The Meaning of an Education

Total Page:16

File Type:pdf, Size:1020Kb

The Meaning of an Education The Meaning of an Education Lifelong Learning and the Blues by LINDSAY C. MITCHELL M.A. The University of British Columbia, 2002 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY in THE FACULTY OF GRADUATE STUDIES (Curriculum Studies) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) September 2010 © Lindsay C. Mitchell, 2010 ii Abstract All knowledge is individually constructed and contextually situated. Plainly put, different things mean different things to different people, under different circumstances, in different places, and at different times. What then is the meaning of an education? Pragmatic philosophy holds the meaning of something to be intrinsically associated with its functional purpose or effect.1 It is what it does. Education is thus commonly viewed as a way of instructing children and young persons in preparation for their making informed career choices leading to positive and productive participation in mainstream society as responsible adults. Current definitions include the upgrading, retraining and re-certification of mature workers. Long considered a pipeline to social and material prosperity, education is generally programmed to succeed. But no two learners are the same, and everyone’s experience is unique. What about the less well served, the ones that don’t fit in — the ones flushed out the system’s other end? What meaning does education hold for them? This exercise examines one such experience — my own. There is very little difference between one man and another, but what little there is . is very important. 2 William James, 1897 1 “Consider what effects, that conceivably might have practical bearings, we conceive the object of your conception to have. Then your conception of these effects is the whole of your conception of the object” (Peirce, 1905, 5.438) 2 American pragmatist philosopher William James (1842-1910). From The Importance of Individuals” (1897). Found in Bartlett’s Familiar Quotations (1992, 546, 12) iii Contents Abstract........................................................................................................... ii Contents ......................................................................................................... iii Dedication...................................................................................................... iv The Setup ........................................................................................................ 1 Introduction ................................................................................ 2 Inquiry Focus.............................................................................. 7 Mode of Inquiry ......................................................................... 9 Mode of Analysis ..................................................................... 19 The Story....................................................................................................... 26 First Class................................................................................. 27 Hell-ementary School............................................................... 42 Cruel Britannia......................................................................... 59 Sick-ondary School .................................................................. 67 Premature Matriculation........................................................... 84 Circus World ............................................................................ 97 My Home Town ..................................................................... 103 Driving Mr. Dixon ................................................................. 142 The Iceman Cometh ............................................................... 155 T-Bone Shuffle....................................................................... 158 Driftin’ Blues.......................................................................... 163 Rez Blues................................................................................ 173 That’s Entertainment.............................................................. 177 Baldry, Byrnes & Billy .......................................................... 207 Unfinished Business............................................................... 217 Bringing It All Back Home.................................................... 234 Interpretation & Analysis............................................................................ 239 Bibliography ............................................................................................... 277 iv Love to all 1 The Setup 2 Introduction People tend to self-identify with their chosen occupation or profession (Becker & Carper, 1956). While some drive trucks for a living, others cultivate the land, teach school, work in banks, advise on financial matters, etc. I’m a working musician, a guitarist by trade, with more than four decades of experience in the field. It’s the only thing I’ve ever done for a living. As such, it’s who I am. Musicianeering is a “deviant” mode of employment, historically fraught with uncertainty and peril. (Becker, 1963) And blues musicians represent an even further occupational subset — a tribe within a tribe, figuratively akin to itinerant peddlers and carnival folk, with a correspondingly oblique perspective on life. Blues music is traditionally performed late at night, or in the wee hours, on the fringes of society, in commercial establishments licensed for the sale of alcoholic beverages. Typically companied by libidinous dancing, raunchy language, and general carousing, lengthy participation has been known to conjure forth a host of unwelcome daemons — like alcoholism, drug addiction, heart disease, mental illness, economic hardship, emotional distress, and domestic discord, etc. (Becker, 1963, 1982; Murray, 1976) What combination of circumstances and events might prompt a rational young person to pursue occupational deviance? How might someone actually go about choosing the other side? What about me? Was I just simply favourably predisposed as a child, innocently attracted by its lurid sheen? Or, was I prodded in that direction. Like everyone, I attended school as a youngster. Might that have played a role? 3 Others in my graduating cohort3 moved on to the standard variety of career pursuits, becoming tradesmen, craftsmen, contractors, salespersons, housewives, clerks, bankers, managers, journalists, bureaucrats, entrepreneurs, real estate agents, doctors, dentists, and lawyers, civil servants, police officers, and politicians, etc., etc. Granted, one became a famous syndicated cartoonist,4 and two went to prison for murdering some poor fellow in Stanley Park, but conversation at a recent class reunion5 indicated that the rest went on to lead relatively normal lives, with most now approaching comfortable retirement. I wasn’t the only budding professional musicians in my class — there were two others (also male). But unlike me (self-taught with modest technical facility), they were conventionally trained, with years of conservatory instruction between them. Not surprisingly, one went on to teach theory and composition at community college, and another became organist and choirmaster at a prominent Vancouver tabernacle. Me? I ran away and joined the circus. In addition to being an occupational deviant, I am also an educational oddity — a sexagenarian apprentice in an area of academic inquiry known as Curriculum Studies. The word “curriculum” is commonly associated with the education of children and young adults in institutionalized group settings, with research primarily focussing on pedagogical practice, and the efficient delivery of skills and information. 3 Class of 1965, North Vancouver Senior Secondary School, North Vancouver, B.C., Canada. 4 Lynn Johnson 5 The 40th, in 2005. 4 But William Pinar posits its Latin root as currere, meaning to “run the course.” (Pinar et al, 2000) Education is thus conceived in more expansive terms — not simply as a customary rite of passage for young people, with emphasis on peak performance and punctual completion, but a lifelong journey, with inquiry focussing more on the expedition itself — the unfolding landscape, and the instructional nature of persons, places, and events encountered along the way. Thus, we have the term curriculum vitae, a formal compendium of one’s educational and work-related achievements. We also have the similarly derived “careering” or “careening” — words paradoxically invoking the more dangerously unpredictable and out-of-control aspects of existence. I put off going to college until age forty-six, then began attending with classmates barely older than my own children. The desks were small and the daily schedule tight, but despite the aching joints and monstrous migraines — I managed to score well. From there I transferred to a full-fledged university (UBC), and in lengthy due course received both B.A. and M.A.certification. There’s a reason why education tends to occur when people are young — because later on it’s much more difficult. (Scheutze, 2001; Rubenson & Xu, 1997) Grown-up people in the world have grown-up problems and responsibilities — family, career, finances, illness, divorce, even death (ideally not one’s own). Yes, the older you are the tougher it gets. (De Beauvior, 1970) Society does tend to privilege younger people’s projects (Biggs, 1993; 1999), thus relatively few choose to embark later on in life, and fewer still prevail. And those who do, buffeted and
Recommended publications
  • Pornography, Morality, and Harm: Why Miller Should Survive Lawrence
    File: 02-DIONNE-Revised.doc Created on: 3/12/2008 1:29 PM Last Printed: 3/12/2008 1:34 PM 2008] 611 PORNOGRAPHY, MORALITY, AND HARM: WHY MILLER SHOULD SURVIVE LAWRENCE Elizabeth Harmer Dionne∗ INTRODUCTION In 2003, a divided Supreme Court in Lawrence v. Texas1 declared that morality, absent third-party harm, is an insufficient basis for criminal legis- lation that restricts private, consensual sexual conduct.2 In a strongly worded dissent, Justice Scalia declared that this “called into question” state laws against obscenity (among others), as such laws are “based on moral choices.”3 Justice Scalia does not specifically reference Miller v. Califor- nia,4 the last case in which the Supreme Court directly addressed the issue of whether the government may suppress obscenity. However, if, as Justice Scalia suggests, obscenity laws have their primary basis in private morality, the governing case that permits such laws must countenance such a moral basis. The logical conclusion is that Lawrence calls Miller, which provides the legal test for determining obscenity, into question.5 ∗ John M. Olin Fellow in Law, Harvard Law School. Wellesley College (B.A.), University of Cambridge (M. Phil., Marshall Scholar), Stanford Law School (J.D.). The author thanks Professors Frederick Schauer, Thomas Grey, and Daryl Levinson for their helpful comments on this Article. She also thanks the editorial staff of GEORGE MASON LAW REVIEW for their able assistance in bringing this Article to fruition. 1 539 U.S. 558 (2003). 2 Id. at 571 (“The issue is whether the majority may use the power of the state to enforce these views on the whole society through operation of the criminal law.
    [Show full text]
  • The History of Rock, a Monthly Magazine That Reaps the Benefits of Their Extraordinary Journalism for the Reader Decades Later, One Year at a Time
    L 1 A MONTHLY TRIP THROUGH MUSIC'S GOLDEN YEARS THIS ISSUE:1969 STARRING... THE ROLLING STONES "It's going to blow your mind!" CROSBY, STILLS & NASH SIMON & GARFUNKEL THE BEATLES LED ZEPPELIN FRANK ZAPPA DAVID BOWIE THE WHO BOB DYLAN eo.ft - ink L, PLUS! LEE PERRY I B H CREE CE BEEFHE RT+NINA SIMONE 1969 No H NgWOMI WI PIK IM Melody Maker S BLAST ..'.7...,=1SUPUNIAN ION JONES ;. , ter_ Bard PUN FIRS1tintFaBil FROM 111111 TY SNOW Welcome to i AWORD MUCH in use this year is "heavy". It might apply to the weight of your take on the blues, as with Fleetwood Mac or Led Zeppelin. It might mean the originality of Jethro Tull or King Crimson. It might equally apply to an individual- to Eric Clapton, for example, The Beatles are the saints of the 1960s, and George Harrison an especially "heavy person". This year, heavy people flock together. Clapton and Steve Winwood join up in Blind Faith. Steve Marriott and Pete Frampton meet in Humble Pie. Crosby, Stills and Nash admit a new member, Neil Young. Supergroups, or more informal supersessions, serve as musical summit meetings for those who are reluctant to have theirwork tied down by the now antiquated notion of the "group". Trouble of one kind or another this year awaits the leading examples of this classic formation. Our cover stars The Rolling Stones this year part company with founder member Brian Jones. The Beatles, too, are changing - how, John Lennon wonders, can the group hope to contain three contributing writers? The Beatles diversification has become problematic.
    [Show full text]
  • Sexo, Amor Y Cine Por Salvador Sainz Introducción
    Sexo, amor y cine por Salvador Sainz Introducción: En la última secuencia de El dormilón (The Sleeper, 1973), Woody Allen, desengañado por la evolución polí tica de una hipotética sociedad futura, le decí a escéptico a Diane Keaton: “Yo sólo creo en el sexo y en la muerte” . Evidentemente la desconcertante evolución social y polí tica de la última década del siglo XX parecen confirmar tal aseveración. Todos los principios é ticos del filósofo alemá n Hegel (1770-1831) que a lo largo de un siglo engendraron movimientos tan dispares como el anarquismo libertario, el comunismo autoritario y el fascismo se han desmoronado como un juego de naipes dejando un importante vací o ideológico que ha sumido en el estupor colectivo a nuestra desorientada generación. Si el siglo XIX fue el siglo de las esperanzas el XX ha sido el de los desengaños. Las creencias má s firmes y má s sólidas se han hundido en su propia rigidez. Por otra parte la serie interminable de crisis económica, polí tica y social de nuestra civilización parece no tener fin. Ante tanta decepción sólo dos principios han permanecido inalterables: el amor y la muerte. Eros y Tá natos, los polos opuestos de un mundo cada vez má s neurótico y vací o. De Tánatos tenemos sobrados ejemplos a cada cual má s siniestro: odio, intolerancia, guerras civiles, nacionalismo exacerbado, xenofobia, racismo, conservadurismo a ultranza, intransigencia, fanatismo… El Sé ptimo Arte ha captado esa evolución social con unas pelí culas cada vez má s violentas, con espectaculares efectos especiales que no nos dejan perder detalle de los aspectos má s sombrí os de nuestro entorno.
    [Show full text]
  • FOSIL News & Views 25Th February 2021
    FOSIL News & Views 25th February 2021 [email protected] Medici.tv Cornwall Libraries is now subscribing allowing free access to all library members for this Classical genre resource. Please have a look and share with friends, family and library members. This will be promoted via the Cornwall Libraries web page and social media platforms, with the service declaring they are ‘delighted to provide another resource for our customers – especially during this current lockdown’. Follow the link for more information and access: https://connect.liblynx.com/wayfless/medicitv?lcard=cornwall Medici.tv only needs a library card number for permitted access – no downloading or registration needed. You can watch live events and recorded Operas, Ballets, Concerts, Documentaries and Masterclasses from around the world. Why not give it a try and let us know your thoughts? Malcolm Price (1939-2017) - forgotten first beatnik folk musician in Cornwall Acknowledged as the first beatnik folk musician to visit Cornwall by veteran folkie Wizz Jones, Malcolm Price is almost forgotten these days. He was a pioneer of the flatpicking style of guitar in the UK and a huge fan of what we would call ‘Americana’ today, especially its early country roots. Melody Maker called him “the champion of old-timey music” and he was an inspiration to many. Malcolm started his musical journey on harmonica, but this was soon traded for a guitar and he joined the new skiffle craze of the mid-fifties, playing in clubs around Kent. In 1957 he witnessed Ramblin’ Jack Elliott and Derroll Adams at the Blues and Barrelhouse Club, Soho, run by Alexis Korner and Cyril Davies.
    [Show full text]
  • Abstract Why We Turn the Page: a Literary Theory Of
    ABSTRACT WHY WE TURN THE PAGE: A LITERARY THEORY OF DYNAMIC STRUCTURALISM Justin J. J. Ness, Ph.D. Department of English Northern Illinois University, 2019 David J. Gorman, Director This study claims that every narrative text intrinsically possesses a structure of fixed relationships among its interest components. The progress of literary structuralism gave more attention to the static nature of what a narrative is than it did to the dynamic nature of how it operates. This study seeks to build on the work of those few theorists who have addressed this general oversight and to contribute a more comprehensive framework through which literary critics may better chart the distinct tensions that a narrative text cultivates as it proactively produces interest to motivate a reader’s continued investment therein. This study asserts that the interest in narrative is premised on three affects— avidity, anxiety, and curiosity—and that tensions within the text are developed through five components of discourse: event, description, dialog, sequence, and presentation. NORTHERN ILLINOIS UNIVERSITY DEKALB, ILLINOIS MAY 2019 WHY WE TURN THE PAGE: A LITERARY THEORY OF DYNAMIC STRUCTURALISM BY JUSTIN J. J. NESS ©2019 Justin J. J. Ness A DISSERTATION SUBMITTED TO THE GRADUATE SCHOOL IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE DOCTOR OF PHILOSOPHY DEPARTMENT OF ENGLISH Dissertation Director: David J. Gorman ACKNOWLEDGMENTS David Gorman, the director of my project, introduced me to literary structuralism six years ago and has ever since challenged me to ask the simple questions that most people take for granted, to “dare to be stupid.” This honesty about my own ignorance was—in one sense, perhaps the most important sense—the beginning of my life as a scholar.
    [Show full text]
  • Karaoke by Keysdan Comedy Artist Title 'Weird' Al Yankovic Achy Breaky Song 'Weird' Al Yankovic Achy Breaky Song Wvocal 'Weird'
    Karaoke by KeysDAN Comedy Artist Title 'Weird' Al Yankovic Achy Breaky Song 'Weird' Al Yankovic Achy Breaky Song Wvocal 'Weird' Al Yankovic Addicted To Spuds 'Weird' Al Yankovic Alimony 'Weird' Al Yankovic Amish Paradise 'Weird' Al Yankovic Another Rides The Bus 'Weird' Al Yankovic Bedrock Anthem 'Weird' Al Yankovic Bedrock Anthem Wvocal 'Weird' Al Yankovic Dare To Be Stupid 'Weird' Al Yankovic Dare To Be Stupid Wvocal 'Weird' Al Yankovic Eat It 'Weird' Al Yankovic Ebay 'Weird' Al Yankovic Fat 'Weird' Al Yankovic Grapefruit Diet 'Weird' Al Yankovic Gump 'Weird' Al Yankovic Gump Wvocal 'Weird' Al Yankovic I Lost On Jeopardy 'Weird' Al Yankovic I Love Rocky Road 'Weird' Al Yankovic I Want A New Duck 'Weird' Al Yankovic It's All About The Pentiums 'Weird' Al Yankovic It's All About The Pentiums Wvocal 'Weird' Al Yankovic Like A Surgeon 'Weird' Al Yankovic Like A Surgeon Wvocal 'Weird' Al Yankovic My Bologna 'Weird' Al Yankovic One More Minute 'Weird' Al Yankovic One More Minute Wvocal 'Weird' Al Yankovic Phony Calls 'Weird' Al Yankovic Ricky 'Weird' Al Yankovic Saga Begins 'Weird' Al Yankovic She Drives Like Crazy 'Weird' Al Yankovic Smells Like Nirvana 'Weird' Al Yankovic Smells Like Nirvana Wvocal 'Weird' Al Yankovic Spam 'Weird' Al Yankovic The Saga Begins 'Weird' Al Yankovic Yoda 'Weird' Al Yankovic You Don't Love Me Anymore 2 Live Crew Me So Horny Adam Sandler At A Medium Pace (ADVISORY) Adam Sandler Ode To My Car Adam Sandler Ode To My Car (ADVISORY) Adam Sandler Piece Of S--t Car Adam Sandler What The H--- Happened To Me Adam Sandler What The Hell Happened To Me www.KeysDAN.com 501.470.6386 Karaoke by KeysDAN Comedy Bill Clinton Parody Bimbo No.5 Britney Spears Parody Oops I Farted Again CLEDUS T JUDD MY CELLMATE THINKS I'M SEXY Cheech & Chong Earache My Eye Chef Chocolate Salty Balls Chef Love Gravy Chef No Substitute, Oh Kathy Lee Chef Simultaneous Chef & Meatloaf Tonight Is Right for Love Chef & No Substitute Oh Kathy Lee Chef (South Park) Chocolate Salty Balls (P.S.
    [Show full text]
  • Sweet at Top of the Pops
    1-4-71: Presenter: Tony Blackburn (Wiped) THE SWEET – Funny Funny ELVIS PRESLEY – There Goes My Everything (video) JIMMY RUFFIN – Let’s Say Goodbye Tomorrow CLODAGH RODGERS – Jack In The Box (video) FAME & PRICE TOGETHER – Rosetta CCS – Walkin’ (video) (danced to by Pan’s People) THE FANTASTICS – Something Old, Something New (crowd dancing) (and charts) YES – Yours Is No Disgrace T-REX – Hot Love ® HOT CHOCOLATE – You Could Have Been A Lady (crowd dancing) (and credits) ........................................................................................................................................................ THIS EDITION OF TOTP IS NO LONGER IN THE BBC ARCHIVE, HOWEVER THE DAY BEFORE THE BAND RECORDED A SHOW FOR TOPPOP AT BELLEVIEW STUDIOS IN AMSTERDAM, WEARING THE SAME STAGE OUTFITS THAT THEY HAD EARLIER WORN ON “LIFT OFF”, AND THAT THEY WOULD WEAR THE FOLLOWING DAY ON TOTP. THIS IS THE EARLIEST PICTURE I HAVE OF A TV APPEARANCE. 8-4-71: Presenter: Jimmy Savile (Wiped) THE SWEET – Funny Funny ANDY WILLIAMS – (Where Do I Begin) Love Story (video) RAY STEVENS – Bridget The Midget DAVE & ANSIL COLLINS – Double Barrel (video) PENTANGLE – Light Flight JOHN LENNON & THE PLASTIC ONO BAND – Power To The People (crowd dancing) (and charts) SEALS & CROFT – Ridin’ Thumb YVONNE ELLIMAN, MURRAY HEAD & THE TRINIDAD SINGERS – Everything's All Right YVONNE ELLIMAN, MURRAY HEAD & THE TRINIDAD SINGERS – Superstar T-REX – Hot Love ® DIANA ROSS – Remember Me (crowd dancing) (and credits) .........................................................................................................................................................
    [Show full text]
  • Early Blues Bibliography
    EARLY BLUES BIBLIOGRAPHY In any selection of books the choice must inevitably be subjective as to what to include or exclude. This selection has ommitted some choices that other might have included. Also there are many articles, periodicals and magazines that provide information for the researcher that cannot be included here but are, perhaps, in Robert Ford's 'Blues Bibliography' or Edward Komara's '100 Books Every Blues Fan Should Have'. This selection is based very much on my own collection of books found in markets, second hand book shops but more recently through Amazon and the web site 'Abe Books' Many books are out of print, have reached the third, fourth or later edition but details are included here that will allow the collector to locate and purchase their own choice. I have not sought to comment on the accuracy, usefulness or expertise of each publication and care should be taken on choice of purchase as many are price inflated when a little more research will lead to better value for money. Where possible I have tended to provide details of hard cover books but many are also available in soft cover at a much reduced price. It should also be remembered that any list such as this is out of date the moment that it is produced. New books are regularly published. The University Presses of America provide a sound source of academic work under the general priciple of 'Publish or Perish' which reflects the wide range of books from the very simple history to the in depth difficult to read study of an aspect of my favourite genre of music - The Blues.
    [Show full text]
  • The Alan Parsons Project Pyramid Mp3, Flac, Wma
    The Alan Parsons Project Pyramid mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock Album: Pyramid Country: Benelux Released: 1979 Style: Art Rock, Prog Rock MP3 version RAR size: 1713 mb FLAC version RAR size: 1359 mb WMA version RAR size: 1382 mb Rating: 4.1 Votes: 187 Other Formats: ADX MP1 MP3 APE AIFF AU RA Tracklist A1 Voyager 2:24 A2 What Goes Up... 3:31 A3 The Eagle Will Rise Again 4:20 A4 One More River 4:15 A5 Can't Take It With You 5:06 B1 In The Lap Of Gods 5:27 B2 Pyramania 2:45 B3 Hyper-Gamma-Spaces 4:19 B4 Shadow Of A Lonely Man 5:34 Companies, etc. Phonographic Copyright (p) – Arista Records, Inc. Copyright (c) – Arista Records, Inc. Recorded At – Abbey Road Studios Mixed At – Abbey Road Studios Published By – Woolfsongs Ltd. Published By – Careers Music, Inc. Published By – Irving Music, Inc. Pressed By – Columbia Records Pressing Plant, Santa Maria Credits Acoustic Guitar [Acoustic Guitars] – Alan Parsons, David Paton, Ian Bairnson Arranged By [Orchestra And Choir], Conductor [Orchestra And Choir Conducted By] – Andrew Powell Bass – David Paton Chorus Master [Choirmaster] – Bob Howes* Composed By [All Songs] – Alan Parsons, Eric Woolfson Cover, Design – Hipgnosis Drums, Percussion – Stuart Elliot* Electric Guitar [Electric Guitars] – Ian Bairnson Engineer [Assistant Engineers] – Chris Blair, Pat Stapley Engineer [Engineered By] – Alan Parsons Executive-Producer – Eric Woolfson Keyboards – Duncan Mackay, Eric Woolfson Mastered By [Mastering By] – Chris Blair Photography By [Photos] – Hipgnosis , Brimson* Producer [Produced By] – Alan Parsons Vocals – Colin Blunstone, David Paton, Dean Ford, Jack Harris, John Miles, Lenny Zakatek Written-By [All Tracks] – Alan Parsons, Eric Woolfson Notes 12" X 24" insert contains lyrics, credits, and artwork with a poster on the reverse side of the full cover artwork Light blue inner sleeve with no printing.
    [Show full text]
  • Blues with a Feeling." Blues Unlimited, October
    blues with afeeling the Little Walter story Tony Glover, Scott Dirks, & Ward Gaines I~ ~~O~;~;~~~UP New Yorl< London Routledge Taylor and Francis Group 711 Third Avenue New York, NY 10017 Routledge Taylor and Francis Group 2 Park Square Milton Park, Abingdon Oxon OX14 4RN contents acknowledgments v preface IX 1. night train I Louisiana 1920-43 2. good evenin' everybody 13 New Orleans/Helena, Arkansas: 1943-44 3. wonder harmonica king 23 St. Louis/Points South/Chicago: Summer 1943-46 4. ijust keep loving her 37 Chicago/Points South and/or St. Louis/Chicago: c.1946-48 5. ebony boogie 51 Chicago/Helena/Mississippi/Chicago: September 1948-Fall 1951 6. "juke" 71 Chicago Blues Turns a Corner: Winter 1951-52 7. diamonds and cadillac cars 91 Chicago/East and West Coasts/Southern States: January 1953-February 1954 8. you gonna miss me when i'm gone lIS Chicago/The South and East: February-Fall 1954 9. roller coaster 133 Chicago/Alexandria, Louisiana/Boston/Chicago: Fall 1954-Fall 1955 10. i've had myfun ISS Chicago/The South/Chicago: I)ecernber1955-I)ecernber1957 1I. crazy mixed up world 177 Chicago and On the Road: January 1958-Auturnn 1959 12. i ain't broke, i'm badly bent 2°3 Chicago: Fall 1959-February 1963 13. back in the alley 225 Chicago/London/San Francisco/Boston: Winter 1963-Fall 1966 14. mean old world 251 Chicago/EuropeIUK/Chicago: Fall 1966-February 1968 epilogue 275 1968-Present chronological recordings 285 sources and notes 297 bibliography 3°3 index 3°7 acknowledgments This book has been the result of many people's contributions
    [Show full text]
  • “Writing About Music” Vol
    UCLA Department of Musicology presents MUSE An Undergraduate Research Journal “Writing About Music” Vol. 1, No. 1 “Dissonant Ones: The Harmony of Lou Reed and “Waitress! Equalitea and Pie, Please” John Cale” Irena Huang Gabriel Deibel “Boy Band: Intersecting Gender, Age, Sexuality, “A Possible Resolution for the Complicated and Capitalism” Feelings Revolving Around Tyler, the Creator” Grace Li Isabel Nakoud “Being the Cowboy: Mitski’s Rewriting of Gender Roles in Indie Rock” Jenna Ure Winter 2020 2 3 UCLA Department of Musicology presents MUSE An Undergraduate Research Journal Volume 1, Number 1 Winter 2020 Contents Introduction from the Editors 4 Being the Cowboy: Mitski’s Rewriting of Gender Roles in Indie 6 Rock Editor-in-Chief Jenna Ure Matthew Gilbert Waitress! Equalitea and Pie, Please 16 Managing Editor Irena Huang Alana Chester Dissonant Ones: The Harmony of Lou Reed and John Cale 26 Review Editor Gabriel Deibel Karen Thantrakul Boy Band: Intersecting Gender, Age, Sexuality, and Capitalism 36 Technical Editors Grace Li J.W. Clark Liv Slaby A Possible Resolution for the Complicated Feelings Revolving 46 Gabriel Deibel Around Tyler, the Creator Isabel Nakoud Faculty Advisor Dr. Elisabeth Le Guin Closing notes 62 4 Introduction Introduction 5 Introduction Li’s discussion of the exploitation of boy band One Direction, Gabriel Deibel’s essay on the influence of John Cale on the Velvet Underground’s experimental sound, a feminist exploration by Irena Huang of the musical Alana Chester, Matthew Gilbert, and Karen Waitress (composed by a UCLA alumnus, Sara Bareilles), and a critique Thantrakul of the music industry through indie singer Mitski’s music by Jenna Ure.
    [Show full text]
  • Larry Hennig & Harley Race
    Larry Hennig & Harley Race Larry "The Axe" Hennig (born June 18, 1936) is an American retired professional wrestler. He is the father of the late "Mr. Perfect" Curt Hennig, the grandfather of Joe "Curtis Axel" Hennig, and is best known for his work in the American Wrestling Association, National Wrestling Alliance and World Wide Wrestling Federation. Hennig was also known for his muscular neck which, to this day, measures 22 inches. Harley Leland Race (born April 11, 1943)[2] is an American former professional wrestler, and current promoter and trainer. During his career as a wrestler, Race worked for all of the major wrestling promotions, including the National Wrestling Alliance (NWA), the American Wrestling Association (AWA), the World Wrestling Federation (WWF, now WWE), and World Championship Wrestling(WCW). He held the NWA World Heavyweight Championship seven times, and was the first NWA United States Heavyweight Champion, which is now known as the WWE's United States Championship. Race is one of six men inducted into each of the WWE Hall of Fame, the NWA Hall of Fame, the Professional Wrestling Hall of Fame and the Wrestling Observer Newsletter Hall of Fame, and is considered by many past and present fans/wrestlers and promoters as one of the best professional wrestlers of all time. He is highly respected for his toughness and lifelong dedication to the business. After a serious auto accident where Race almost lost his leg and intense physical therapy, he returned to the ring in 1964, wrestling for the Funks' Amarillo, Texas, territory. This time, he wrestled under his own name, after his father told him that he should not work to make anyone else's name famous.
    [Show full text]