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Eat to the Beat is the fourth studio album by American rock band Blondie, released on September 28, 1979, by Chrysalis Records. The album was certified Platinum in the United States, where it spent a year on the Billboard 200. Peaking at No. 17, it was one of Billboard ' s top 10 albums of 1980. [1]
The Kentuckiana Blues Society (KBS) is a U.S. non-profit organization dedicated to the preservation, promotion, and perpetuation of blues music, founded in 1988 and based in Louisville, Kentucky. The KBS is an affiliate member of the Blues Foundation, an international network of blues organizations headquartered in Memphis, Tennessee.
A demolition crew preparing rundown historic buildings in Louisville, Ky., for interior demolition uncovered an abandoned sado-masochistic swingers club that has sat empty since at least the mid ...
The Phoenix Hill Tavern was a live music venue located in Phoenix Hill, Louisville, Kentucky. It won LEO Weekly 's "Best of Louisville" award for eight consecutive years. Opened in 1976, the club closed in 2015, and was demolished in 2017. The tavern began as one room in a rundown warehouse, eventually expanding to 25,000-square-foot facility.
Was described by The Courier-Journal as "perhaps the last genuine neighborhood movie house in Louisville" at the time of its closing. [26] Walden Theatre 233 W Broadway Closed. Apartments now stand on the site. Westend Theatre [27] 3312 W. Broadway Razed Westland 4 Theater July 1975 - 1990 9070 Dixie Hwy, Louisville, KY 40258
Dirty blues (also known as bawdy blues) is a form of blues music that deals with socially taboo and obscene subjects, often referring to sexual acts and drug use. Because of the sometimes graphic subject matter, such music was often banned from radio and available only on jukeboxes.
That forecast includes Swig’s first Kentucky store, which is expected to start serving dirty sodas (and more) at 3009 Poplar Level Road near Norton Audubon Hospital in Louisville by December.
The Chitlin' Circuit was a collection of performance venues found throughout the eastern, southern, and upper Midwest areas of the United States. They provided commercial and cultural acceptance for African-American musicians, comedians, and other entertainers following the era of venues run by the "white-owned-and-operated Theatre Owners Booking Association (TOBA)...formed in 1921."