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May the Best Man Win': SA Election Race
OPEN EVERY DAY MIDNIGHT RECYCLE News Entertainment youn MoVIE DVDs Complete Ds, VHS & GAMES TOO VdINGE Buggley BUY — SELL — TRADE — RENT SA eyes at CHOOgE6REIER election NOFX coverage show RECYCLE DVDs Page 3 Page 10 DVDs, VHS s GAMES TOO The Red River College's newspaper 113 e r April 8, 2002 May the best man win': SA election race By Natalie Pona andshaking, debates and free bubble gum — Hit must be time for Red River College's student body to elect the new executive officers of the Students' Association. The campaigning officially kicked off midnight on March 25, with two candidates in the race to become the new SA president, David Lyman and Daniel Kreutzer. "As president, you're not speak- ing as one person," says Lyman, who is currently the vice-presi- dent of finance and administra- tion, "you're speaking on behalf of 5,500 people." Lyman is running against Kreutzer, a second-year Business Administration student. "May the best man win," Kreutzer says, the atmosphere rife with the formality and prudence of politick as both men consider every word spoken in front of a Projector reporter. Three hopefuls are vying for the position of Vice-President of Student Affairs: Shubert Beaubrun, Ethan Stock and Jonathan Menec. The final posi- tion of Vice-President of Financial and Support Services has only one nominee, Lars Vik. Daniel Kreutzer (left) and David Lyman are vying for your vote in the Students' Association presidential race. Candidates were given a list of important RRC issues, including being subject to penalty points, or about the vandalism. -
Metallica by DEBORAH FROST
PERFORMERS Metallica BY DEBORAH FROST appy families, Leo Tolstoy noted, are all From the moment a diminutive Danish motormouth alike; every unhappy family is unhappy who’d been around the world a handful of times before in its own way. That goes double, if not kindergarten fast-talked his way onto ah indie compila quadruple, for bands, particularly those tion though he’d barely assembled a trap kit, never mind who achieve greatness. The picture has a band, Metallica has always marched to its own drum Hnever been painted so graphically as in Some Kind of mer. The son of a bohemian tennis pro who dabbled in Monster, the 2004 documentary that chronicled the arts criticism and the godson of jaZZ saxophonist Dexter previous three years and crack-up of Metallic®, at the Gordon, Lars Ulrich could not fit into a mold — much very pinnacle of its fortune and fame. less that of a typical heavy-metal fan or musician - if you Of course, few bands hold on to the wild ride of the paid him. By the time his family relocated from Copen bitch success for twenty minutes — never mind twenty hagen to L.A. in 1980 so the sixteen-year-old could make years. Perhaps not since Who’s Afraid ofVirginia Woolf? the leap from the junior circuit to follow in the old man’s or Ingmar Bergman’s equally vituperative and excruciat sneakers, he’d been seduced by European punk and the ing Scenes From a Marriage has Monster’s load of dirty new wave of British metal that emulated its DIY philos laundry and uberdomestic drama been dumped on any ophy and breakneck tempos. -
Compound AABA Form and Style Distinction in Heavy Metal *
Compound AABA Form and Style Distinction in Heavy Metal * Stephen S. Hudson NOTE: The examples for the (text-only) PDF version of this item are available online at: hps://www.mtosmt.org/issues/mto.21.27.1/mto.21.27.1.hudson.php KEYWORDS: Heavy Metal, Formenlehre, Form Perception, Embodied Cognition, Corpus Study, Musical Meaning, Genre ABSTRACT: This article presents a new framework for analyzing compound AABA form in heavy metal music, inspired by normative theories of form in the Formenlehre tradition. A corpus study shows that a particular riff-based version of compound AABA, with a specific style of buildup intro (Aas 2015) and other characteristic features, is normative in mainstream styles of the metal genre. Within this norm, individual artists have their own strategies (Meyer 1989) for manifesting compound AABA form. These strategies afford stylistic distinctions between bands, so that differences in form can be said to signify aesthetic posing or social positioning—a different kind of signification than the programmatic or semantic communication that has been the focus of most existing music theory research in areas like topic theory or musical semiotics. This article concludes with an exploration of how these different formal strategies embody different qualities of physical movement or feelings of motion, arguing that in making stylistic distinctions and identifying with a particular subgenre or style, we imagine that these distinct ways of moving correlate with (sub)genre rhetoric and the physical stances of imagined communities of fans (Anderson 1983, Hill 2016). Received January 2020 Volume 27, Number 1, March 2021 Copyright © 2021 Society for Music Theory “Your favorite songs all sound the same — and that’s okay . -
Written by James Hetfield/Lars Ulrich/Cliff Burton Transcribed by Stuart Clayton Performance Notes
orion Written by James Hetfield/Lars Ulrich/Cliff Burton Transcribed by Stuart Clayton performance notes ‘Orion’, the classic Metallica track that features bassist Cliff Burton in a lead role, was an obvious choice for this month’s transcription. To this day - nearly thirty years after it was recorded - it’s a track that is studied and dissected by metal-loving bass players all over the world. The recent release of the isolated bass part from this and other Metallica songs has given us all the chance to hear Cliff Burton’s original parts without the distractions of the other instruments, and in many cases this has proved to be a revelation: what were previously thought to be synth parts or guitar solos in fact turned out to be Cliff, using effects and guitar-like techniques such as upper-register soloing and tapping to take the bass player’s role to new heights. ‘Orion’ opens with a series of sustained bass chords from Cliff. These are heavily effected with distortion, and each needs to be allowed to ring fully throughout the bar - try to avoid large gaps as you switch between the chords - the transitions need to be fluid. At letter A Cliff begins playing a simple eighth note groove based on octaves and chord tones. This four bar line is played three times, then begins to develop, with extra sixteenth notes added to the rhythm. This section leads into letter B, a distorted lead bass section in which Cliff plays an upper egisterr line that sets up the heavy riff that arrives at letter C. -
For Immediate Release / August 28, 2020 Metallica
Contact: Public Relations San Francisco Symphony (415) 503-5474 [email protected] sfsymphony.org/press FOR IMMEDIATE RELEASE / AUGUST 28, 2020 METALLICA AND SAN FRANCISCO SYMPHONY: S&M2 OUT NOW Live album and video captured September 6 & 8, 2019 at San Francisco’s Chase Center Available now via metallica.com/sm2 SAN FRANCISCO, CA—The San Francisco Symphony and Metallica’s S&M2 live album and video, captured at concerts on September 6 & 8, 2019 at San Francisco’s Chase Center is out now, available in a variety of formats including vinyl, CD, DVD, and Blu-ray via metallica.com/sm2. The concerts were historic on multiple levels, serving as the grand opening of San Francisco’s Chase Center, reuniting the band and Symphony for the first time since the 1999 performances captured on the Grammy-winning S&M album, and featuring the first-ever symphonic renditions of songs written and released since those original S&M shows. “S&M2 offers an inspired and eye-opening view into not just the shared heritage of classical music and heavy metal, but into the spirit of innovation and to endless vistas awaiting exploration.” - Louder “And it’s also of little surprise, especially for anyone who attended those increasingly legendary shows at Chase last year, that this new album is another major winner. What a great memento of such a monumental night in Bay Area live music history.” - The Mercury News “This collaboration between Metallica and the San Francisco Symphony brings to life the fusion of heavy metal and classical music. As it was in 1999, S&M2 is a grand celebration of the energy and magic that these forms of music convey.” – Metal Wani S&M2 is a landmark release in the Metallica catalogue, both sonically and visually. -
Cal Performances at Uc Berkeley #Berkeleyradical
MEDIA CONTACTS: Scott Horton Communications Louisa Spier, Cal Performances Brian Bumbery, Lars Ulrich 510-735-9200 510-643-6714 323-904-9094 [email protected] [email protected] [email protected] CAL PERFORMANCES AT UC BERKELEY #BERKELEYRADICAL INAUGURAL STUDENT-CURATED EVENT FOR UC BERKELEY STUDENTS FRONT ROW WITH LARS ULRICH AND FRIENDS AN EVENING OF PERFORMANCE AND DISCUSSION FEATURING INTERNATIONALLY RENOWNED CREATIVE LEADERS FROM THE BAY AREA SELECTED BY METALLICA DRUMMER LARS ULRICH – BILLIE JOE ARMSTRONG, MARC BENIOFF, LES CLAYPOOL, PETER COYOTE, JAMES HETFIELD, AND MORE MARCH 2 AT ZELLERBACH HALL, UC BERKELEY CAMPUS #CALFRONTROW Photos available for download from Cal Performances Press room here. Left: Lars Ulrich (photo credit: Ross Halfin). Right: Student Curators of Cal Performances from left to right: Elizabeth Lin, Tess Hanson, Ivette Martinez, Nika Hoffman. Parmida Ziaei, Tait Melody Adams, Brent Freed (photo credit: Kate Gorman). Not pictured: Defne Gun, Chris Viñan, and Grace Lee. Berkeley, February 16, 2016 – Cal Performances at UC Berkeley launches a multiyear Berkeley RADICAL initiative designed to engage college students and recent graduates in the performing arts with its inaugural Front Row event taking place on March 2 at 7:00 p.m. in Zellerbach Hall. Curated by UC Berkeley students mentored by Cal Performances Associate Director Rob Bailis and staff, this first Front Row event, Front Row with Lars Ulrich and Friends, will feature Metallica drummer and founder Lars Ulrich, and his peers from the fields of music, film, tech, and design. In an evening of lively discussion and collaborative performance, Front Row with Lars Ulrich and Friends, will explore the San Francisco Bay Area’s attraction to artists and innovators. -
Metallica Celebrate 30
METALLICA CELEBRATE 30-YEAR ANNIVERSARY AT THE FILLMORE IN SAN FRANCISCO WITH SPECIAL GUESTS OZZY OSBOURNE, DAVE MUSTAINE, JASON NEWSTED, LOU REED, MARIANNE FAITHFULL, KID ROCK, AND MORE BAND TO RELEASE BEYOND MAGNETIC EP FEATURING FOUR PREVIOUSLY UNRELEASED SONGS EXCLUSIVELY ON ITUNES FOR ONE WEEK LOS ANGELES, CA – December 12, 2011 – Metallica celebrated its 30th anniversary as a band last week, performing four shows at the Fillmore Theatre in San Francisco, CA, exclusively for members of their fan club, the Metallica Club. In August, Metallica Club members around the world were able to enter a lottery for a chance to purchase tickets to all the Fillmore shows at a cost of $19.81 for a four-pack of tickets to all of the shows. Single show tickets were $6. All four of the shows immediately sold out. Last week, Metallica welcomed these fans from around the globe to join them in the celebration where there were no repeats in the set lists for the four night stand, aside from the established show closer of “Seek & Destroy,” playing close to 80 different songs. Each night at the Fillmore was hosted by comedian Jim Breuer and opened by the Rebel Souls Brass Band performing Metallica songs. This was followed by fan club winners invited on stage to play “Crash Course Trivia” and “Name That Riff” games where they were able to win exclusive 30th anniversary prizes and memorabilia. Metallica also invited many special guests relevant to their 30 years to the stage to perform with them. The list of guests included Apocalyptica, Armored Saint, Geezer Butler, John Bush, Bif Byford, Jerry Cantrell, Nick “Animal” Culmer, Glenn Danzig, Death Angel, King Diamond, Diamond Head, Marianne Faithfull, Lloyd Grant, Rob Halford, Ray Haller, Pepper Keenan, Kid Rock, Laaz Rockit, John Marshall, Jim Martin, Mercyful Fate, Ron McGovney, Dave Mustaine, Jason Newsted, Ozzy Osbourne, Soul Rebels Brass Band, Lou Reed, Bob Rock, Gary Rossington, and Hugh Tanner. -
The Energy Expenditure of Heavy Metal Drummers
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by TopSCHOLAR Western Kentucky University TopSCHOLAR® Masters Theses & Specialist Projects Graduate School Summer 2016 The neE rgy Expenditure of Heavy Metal Drummers Joshua T. Brown Western Kentucky University, [email protected] Follow this and additional works at: http://digitalcommons.wku.edu/theses Part of the Exercise Science Commons Recommended Citation Brown, Joshua T., "The neE rgy Expenditure of Heavy Metal Drummers" (2016). Masters Theses & Specialist Projects. Paper 1647. http://digitalcommons.wku.edu/theses/1647 This Thesis is brought to you for free and open access by TopSCHOLAR®. It has been accepted for inclusion in Masters Theses & Specialist Projects by an authorized administrator of TopSCHOLAR®. For more information, please contact [email protected]. THE ENERGY EXPENDITURE OF HEAVY METAL DRUMMERS A Thesis Presented to The Faculty of the School of Kinesiology, Recreation, and Sport Western Kentucky University Bowling Green, Kentucky In Partial Fulfillment Of the Requirements of the Degree Master of Science By Joshua T. Brown August 2016 DEDICATION I dedicate this work to Lars Ulrich, the drummer for the monster, better known as Metallica. Without him and Metallica, I wouldn’t have the exciting life I have today. Thank you for the inspiration and the great songs I have been banging my head to for almost two decades! ACKNOWLEDGEMENTS My enormous thanks goes out to Dr. Scott Arnett, Dr. Mark Schafer, and Dr. Jason Crandall for guiding me through this exciting and challenging investigation. I could not have done this without such a unique and talented group of professors. -
Master of Puppets”—Metallica (1986) Added to the National Registry: 2015 Essay by Daniel Bukszpan (Guest Post)*
“Master of Puppets”—Metallica (1986) Added to the National Registry: 2015 Essay by Daniel Bukszpan (guest post)* Album cover Album label Metallica “Master of Puppets” is the third full-length album from San Francisco’s Metallica. It was released in 1986, and it’s hard to overstate the significance that it had upon its release, as well as its continued relevance today. Formed in 1981 by drummer Lars Ulrich and guitarist and vocalist James Hetfield, Metallica is one of the most popular bands in the world. Its self-titled 1991 album was certified platinum 16 times over by the Recording Industry Association of America, and the band has sold overall 125 million albums. However, before any of that happened, Metallica was about as underground as it got, and the idea of them achieving their current commercial status was once inconceivable. “Master of Puppets” changed all that and, at the same time, broke the thrash metal movement wide open for mainstream acceptance. Metallica stood at the forefront of the 1980s thrash metal scene, a commercially unpalatable genre that alienated most mainstream listeners, many of whom didn’t even recognize it as music. The songs were too complex, the tempos were too fast and the guitars were too bludgeoning. From the first listen, you were either on board or you weren’t. The band’s two previous albums were influenced by the New Wave of British Heavy Metal (NWOBHM), personified by bands like Motorhead, which stressed fast tempos and unpolished production. Metallica took that sound on the road and built their following through relentless touring, finally gaining enough notice to be signed to a major label, Elektra Records. -
“Cliff Burton Day” February 10Th, 2018
“Cliff Burton Day” February 10th, 2018 Whereas, Cliff Lee Burton was born on February 10, 1962 in Castro Valley, California to Ray and Jan Burton as the youngest of three children, with siblings Scott and Connie Burton, and later attended schools within the Castro Valley Unified School District; and Whereas; Cliff Burton began his formal musical training at the age of six, eventually taking lessons from a local instructor at ABC Music within Castro Valley, progressing from piano lessons to the mastery of bass guitar, as an homage to his late brother Scott who passed away during Cliff’s teenage years; and Whereas; Cliff Burton, as a student at Castro Valley High School, began his own band “EZ Street” along with bandmates Mike Bordin and Jim Martin, eventually forming his second band, “Agents of Misfortune” along with Martin while attending Chabot Community College they successfully entered into Chabot’s 1981 Battle of the Bands contest; and Whereas; in 1982, Cliff Burton joined a bay area local band, “Trauma”, and recorded the song “Such a Shame” which was included in Metal Blade’s “Metal Massacre II” album, helping to advance Cliff’s success as he performed in local nightclubs throughout the Bay Area and across California; and Whereas; Cliff Burton, through his talented performance at a Los Angeles nightclub quickly attracted the attention of James Hetfield and Lars Ulrich, who were seeking to form a band of their own, and Cliff Burton soon agreed to join the band “Metallica”, which released their first album “Kill ‘Em All” in 1983, featuring -
Heavy Metal Frontman King Diamond to Join the Digital Cast of Guitar Hero® Metallica®
Heavy Metal Frontman King Diamond to Join the Digital Cast of Guitar Hero® Metallica® SANTA MONICA, Calif., Feb 23, 2009 /PRNewswire-FirstCall via COMTEX News Network/ -- Having united forces with rock 'n' roll legends Metallica for encore performances and recordings throughout the years, GRAMMY® Award-nominated heavy metal vocalist and Mercyful Fate frontman King Diamond will take to the cyber-stage with Metallica this spring in Activision Publishing Inc.'s Guitar Hero® Metallica®. Fans, stagehands and groupies alike will have the opportunity to shred and drum with or wail as the digital King Diamond during performances of "Evil." The song, which originally was recorded in 1983 and is one of the Mercyful Fate songs that comprise Metallica's "Mercyful Fate" medley, was re-recorded by four of the five original band members for Guitar Hero Metallica. The recording session was overseen by guitarist Hank Shermann in the band's native Denmark; after which King Diamond laid down his vocals in Dallas, Texas, and mixed the song with J.T. Longoria. "It's been absolutely amazing to be a part of this Guitar Hero experience. It was quite a trip to re-record the song 'Evil' almost 25 years after the original recording took place. The end result with four out of the five original musicians turned out so much better than I would ever have hoped for," said King Diamond. "Seeing my animated character take form was totally eerie in a very good way. It's so strange to see yourself animated in such perfect detail - cross bone microphone, Eye necklace and all. -
Organizational Accidents Revisited Free
FREE ORGANIZATIONAL ACCIDENTS REVISITED PDF James Reason | 160 pages | 11 Mar 2016 | Taylor & Francis Ltd | 9781472447685 | English | United Kingdom 7 Questions You Need To Ask About Safety Procedures And Protocols At Work | SpillFix Jason Organizational Accidents Revisited Newsted born March 4, is an American heavy metal musician, known for being the bassist of American heavy metal band Metallica from October until January Before Metallica, Organizational Accidents Revisited was a member of Flotsam and Jetsam. After Metallica, he has been involved with EchobrainOzzy OsbourneVoivodand Organizational Accidents Revisited the band Newsted from to With Voivod, he used the pseudonym Jasonicwhich is also the name of his music publishing company. He is also the founder of the Chophouse Records studio and label based in California. He has two older brothers and a younger sister. He was tasked with looking after hundreds of chickens and rabbits. He told author Paul Stenning"It's where I learned about life — seeing a baby cow born right in front of your eyes when you're eight years old is pretty intense…I was from a very strong family and I was raised to be a Organizational Accidents Revisited, pure Americana farm boy. Newsted's mother taught piano and one of his brothers plays trumpet. He was exposed to music as a child, listening to the record collections of his older brothers. His first instrument was a guitar, which he started to play at 9 years old, Organizational Accidents Revisited he moved to bass at 14, [3] after listening to Gene Simmons of Kiss. The early part of Newsted's music career had him performing bass for Flotsam and Jetsam on their album Doomsday for the Deceiver.