DOCSLIB.ORG

Atlantic Union Gleaner for 1983

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Atlantic Union Gleaner for 1983 TL At .0 GLEANER July 26, 1983 INTERVIEW WITH KENNETH COX, JUNE 20, 1983 LEON H. DAVIS Communication Director NOTE.' Elder Kenneth Cox and his crusade team made noteworthy ac- complishments in the Worcester, Mass- On Monday, June 20, Elder Kenneth Cox, the principal speaker of the Ken- achusetts, Dimensions of Prophecy neth Cox Dimensions of Prophecy Crusade, met with me in my office. By then, evangelistic campaign, Highlighted in three-fourths of the Worcester evangelistic crusade was history, and God's this six-page feature are the following.. blessings were abundantly evident. An exceptional number of decisions for An interview with Kenneth Cox by L. H. Christ and commitments for baptism had been made. The difficult, yet satisfy- Davis done six days before the cam- ing, work of actually preparing the candidates for baptism was yet to be done, paign ended; a picture story of the bap- but Ken took time out to share his vision, program, and philosophy of evangelism. What follows is an interesting interview with a man, whom God tism conducted Sabbath, June 25; highlights of the crusade as noted by is using, and fascinating insights into evangelism. Geraldine I. Grout, Ed. D, Assistant LHD: Tell me about your background. Where are you from? Were your Editor; and the organization and involve- parents Adventists? ment of the pastors and church KC: I was born in Chicago, Illinois, and lived there until I was nine years of members by Sharon Benson, a member age. My family then moved to Oklahoma. My parents were not Advent- of the Northboro church. Appreciation is ists. I believe they were Baptists; although we had what I would call a expressed to Victor W. Collins, Com- nominal Christian home. They went to church Christmas and Easter. munications Director of the Southern When I was a teenager, my mother and I took Bible studies and became New England Conference, for his Seventh-day Adventists. assistance. LHD: Would you give a brief background of your educational training. Leon H. Davis KC: When I was 17 a minister took several of us young people to Keene, Editor Texas, for a Student Day, and I decided to attend. I had no backing, so I just left home and went down to the school. If I remember correctly, I had 200 in my pocket. I enrolled, worked all summer, as well as worked my way through all of our schools. I never received financial help in any way from my parents. LHD: When did you decide to become a minister? KC: I decided to become a minister in my senior year at academy. I think there are other things I could have done, but I could not be happy or live with my conscience doing anything else. That is basically the reason I am in the ministry. LHD: At what stage of your ministry did you become engrossed in evangelism? KC: I have done evangelism all the time I have been in the ministry. It has always been something I wanted to do. I pastored for eight years, did departmental work for two years and administrative work for two years. It was while I was in administrative work that I became convicted that I should be in evangelism (exclusively). July 26, 1983, Vol. LXXXII, No. 14. The Atlantic Union GLEANER (USPS 036-280) is published twice monthly by the Atlantic Union Conference of Seventh-day Adventists, 400 Main Street, South Lancaster, MA 01561. Printed by Atlantic Graphic Services, Inc., South Lancaster, MA 01561. Second-class postage paid at South Lancaster, MA. 01561. Annual subscription price, $6.00. POSTMASTER: Send address changes to Atlantic Union GLEANER, P.O. Box 1189, South Lancaster, MA 01561. LHD: Let's go back to 1982 when you came to set up the Worcester crusade. Pictures left to right: Immediately follow- I understand you were told that New England was different. The people ing the Sabbath morning sermon by were very conservative and that you would not get the results you did in evangelist Kenneth Cox, the candidates other cities. What was your reaction to being told this? Were you in- for baptism boarded several vehicles, timidated by it? including two buses, and were driven to KC: Most of what we heard was that the people up here were reserved; they Indian Lake where the rites of baptism weren't going to make decisions; we shouldn't expect it. So we came to were administered. New England, not intimidated, but yet not really sure what we were go- Accurate records were kept throughout ing to find. the campaign. Here Ellen Klinke, right, LHD: Now that the crusade is almost over, what are the facts relative to the of the evangelistic team, assisted by foregoing question? Janice Grant give an identification tag to KC: The facts are simply this. Our experience has shown us that NEW each candidate. ENGLAND IS NO DIFFERENT THAN ANY OTHER PLACE IN THE WORLD. From the statistics we have been able to put together here in The thirteen pastors participating in the Worcester, it certainly does not prove true. (That there is a New England baptismal service: Luis Badillo, Tim reserve.) People in North America and in New England are just as Berry, Victor Collins, Aleksander responsive to the Gospel as they are anywhere in the world. If you take Davidovich, Vashni Davis, William 1,000 people from North America and 1,000 from Inter-America and put Dudgeon, William Fagal, Wayne Gosling, them in the same meeting, you will get just as good a response from Johnny Johnston, Joaquim Miranda, those in North America as Inter-America. The church members here in Paul Peterson, Arthur Schumacher, and Worcester did more and were more active in getting their friends out to Max Thames. the meetings than any place in which we have had meetings so far. Pastors about to baptize a group of con- That, to us, is one of the keys—(To a successful campaign)—the verts. church members go out and invite their friends to the meetings and then bring them. They did that here, and it has been tremendous. So far, Elder Kenneth Cox administered the 1,020 non-members have attended the meetings. Of that number 341 baptismal oath before several hundred have made decisions to accept Christ; 169 have requested baptism and visitors and friends. 171 have accepted the Sabbath! LHD: How do these statistics compare with previous campaigns? KC: We keep very close statistics on all of our meetings. The meetings here have been better. The average attendance here has been one of the highest that we have had. So, I would say that attendance is better here than in most places. LHD: Are there any other statistics you can share with our constituency? KC: Seventy percent of the people who are going to be baptized will be be- tween the ages of 19 and 39 years of age. That is true in every place we go. Those evidently are the people who are looking for something that gives meaning to life. They are looking for something to build their homes on and so forth, so they are the ones who are making decisions. LHD: I note that some evangelists are concerned about preaching to certain classes of people. To whom is your message geared or directed? KC: We don't try to preach to any one class of people. We try to make our message reach all people, and specifically the class of people who are attending the meetings. Basically, they are generally just a little above middle class—financially speaking. We also get some who are in up- per, as well as lower income levels. Lord. I am not talking about one conference, I am talk- ing about all of us working together as a group—as a team. Over the years we have drawn lines and said, "This is our district and we will work in here and don't you cross this line," rather than saying, "We are going to move this city for the Lord." LHD: The Lord has blessed your ministry here in Worcester. But the work can't be finished with just the Cox Evangelistic Crusade team making one visit a year. What can you say to the Atlantic Union Conference staff of workers and ministers? How can we be involved to finish the work? KC: Well, I am going to walk out on a limb. I personally believe that the situation that we are in today is the greatest blessing that has ever happened to us. Let me explain. I find that we are in transition, where the whole basis of what we have built on is changing. For years Maurita and Kenneth Cox people lived in the rural areas. We are moving from that to an urban society. Also, over the years people in the LHD: One thing that has pleased me is to see various racial, United States thought of events in the context of religion. religious and ethnic groups respond to you and your Our concept in thinking was God-centered. That, too, is lectures—Whites, Blacks, Catholics, Protestants, and rapidly changing, and we are moving into a secular con- Hispanics have shown deep interest. This is evidence to cept. That sounds bad. But at the same time we find that me that the Lord is involved in your ministry. those are exactly the same conditions that existed in the KC: We try to make our meetings open to everyone. We do days of Paul, when the message moved with such rapid- not make any difference between people at all.
Load more

Recommended publications
  • Sarah Swersey, Flute Joe Belmont, Guitar
    Sarah Swersey, flute Joe Belmont, guitar Memorial Hall Museum, Deerfield, Massachusetts Sunday, July 18, 2010 3 p.m. Entr’Acte Jacques Ibert Pavane Op. 50 Gabriel Fauré “Name That Tune” CD giveaway! Nardis Miles Davis Misirlou Michalis Patrinos, arr. Dick Dale Estate Bruno Martino Bordel 1900 Astor Piazzolla (from The History of the Tango) <<< Intermission >>> You Don’t Know What Love Is Gene de Paul and Don Raye Bourrée Johan Sebastian Bach, arr. Ian Anderson El Condor Pasa Daniel Alomía Robles Brandenburg Concerto No. 5 Johan Sebastian Bach, arr. Jerry Snyder (first movement) Some Other Time Leonard Bernstein A Felicidade Antonio Carlos Jobim The Celtic Harp Joe Belmont Spain Chick Corea About Dúo Fusión: Flutist Sarah Swersey and guitarist Joe Belmont have long and storied histories as professional musicians but have been performing together for only the past year. Melding her dazzling classical playing and his extraordinary jazz chops, they’ve created an adventurous sound that soars all over the musical map. They’ve just released their debut CD, Dúo Fusión, which contains much of the music they are performing today. It is available at intermission and after the concert, and also online at CDbaby.com and Amazon.com. For a performance schedule, audio samples and more information, visit their website, www.duo-fusion.com. Joe Belmont, widely recognized as one of the finest guitarists in New England, plays an extraordinarily broad range of styles — classical, jazz, flamenco, and rock, to name a few. A native of New York City, he played his first gigs and made his first recordings by age 17, and has been performing professionally for over 30 years.
    [Show full text]
  • CONGRESSIONAL RECORD— Extensions Of
    April 13, 2000 CONGRESSIONAL RECORD Ð Extensions of Remarks E589 RECOGNIZING CARLISLE AND recorded for NASA, Disneyland, and a mul- A TRIBUTE TO REPRESENTATIVE MCCORD ELEMENTARY SCHOOLS titude of commercials, television shows, and STEPHEN CHEN movies. The recipient of countless awards, HON. ROBERT B. ADERHOLT Dale has been nominated for a Grammy and HON. GARY L. ACKERMAN OF ALABAMA is enshrined in the Surfing Hall of Fame. OF NEW YORK IN THE HOUSE OF REPRESENTATIVES Beyond his musical talent, Dale is an ac- IN THE HOUSE OF REPRESENTATIVES complished horseman, exotic animal trainer, Thursday, April 13, 2000 Thursday, April 13, 2000 surfer, martial arts expert, archer, and pilot. In Mr. ACKERMAN. Mr. Speaker, I want to call Mr. ADERHOLT. Mr. Speaker, I am proud to addition to his recording and performing ca- to the attention of my colleagues and submit recognize two schools in my district that have reer, Dale has worked tirelessly to clean up for the RECORD an article regarding Rep- been recognized by the U.S. Department of the world's oceans and protect endangered resentative Stephen Chen, who serves as the Education for their achievements as Title I wild animals. He has donated the proceeds of schools. head of the Taipei Cultural and Economic some recordings to the Burn Treatment Center Representative Office in Washington. The arti- These schools, Carlisle Elementary Schools at the University of California. in Boaz, Alabama and McCord Elementary cle, which ran in on April 3 in the New York Dick Dale has not been content to sit back Times, is a fitting tribute to Taiwan's unofficial School in Albertville, Alabama, were selected as a legend.
    [Show full text]
  • 5860 Hon. David Minge Hon. Martin T. Meehan Hon
    5860 EXTENSIONS OF REMARKS April 13, 2000 the new and the old addresses. That way, if persons, whether the damages are direct or record must reflect the truth of what the Arme- a thief attempts to change your billing address indirect. Under current federal law, only di- nians experienced: mass murder and geno- so you won’t find out about fraudulent rect parties have the right to a remedy for cide. If it does not, only then are we con- antitrust harm. By broadening the scope of charges—you’ll know. persons who can demand reparations for demned to a future littered with more in- The bill also requires credit bureaus to in- harm caused by antitrust violators, without stances of unspeakable wickedness and cru- vestigate discrepancies in addresses, to make relying on government bureaucracies to do it elty. sure that the address for the consumer that for them, our antitrust laws can be more ef- My congressional district contains a large they have on file is not the address provided fective. and vibrant Armenian-American community, by the identity thief. (2) Modernizing antitrust enforcement: which has contributed so much to the This bill codifies the practice of placing fraud This bill increases the maximum fines from Merrimack Valley’s economic vitality and cul- alerts on a consumer’s credit file and gives the $10 million to $100 million to reflect the mag- ture. When today’s Armenian-American com- nitude of today’s economy and potential Federal Trade Commission the authority to im- damages from anti-competitive activity. munity commemorates the Armenian Geno- pose fines against credit issuers that ignore Moreover, megamergers create heavy work- cide, they convey the message to the world the alert.
    [Show full text]
  • SURF MUSIC by Geoffrey Himes
    SURF MUSIC By Geoffrey Himes It often seems that the United States is a pool table that has been tilted so all its hopes and dreams roll to the west. Whenever Americans want a new and better life, they head toward the setting sun. Whether it was the white-canvas covered wagons of the 1850s, the rusty Okie jalopies of the 1930s or the painted hippie vans of the 1960s, the direction is always westward—and eventually they collect in the pool table’s corner pocket known as Southern California. When Chuck Berry went chasing after his imagined utopia in the song “Promised Land," where did he end up? Los Angeles. Thousands of Hollywood movies had advertised Southern California as a nirvana of palm trees, sunshine, beautiful girls and beautiful boys, convincing folks from Oklahoma, Kansas and Ohio to pack up and move to the coast. By the end of the 1950s, the area around L.A. was full of almost as many transplanted Midwesterners as native Californians. The natives knew the region was no utopia, but the first and second-generation immigrants, these strangers in paradise, still clung to the notion of America’s western edge as the place where their dreams might come true. The teens and twentysomethings in these families—too young and too new to the West Coast to be disillusioned— turned that utopian impulse into a new kind of rock'n'roll: surf music. Brian, Dennis and Carl Wilson, whose father and mother had moved to California from Kansas and Minnesota respectively, formed the Beach Boys.
    [Show full text]
  • Dionysian Symbolism in the Music and Performance Practices of Jimi Hendrix
    City University of New York (CUNY) CUNY Academic Works Dissertations and Theses City College of New York 2013 Dionysian Symbolism in the Music and Performance practices of Jimi Hendrix Christian Botta CUNY City College How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/cc_etds_theses/205 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] Dionysian Symbolism in the Music and Performance Practice of Jimi Hendrix Christian Botta Submitted in partial fulfillment of the requirements for the degree Master of Arts in Musicology At the City College of the City University of New York May 2013 Table of Contents Introduction 1 Chapter One – Hendrix at the Monterey Pop and Woodstock Festivals 12 Chapter Two – ‘The Hendrix Chord’ 26 Chapter Three – “Machine Gun” 51 Conclusion 77 Bibliography 81 i Dionysian Symbolism in the Music and Performance Practice of Jimi Hendrix Introduction Jimi Hendrix is considered by many to be the most innovative and influential electric guitarist in history. As a performer and musician, his resume is so complete that there is a tendency to sit back and marvel at it: virtuoso player, sonic innovator, hit songwriter, wild stage performer, outrageous dresser, sex symbol, and even sensitive guy. But there is also a tendency, possibly because of his overwhelming image, to fail to dig deeper into the music, as Rob Van der Bliek has pointed out.1 In this study, we will look at Hendrix’s music, his performance practice, and its relationship to the mythology that has grown up around him.
    [Show full text]
  • Biography: Hypnosis Comes from the Psycho Party Beach of Helsinki
    Artist: HYPNOSIS Genre: Psychobilly/Surf Comes from: Psycho Party Beach, Finland PIM! You're psycho Hypnosis are: Tom Bones - vocal, upright bass (band history: Night Nurse, Jim Dandy's Revenge...) Kalifornia Jay - surf guitar (band history: The Shockwave!...) Make - drums (band history: Oski & Los Scobes...) Influences: The Cramps, Ramones, The Ventures, The Ricochets, Pulp Fiction, The Ghastly Ones, Damage Done By Worms, The Surf Coasters, Sam Raimi, Dick Dale, Freddy Krueger... Sounds like: Hypnosis mixes old-school psychobilly with Ventures style of surf ”Mosrite” guitar. Drippy boingy wet surf reverbs meets cool slap bass sound and hypnotic melodies. If you take bands like The Cramps, Ramones and The Ventures and put them in a blender, spice it up with old-school rockabilly psychosis and serve it in a tiki-tiki glass, you have the Hypnosis sound-cocktail. Enjoy it cool! Biography: Hypnosis comes from the psycho party beach of Helsinki. The beat started year 2016 when Tom & Jay mixed their psychobilly and surf backgrounds to bring a little new angle to the way of playing rockabilly. Make with his wide experience on different music styles joined to give more swing to the beat. Band name ”Hypnosis” was chosen as it represents the way bands like The Cramps, Ramones and The Ventures had influenced on the band members. ”Hypnosis” also has the 50's touch that the band prefer. The first wave. 7 inch vinyl record release. Four songs Send A Letter From Mars, I See Dead People, Too Late and Evil Evil Witch was recorded at Rottenhill on Halloween 2016.
    [Show full text]
  • Everett Rock's Bands
    Everett Rock Band/Musician List "D" Last Update: 6/28/2020 "D" List for Bands/Musicians Genre* From & Genre "D" CR Bellingham Classic Rock D Campbell Al R Denver Alternative Rock D. DWELLER Fk Rp Seattle Funk / R&B / Rap D. HU$TAL P H RB Seattle Pop / Hip Hop / R & B D.evolution.Aires R Seattle Rock D.O.A. Pk Burnaby, British Columbia, CA Punk D.O.G.S. R Gn Al Tokyo, JP Rock / Grunge / Alternative Rock D.Y.A. G Pk Ra Bellingham Garage / Punk / Reggae Da Beckoning Band Al Mountlake Terrace Alternative DA27 M T Hc Seattle Metal / Thrash Metal / Post Hardcore Daana String Quartet Cl A Seattle Classical Acoustic Dabouge E Seattle Electronica / Down-tempo / Drum & Bass DaCoda R Everett Rock DaCoda Dacoda CR Seattle Classic Rock Dada Fructose R? From? Rock? Daddy Treetops C B Edison Blues / Folk / Country DaddyLok Tha Boss HADEZ CLICK 6GUNZMUZIK Tacoma DaddyLok H Hip Hop Daddy's Gotta Girlfriend R Lynnwood Rock DAGOBAH M Pk UK Metal / Punk / Rock Daikaiju R Ps Sf Huntsville, Alabama Rock / Psychedelic / Surf Dain Norman R Kennesaw, Ga/Gainesville, FL Rock Dain Norman and The Chrysalis Effect R B Pk Tacoma Rock / Blues / Proto-Punk Daisy Chain B S R Seattle Blues / Neo-soul / Rock Daisy O'Connor I F Bellingham, Austin, TX Indie Folk DAKOTA M Santa Rosa, CA Metal / Metalcore Dakota Neuman C P R Monroe Country / Pop / Rock Dakota Poorman Band C R Am Seattle Country / Southern Rock / Americana Dakota Reese Ex P Seattle Experimental Pop Dale Ann Bradley BG Kentucky Blue Grass Dale James Pratt R A Seattle Rock / Acoustic Damanshen Rp Hc H St.
    [Show full text]
  • Fender Players Club Dick Dale
    FENDER PLAYERS CLUB DICK DALE MISIRLOU "Misirlou" is the quintessential surf instrumental and Dick Dale’s sonic signature -- or is that redundant? In any case, rock history acknowledges this tune as the first surf genre piece to feature the "wet" sound of Fender’s reverb unit. Coupled with Dale’s furious upside-down Strat attack through the newly designed, and immmediately overdrive, 100-watt Dual Showman stacks, it is absolute dynamite. For most, it’s the definitive surf sound. "Misirlou" has unusual origins for a seminal piece in American rock. Its roots are in Middle Eastern music, and it was a 1940s pop hit in Turkey (and a Greek folk dance) two decades before Dick revived and reinvented the piece in 1962 -- when he gave it a high energy twist by performing it on electric guitar with his band, the Del-Tones. It was rediscovered in the ‘90s when it appeared as a leading cut from the Pulp Fiction soundtrack. THE TUNING Tune up a quarter step. Probably the result of tuning to a sharp instrument at the session or of a faster moving tape machine. TREMOLO PICKING "Misirlou" is a study in tremolo picking. In fact, it is an ideal introduction and application of the technique that provides an excellent picking warm-up piece for guitarists of all levels. Tremolo picking is fast and constant alternating picking -- in surf guitar jargon, "double picking" -- largely confined to one string at a time. It has appeared in the playing of Eddie Van Halen, Kirk Hammett, and Stevie Ray Vaughan, and countless other players over the years.
    [Show full text]
  • THE MERMEN [email protected] 415-971-7383
    New Album previews here: https://soundcloud.com/the-mermen/sets/the-magic-swirling-ship-previews-formerly-fish-out-of- water https://soundcloud.com/the-mermen/sets/previews-of-we-could-see-it-in-the-distance THE MERMEN [email protected] http://www.mermen.net/ https://www.facebook.com/themermen/ 415-971-7383 Jim Thomas-Guitar Martyn Jones-Drums Jennifer Burnes-Bass The Mermen are an American rock band !om San Francisco, California that formed in 1989.The group's sound was origina"y rooted in instrumental surf and psychedelic music of the 1960s. Although their music delves into many genres, the sound is non-commercial and is mainly influenced by the band's founder, songwriter and guitarist Jim Thomas' modern melodic visions. The band's music is entirely instrumental and "does a good job of defying description", not fitting neatly into any musical genre. In concert, the Mermen always perform as a trio: electric guitar, electric bass, and drums. ( Jennifer Burnes on bass, Martyn Jones on drums)Their music is rooted in the kind of reverb “surf ” music sound made by Duane Eddy, the Ventures, Dick Dale and Link Wray, and Jack Nietzshe.( i.e. The Lonely Surfer). Their sound is o&en described as distinctly of the American West (especia"y the West Coast) -.This is an American sound, ( think Aaron Copland and bluegrass (Jim played in the bluegrass flatpicking championships in Winfield , Kansas in 1977), a sound influenced by native american, cowboy and trans pacific sounds .One writer ca"ed the Mermen's sonic signature as "the sound of California".
    [Show full text]
  • Why Does Country & Western Music
    NEW ENGLAND COUNTRY & WESTERN MUSIC: SELF-RELIANCE, COMMUNITY EXPRESSION, AND REGIONAL RESISTANCE ON THE NEW ENGLAND FRONTIER BY CLIFFORD R. MURPHY B.A. GETTYSBURG COLLEGE, 1994 M.A. BROWN UNIVERSITY, 2005 SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN THE PROGRAM IN MUSIC: ETHNOMUSICOLOGY AT BROWN UNIVERSITY. PROVIDENCE, RHODE ISLAND MAY 2008 © 2008 CLIFFORD R. MURPHY This dissertation by Clifford R. Murphy is accepted in its present form by the Department of Music as satisfying the dissertation requirement for the degree of Doctor of Philosophy. (signed and dated copy on file at Brown University) Date_______________ _________________________ Jeff Todd Titon, Advisor Recommended to the Graduate Council Date_______________ __________________________ Jennifer Post, Reader Date_______________ __________________________ Paul Buhle, Reader Date_______________ __________________________ Rose Subotnik, Reader Approved by the Graduate Council Date_______________ __________________________ Sheila Bonde, Dean of the Graduate School iii CURRICULUM VITAE Clifford R. Murphy was born in Ridgewood, New Jersey in 1972 and was raised in New Hampshire in the towns of Durham and Newmarket. Cliff learned to play guitar at age 16, graduated from Newmarket High School in 1990, and attended Gettysburg College where he majored in History and English. Following graduation in 1994, Cliff returned to New Hampshire and spent the next nine years working as a singer, songwriter, and rhythm guitarist in the internationally
    [Show full text]
  • "Summer's Gone:" Rethinking the History of the Beach Boys, 1961-1998
    W&M ScholarWorks Undergraduate Honors Theses Theses, Dissertations, & Master Projects 5-2021 "Summer's Gone:" Rethinking the History of the Beach Boys, 1961-1998 Grant Wong Follow this and additional works at: https://scholarworks.wm.edu/honorstheses Part of the American Popular Culture Commons, Cultural History Commons, and the United States History Commons Recommended Citation Wong, Grant, ""Summer's Gone:" Rethinking the History of the Beach Boys, 1961-1998" (2021). Undergraduate Honors Theses. Paper 1629. https://scholarworks.wm.edu/honorstheses/1629 This Honors Thesis -- Open Access is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Undergraduate Honors Theses by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. “Summer’s Gone:” Rethinking the History of the Beach Boys, 1961-1998 A thesis submitted in partial fulfillment of the requirement for the degree of Bachelor of Arts in History from William & Mary by Grant Wong Highest Honors Accepted for ___________________________________ (Honors, High Honors, Highest Honors) ________________________________________Charles McGovern Charles McGovern, Director Jerry Watkins III ________________________________________ Jerry Watkins III Arthur Knight ________________________________________ Arthur Knight Richard Lowry ________________________________________ Richard Lowry Williamsburg, VA May 12, 2021 “Summer’s Gone:” Rethinking the History
    [Show full text]
  • Surfin' Safari
    Surfin’ Safari Teacher Resources Vocabulary Steel Guitar: [See Appendix B] The steel guitar refers to both a type of guitar and a method of playing the instrument that was originally invented and popularized in Hawai’i. The steel guitar is usually positioned horizontally resting on either the player’s lap or a stand. The strings are plucked with one hand while the other hand effects the pitch of one or more strings by using a bar or slide. This piece is typically made of metal and has therefore been dubbed “the steel.” The lap steel guitar has 6 strings and is tuned to either standard guitar tuning or an open chord. It differs from a conventional or Spanish guitar in the way it is played (with a metal slide held over the top of the neck instead of pressing the strings against the frets on the neck) and structurally by having strings raised higher off the neck and flat. Some have square necks, and some have two necks. A standard guitar can be converted in to a steel guitar by raising the strings with a larger, flat nut and bridge. Lap steel guitars may have a wooden sound-board, a metal resonator, and/or electric pickups. The pedal steel guitar also uses the steel slide to stop or shorten the length of the strings but additionally it uses knee levers and foot pedals to affect the pitch. The pedal steel guitar is held up on legs, is always electric, and may have one, two, or evenhree necks with 8-14 strings each.
    [Show full text]