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Books on the topic 'WAF Band'

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Author: Grafiati

Published: 27 July 2024

Last updated: 29 July 2024

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1

Johnson, Dixie L. The U.S. WAF Band story. Springfield, Va.?: [s.n.], 2004.

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2

Sima, Nigahat. Baad-e-Wafa. Karachi: Khwatin Digest, 2003.

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3

Warren, Robert Penn. Band of angels. Baton Rouge: Louisiana State University Press, 1994.

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4

Goodwin, Rosie. A band of steel. Long Preston: Magna, 2012.

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5

Forstchen, William R. A band of brothers. New York: Penguin Group, 1999.

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6

Céline, Louis-Ferdinand. London Bridge: Guignol's Band II. Normal, Ill: Dalkey Archive Press, 1995.

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7

Gregson, Julia. Band of angels: A novel. New York: Touchstone, 2010.

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8

McDonald, Walter. A band of brothers: Stories from Vietnam. Lubbock, Tex: Texas Tech University Press, 1989.

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9

Gregson, Julia. Band of angels: A novel. New York: Simon & Schuster, 2010.

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10

Linpo, Li. Tai wan wen xue wai yi shu mu ti yao (1990-2012): Bibliographical synopses of translated Taiwan literature (1990-2012). Tai nan shi: Guo li tai wan wen xue guan, 2013.

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11

Grierson, William. We band of brothers. Hailsham: J & KH Publishing, 1997.

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12

Glaviano, Henry P. The 156th Infantry Band: 1940-1945. New Orleans, La: 156, Inc., 1992.

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13

Rosano, Raffaele. Comandante di bande irregolari. Collegno (Torino): R. Chiaramonte, 2008.

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14

hua, Qian yan wen. Office 2010 wan quan xue xi shou ce. Beijing: Ke xue chu ban she, 2012.

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15

McCaffrey, James M. This band of heroes: Granbury's Texas Bridade, C.S.A. College Station: Texas A&M University Press, 1996.

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16

1943-, Mancini Sergio, ed. Banda di fratelli. Milano: TEA, 2002.

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17

Fleming, James R. Band of brothers: Company C, 9th Tennessee Infantry. Shippensburg, PA, USA: White Mane Pub., 1996.

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18

Merrillees, R. S. Professor A. D. Trendall and his band of classical cryptographers. Canberra, ACT: Australian National University, Strategic and Defence Studies Centre, 2001.

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19

Salīmī, Raʼūf. Bane Hêroşîmayekî dîke. Ūrūmīyah: Markaz-i Nashr-i Farhang va Adabīyāt-i Kurdī, 1990.

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20

Norman, Geoffrey. Bouncing back: How a heroic band of POWs survived Vietnam. Boston: Houghton Mifflin, 1990.

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21

Guerre civile espagnole & bande dessinée. Clermont Ferrand: Presses universitaires Blaise Pascal, 2020.

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22

Network, P. O. W., ed. More than a band of metal: Loveletters from those who care. Skidmore, MO: P.O.W. Network, 2002.

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23

J, Fleming Thomas. Band of brothers: West Point in the Civil War. New York: Walker, 1988.

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24

Llano, Samuel. The Band and Social Disorder. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199392469.003.0015.

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This chapter discusses how the privatization of social aid from the 1850s allowed the San Bernardino band to make certain choices about the events it played at. This asset would backfire in the long term, as the band started to get involved in a series of politically radical events. At the Children’s Festival (1888), the San Bernardino band was used by the Liberals to silence the antiliberal song “En revenant de la revue” played by competing bands. The homage in 1897 to General Camilo Polavieja, hero of the Philippine campaign of the Spanish-American War, was an expression of opposition to the government, which was adamant that the war would end in victory. Patriotic fervor peaked as the San Bernardino band played the Cádiz march, but this made the clash with the police more violent and bloody. Surely, episodes like this were part of the reason that funding for the band was discontinued in 1900.

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25

Warfield, Patrick. A Capital Boyhood. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037795.003.0001.

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This chapter looks at John Philip Sousa's early education in Washington and his training as a member of the United States Marine Band. Looking back over his childhood, the March King remembered the 1860s as a period of adventure and the Navy Yard as a neighborhood that allowed youthful play to coexist with military pageantry. The soundtrack of this childhood was provided by military bands, some of which were accompanying Northern regiments to battle, while others were permanent residents of the city. The most important band was, of course, the Marine Band. By the age of thirteen he had largely committed himself to a career in music. He was helped along the way by a community of musicians that provided him with much more than playmates and an apprenticeship.

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26

Gu, Marshall. Krautrock. Bloomsbury Publishing Inc, 2024. http://dx.doi.org/10.5040/9798765103326.

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Krautrock is not a music genre. Krautrock is a way of life. Its sonic diversity and global reach belie the common culture from where it emerged. This is a band-by-band history. In May 1945, the Allies defeated Nazi Germany, putting an end to the European front of World War II and the Third Reich. In the immediate aftermath, German youth were tasked to create their own culture. Krautrock is this unlikely success story, as hundreds of bands—including Kraftwerk and Can—seemed to sprout overnight in the early 1970s, forging a unique and experimental sound that was different than American or British rock. The major innovation of krautrock is not only its motorik beat, the steady click-click of Can’s Jaki Liebezeit or monolithic stomp-stomp of Neu!’s Klaus Dinger, but also how the musicians relate to each other. In krautrock, no musician is given more focus than any other, and listening to these bands is to witness interplay common in jazz music. Thus, krautrock represents German politics reflected in music: a dictatorship replaced by democracy. Krautrock explores the history and methodology of the genre, charting its influences and innovations, its more mainstream acts (like Faust, Kraftwerk, and Can) as well as the less universally known (including Harmonia, Popol Vuh, Embryo, and Ash Ra Tempel), and how the genre developed in post-war Germany and what it means to today's listeners.

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27

Martin, Andrew R. Steelpan Ambassadors. University Press of Mississippi, 2017. http://dx.doi.org/10.14325/mississippi/9781496812407.001.0001.

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“Maybe you won't like steel band. It's possible. But it's been said that the Pied Piper had a steel band helping him on his famous visit to Hamelin.” When the US Navy distributed this press release, anxieties and tensions of the impending Cold War felt palpable. As President Eisenhower cast his gaze toward Russia, the American people cast their ears to the Atlantic South, infatuated with the international currents of Caribbean music. Today, steel bands have become a global phenomenon; yet, in 1957 the exotic sound and the unique image of the US Navy Steel Band was one-of-a-kind. From 1957 until their disbandment in 1999, the US Navy Steel Band performed over 20,000 concerts worldwide. In 1973, the band officially moved headquarters from Puerto Rico to New Orleans and found the city and annual Mardi Gras tradition an apt musical and cultural fit. The band brought a significant piece of Caribbean artistic capital—calypso and steelband music—to the American mainstream. Its impact on the growth and development of steelpan music in America is enormous. This book uncovers the lost history of the US Navy Steel Band and provides an in-depth study of its role in the development of the US military's public relations, its promotion of goodwill, its recruitment efforts after the Korean and Vietnam wars, its musical and technological innovations, and its percussive propulsion of the American fascination with Latin and Caribbean music over the past century.

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28

Barnard, Frank. Band of Eagles. Headline Review, 2007.

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29

Wade, Stephen. Nashville Washboard Band. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036880.003.0005.

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This chapter describes the recordings of the Nashville Washboard Band. In the spring of 1942 Fisk University music professor John W. Work III welcomed a quartet of street musicians called the Nashville Washboard Band into his home. This visit marked the first of two. The second took place that July when the group, bringing along a fifth player, returned to make their sole recordings. The group was a frequent sight in downtown Nashville, playing less than a hundred feet from the War Memorial Auditorium, where the Grand Ole Opry broadcast its weekly radio show. When not stationed there or beside the Andrew Jackson Hotel nearby, they entertained the lunchtime crowd that gathered on the south steps of the state capitol. The group's four principal members all lived within walking distance of these spots where they toted their largely climate-resistant instruments. They also offered a repertory bound to pique the attention of passersby.

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30

Band Of Brothers. Hinkler Books, 2009.

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31

Wai hui yin hang dai kuan xiang mu ping gu. Xin hua shu dian jing xiao, 1991.

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32

McDermott, Pat. Band of Roses. Tiger Publications, Incorporated, 2008.

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33

Band of Brothers. Pocket Books, 2001.

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34

Band of Brothers. New York: Touchstone, 1992.

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35

Band of Sisters. William Morrow & Company, 2021.

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36

E, Ambrose Stephen. Band of Brothers. Sound Library, 2001.

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37

E, Ambrose Stephen. Band Of Brothers. Simon & Schuster Audio, 2001.

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38

E, Ambrose Stephen. Band of Brothers. Simon & Schuster, Limited, 2012.

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39

(Narrator), Cotter Smith, ed. Band of Brothers. Simon & Schuster Audio, 2001.

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40

E, Ambrose Stephen, David Frankel, and Mikael Salomon. Band of brothers. 2014.

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41

E, Ambrose Stephen. Band of Brothers. Tandem Library, 2000.

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42

van Delden, Ate. Adrian Rollini. University Press of Mississippi, 2019. http://dx.doi.org/10.14325/mississippi/9781496825155.001.0001.

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Adrian Rollini (1904-1956)was as a child prodigy, playing piano when he was four. This book describes how job opportunities came to him easily at first and that his versatility helped him when they became rare.At the age of 16 he became a professional musician and, in New York, recorded piano rolls. In 1922, at the start of the jazz age, he joined the California Ramblers. He moved to the bass saxophone and gave it its definite place in early jazz. He had no serious competition and was highly appreciated by his colleagues. His style became the instrument's standard and his new sound was one reason why the band became a success. At the top of his fame Rollini became leader of his own band, with a.o. Bix Beiderbecke, Frank Trumbauer, Eddie Lang, and Joe Venuti. It was star-studded but short-lived. In late 1927, he moved to London to join Fred Eizalde's progressive dance band. A year later he became the band's practical leader. Back in the USA in 1930, Rollini joined Bert Lown's hotel band, but the bass saxophone was phasing out, so he moved to the vibraphone. Bands such as Lown's and, later, Richard Himber's did not satisfy him, and he decided to start a club, Adrian's Tap Room, as well as an instrument shop. He was one of the first to go for a jazz trio, consisting of himself,a guitarist, and a bass player. During the 40s, Rollini added another venture, a fishing lodge in Florida.

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43

McDonald, Walter. Band of Brothers: Stories from Vietnam. Texas Tech University Press, 1990.

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44

The Sacred Band. USA: Paradise Publishing, 2010.

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45

Thompson, General Julian, and Tom Keene. Britain's Band of Brothers. History Press Limited, The, 2014.

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46

AUSTIN (Band of Navy Seals). Author Susie McIver, 2021.

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47

Warfield, Patrick. Making the Sousa Band. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037795.003.0008.

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This chapter details the making of the Sousa Band. When the modern Marine Band makes its annual tours, it travels as a representative of the Marine Corps, but their 1891 outing was to be a commercial enterprise. Every bandsman was granted leave from the military and then personally contracted to former Minnesota secretary of state David Blakely. As a result, from April 1 to May 3, 1891, the band functioned as a civilian ensemble. Performances would not be free, nor would they be spread evenly across the country. Venues were instead selected on the basis of the band's likely draw, and ticket prices were negotiated with local managers. This was to be a commercial enterprise with David Blakely at the helm.

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48

Band of Borgers: Cyborg Warriors. Tenacious Books, 2023.

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49

Britain's Band of Brothers. History Press Limited, The, 2014.

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50

Beal, Amy C. Big Band Theory. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036361.003.0008.

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This chapter focuses on the Carla Bley Band, a ten-person big band Bley had spent several years establishing. The Carla Bley Band effectively became the instrument for which she composed, the vehicle through which she could let her sonic imagination run free. The establishment of her own large ensemble following the creation of her recording studio, record label, and distribution service was part of a logical chain of events, one indicating a further step in Bley's ongoing quest for total artistic control in the creation, administration, and dissemination of her music. This freedom allowed Bley to focus on an uninhibited exploration of musical ideas in her compositions. Over the next few years the Carla Bley Band toured both Europe and the United States, recorded six albums on Watt between 1977 and 1983, and contributed a soundtrack of preexisting pieces for a Claude Miller film called Mortelle Randonee.

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