a lack of professionalism and new shows, it had a "stage gossip" column covering the private lives of entertainers, a "tent show" section covering traveling shows, a sub-section called "Freaks to order". According to The Seattle Times, Donaldson published news articles "attacking censorship, praising productions exhibiting'good taste' and fighting yellow journalism"; as railroads became more developed, Billboard set up a mail forwarding system for traveling entertainers. The location of an entertainer was tracked in the paper's Routes Ahead column Billboard would receive mail on the star's behalf and publish a notice in its "Letter-Box" column that it has mail for them.
This service was first introduced in 1904, became one of Billboard's largest sources of profit and celebrity connections. By 1914, there were 42,000 people using the service, it was used as the official address of traveling entertainers for draft letters during World War I. In the 1960s, when it was discontinued, Billboard was still processing 1,500 letters per week. In 1920, Donaldson made a controversial move by hiring African-American journalist James Albert Jackson to write a weekly column devoted to African-American performers. According to The Business of Culture: Strategic Perspectives on Entertainment and Media, the column identified discrimination against black performers and helped validate their careers. Jackson was the first black critic at a national magazine with a predominantly white audience. According to his grandson, Donaldson established a policy against identifying performers by their race. Donaldson died in 1925. Billboard's editorial changed focus as technology in recording and playback developed, covering "marvels of modern technology" such as the phonograph, record players, wireless radios.
It began covering coin-operated entertainment machines in 1899, created a dedicated section for them called "Amusement Machines" in March 1932. Billboard began covering the motion picture industry in 1907, but ended up focusing on music due to competition from Variety, it created a radio broadcasting station in the 1920s. The jukebox industry continued to grow through the Great Depression, was advertised in Billboard, which led to more editorial focus on music; the proliferation of the phonograph and radio contributed to its growing music emphasis. Billboard published the first music hit parade on January 4, 1936, introduced a "Record Buying Guide" in January 1939. In 1940, it introduced "Chart Line", which tracked the best-selling records, was followed by a chart for jukebox records in 1944 called Music Box Machine charts. By the 1940s, Billboard was more of a music industry specialist publication; the number of charts it published grew after World War II, due to a growing variety of music interests and genres.
It had eight charts by 1987, covering different genres and formats, 28 charts by 1994. By 1943, Billboard had about 100 employees; the magazine's offices moved to Brighton, Ohio in 1946 to New York City in 1948. A five-column tabloid format was adopted in November 1950 and coated paper was first used in Billboard's print issues in January 1963, allowing for photojournalis