DOCSLIB.ORG

Eddie Gilreath

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Eddie Gilreath ARCHIVES OF AFRICAN AMERICAN MUSIC AND CULTURE liner notes NO. 24 / 2019-2020 Eddie Gilreath: The Man Behind the Music aaamc mission From the Desk of the Director The AAAMC is devoted to the collection, preservation, and Greetings, Music Icons Live” and a related exhibit, dissemination of materials for While the COVID-19 pandemic which would bring acclaimed jazz the purpose of research and along with racial and political upheavals bassist/composer Reggie Workman and study of African American have greatly transformed the social his sextet to campus for public workshops music and culture. climate in the United States and abroad, and a culminating performance. This www.indiana.edu/~aaamc I remain optimistic about AAAMC’s entertaining and informative gathering important undertaking to conserve, was sure to attract aspiring student document and widely disseminate artists, music instructors, researchers, Black expressive culture. My confidence and music enthusiasts within IU and the is fueled by reflections on the recent broader region. Unfortunately, due to Table of Contents 2019-20 academic year, as AAAMC the emergence of COVID-19, this event, collections were displayed in unique co-sponsored by the Jacobs School of From the Desk public forums. Instantly, what comes to Music and Neal-Marshall Black Culture of the Director ................. 2 mind is the presentation of our holdings Center, was cancelled. On the bright side, during IU’s 200 Festival Collections we have already received confirmation In the Vault: Showcase, the headline event for the fall from Workman to revisit this program in Recent Donations ............. 4 semester in honor of Indiana University’s the near future. So, stay tuned… Clearly, Bicentennial celebration. these collective happenings served to One-On-One Interview During this showcase, captivated “bring our collections alive” via public- with Eddie Gilreath ........... 6 attendees had an opportunity to explore facing events. the various platforms where our media We have also increased AAAMC Introducing the collections are available online and holdings through new acquisitions Eddie Gilreath Collection .. 15 experience firsthand the scope and such as the Eddie Gilreath Collection impact of our rich resources. Particularly and the Heather Augustyn Collection. One-On-One Interview popular among visitors was “The Golden Eddie Gilreath was one of the first and with Heather Augustyn .... 16 Age of Black Radio,” AAAMC’s four-part few African Americans in the music online exhibit in partnership with Google business to operate at the executive level Introducing the Heather Arts and Culture, which chronicles in marketing, promotions, sales and Augustyn Collection ........ 21 the early years of Black-oriented radio distribution for R&B and Top 40 record programs, formative disc jockeys, Black labels such as Motown, Warner Bros. and Sound Bytes: radio as community engagement, and Island Records. In these multifaceted Digital Initiatives ............ 22 finally Black radio as a conduit for roles, he supported a virtual “Who’s gender equality and civil rights. I also Who” of artists across every musical Meet the New reflect on the annual national conference genre. A survey of photos, clippings, and National Advisory Board .. 26 of the Society for Ethnomusicology, correspondence as well as certified gold hosted on IU’s campus in November, and platinum album plaques in Gilreath’s where AAAMC was featured at a collection illuminates the breadth of dedicated information booth allowing his impact as an African American opportunities to gain new supporters at the pinnacle of the entertainment among registrants interested in the study complex. Researcher and author Heather On the Cover: of Black music. During spring 2020, Augustyn’s deposit extends the scope AAAMC participated in “Remixing Our of AAAMC’s treasure trove to include Collections: Hoosier Connections from cultural expressions within the broader IU Libraries,” hosted by IU Libraries. African Diaspora. Her collection Onlookers were fascinated by AAAMC’s comprises interviews with major ska and exhibit, “Black Indiana Remixed,” which reggae music performers from Jamaica, featured collections and specific cultural the United Kingdom and the United materials with an Indiana tie such as States. Connoisseurs of these genres the radio series, “The Afro-American might recognize interviewees such as in Indiana,” as well as artists and music Rupert Bent, Roy Panton, Millie Small, industry executives including Angela Prince Buster, Derrick Morgan, Eddie Brown, the Jackson 5, Janet Jackson, “Tan Tan” Thornton, Winston Jones, the Al “The Bishop” Hobbs, Dr. Leonard Eclectics, and the Toasters, among others. Eddie Gilreath, music industry Scott, the Ink Spots, Kenneth “Babyface” Accompanying Gilreath and executive. Edmonds and Noble Sissle. Augustyn’s collections are additional And finally, we planned an exciting installments to the Michael Nixon two-day marquee spring event, “Black Collection detailing the far-reaching 2 career of the marketing and promotions in the face of emergent social, political programming and facility operations. veteran in hip hop and other musical and economic challenges, which call As I have stated elsewhere, far more genres. The Logan H. Westbrooks for deep reflection and ingenuity. One work is warranted to successfully Collection has also been expanded of the most crucial issues of our day accomplish our vision to “bring with new materials centering on the is the COVID-19 pandemic, which inspiration and innovation to the pioneering record label executive and has profoundly shaped the nature of documentation, exploration and sharing minister’s connection to the largest human interaction, and our current of Black music and culture.” I hope you Pentecostal denomination in the United ability to host in-person public events. will consider supporting this critical States, the Church of God in Christ. Consequently, we have imagined and cause through your presence during our Together, these exceptional acquisitions developed online programming for public events, use of our resources in- represent our charge to document a the 2020-21 academic year, which will person and online, as well as donations broad spectrum of lived experience and heighten our visibility and engagement of cultural materials and financial gifts creativity within the Black performance with supporters as we continue to (see back cover to give). I am grateful community. During this year alone, our “bring our collections alive.” One to you in advance for championing holdings have inspired the works and program in particular is AAAMC the artistic and intellectual enterprise curiosity of diverse constituents from Connections: A Talk With… Co- as well as the preservation mission of film and television documentarians to sponsored by the Office of the Provost, Indiana University’s Archives of African exhibitors, from researchers to students, this show will highlight interviews with American Music and Culture. I look and from faculty to mere music lovers thought-provoking industry executives, forward to seeing you soon, and wish nationally and internationally. academics and musicians who have you safety and good health. In addition to stimulating significantly contributed to the Black programming and cherished music continuum. Through AAAMC Cheers, collections, we have also reformulated Connections and other stimulating our National Advisory Board (NAB). programming, the role of the Archives The NAB consists of forerunners as a nationally recognized source for in music business, scholarship and understanding and affirming Black life community leadership who offer and creativity will be illuminated and expansive resources and expertise so vital, given the current discourse for the advancement of AAAMC’s regarding the literal bodies, breath, mission and objectives in preservation consciousness, contributions and and accessibility. A brief review of significance of African-derived people the board’s respective bios makes in our country and larger global space. clear their track record of innovation, AAAMC continues to build new leadership and capacity to firmly relationships by reaching across position AAAMC as the premiere diverse communities and organizations repository for Black music and culture. to increase support for collection Tyron Cooper, Ph.D. As we prepare for the future, we do so development, publication initiatives, Director of AAAMC AAAMC staff at IU’s Festival Collections Showcase (L to R: William Vanden Dries, Chloe McCormick, Brenda Nelson-Strauss, Jamaal Baptiste, Dr. Tyron Cooper). 3 In the Vault: Recent Donations In addition to the new collections featured in this issue, materials have also been added to the following AAAMC special collections: SC 74 Michael Woods Collection: addition of original jazz composition lead sheets SC 132 Michael Nixon Collection: addition of Black music industry periodicals SC 150 Linda Tillery Collection: addition of LPs in various genres SC 156 Logan H. Westbrooks Collection: addition of programs, press clippings, and other materials documenting the Church of God in Christ (1958-2018) SC 170 Marvin and Portia Chandler Collection (in progress) The individuals and companies listed below have also generously donated CDs, DVDs, and books over the past year. Many of these items were submitted for review in Black Grooves, the AAAMC’s online music review site, and are now part of the permanent collection. ABKCO Music Cumbancha Lightyear Ent. Proud
Load more

Recommended publications
  • PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 and 1991 Bradley C. Klypchak a Dissertation Submitted to the Graduate
    PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 AND 1991 Bradley C. Klypchak A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2007 Committee: Dr. Jeffrey A. Brown, Advisor Dr. John Makay Graduate Faculty Representative Dr. Ron E. Shields Dr. Don McQuarie © 2007 Bradley C. Klypchak All Rights Reserved iii ABSTRACT Dr. Jeffrey A. Brown, Advisor Between 1984 and 1991, heavy metal became one of the most publicly popular and commercially successful rock music subgenres. The focus of this dissertation is to explore the following research questions: How did the subculture of heavy metal music between 1984 and 1991 evolve and what meanings can be derived from this ongoing process? How did the contextual circumstances surrounding heavy metal music during this period impact the performative choices exhibited by artists, and from a position of retrospection, what lasting significance does this particular era of heavy metal merit today? A textual analysis of metal- related materials fostered the development of themes relating to the selective choices made and performances enacted by metal artists. These themes were then considered in terms of gender, sexuality, race, and age constructions as well as the ongoing negotiations of the metal artist within multiple performative realms. Occurring at the juncture of art and commerce, heavy metal music is a purposeful construction. Metal musicians made performative choices for serving particular aims, be it fame, wealth, or art. These same individuals worked within a greater system of influence. Metal bands were the contracted employees of record labels whose own corporate aims needed to be recognized.
    [Show full text]
  • ANNUAL REPORT 2019/20 Fadi Kheir Fadi LETTERS from the LEADERSHIP
    ANNUAL REPORT 2019/20 Fadi Kheir Fadi LETTERS FROM THE LEADERSHIP The New York Philharmonic’s 2019–20 season certainly saw it all. We recall the remarkable performances ranging from Berlioz to Beethoven, with special pride in the launch of Project 19 — the single largest commissioning program ever created for women composers — honoring the ratification of the 19th Amendment. Together with Lincoln Center we unveiled specific plans for the renovation and re-opening of David Geffen Hall, which will have both great acoustics and also public spaces that can welcome the community. In March came the shock of a worldwide pandemic hurtling down the tracks at us, and on the 10th we played what was to be our final concert of the season. Like all New Yorkers, we tried to come to grips with the life-changing ramifications The Philharmonic responded quickly and in one week created NY Phil Plays On, a portal to hundreds of hours of past performances, to offer joy, pleasure, solace, and comfort in the only way we could. In August we launched NY Phil Bandwagon, bringing live music back to New York. Bandwagon presented 81 concerts from Chris Lee midtown to the far reaches of every one of the five boroughs. In the wake of the Erin Baiano horrific deaths of Black men and women, and the realization that we must all participate to change society, we began the hard work of self-evaluation to create a Philharmonic that is truly equitable, diverse, and inclusive. The severe financial challenge caused by cancelling fully a third of our 2019–20 concerts resulting in the loss of $10 million is obvious.
    [Show full text]
  • Hawkwind – 50Th Anniversary Live
    Hawkwind – 50th Anniversary Live (58:39 + 48:56, CD, Vinyl, Cherry Red Records, 2020) So kennt man die Space-Rock- Urgesteine. Da feiern Hawkwind ihr 50-jähriges Jubiläum, aber statt darum ein Riesenbrimborium zu veranstalten bauen die Mannen um Dave Brock völlig unprätentiös eine Setlist aus einiges unverwüstlichen Klassikern, aber ebenfalls Material des aktuellen Studioalbums „All Aboard The Skylark“ zusammen. Optisch ansprechend verpackt mit einer Laserhsow, dazu als Gast den langzeitig freundschaftlich verbundenen Kompagnon Phil Campbell – seines Zeichens Gitarrist bei Motörhead – und fertig ist das individuelle Geburtstagspaket. Der Mitschnitt zu diesem Livealbum entstand auf dem Abschlusskonzert der „50th Anniversay Tour“ im November 2019 in der legendären Royal Albert Hall in London. Es steht zwar „50“ drauf, aber letztendlich steckt natürlich etwas weniger drinnen. Denn Hawkwind streifen eben nur einige Stationen ihrer umfangreichen Karriere, setzen zwar in erster Linie auf die Klassiker der 70er wie z.B. ‚Born To Go‘, ‚Space Is Deep‘, ‚Spirit Of The Age‘, ‚The Watcher‘, ‚Silver Machine‘ oder die beiden Doppelpacks ‚Assault And Battery / The Golden Void‘ und ‚Master Of The Universe / Welcome To The Future‘. Doch genauso bekommen insgesamt fünf Stücke aus „All Aboard The Skylark“ ihr Recht. Letztendlich ist dies ein teilweise übergangslos ineinander greifender Mix aus offensichtlichen Klassikern, wenngleich ohne die ganz großen Überraschungen. Dazu noch ein kurzes Blitzlicht in die 80er und 90er, angereichert um aktuelle Stücke. Immerhin gedenkt man beim unverwüstlichen ‚Silver Machine‘ dem legendären ehemaligen Bandmitglied Lemmy Kilmister, wobei ebenfalls der typische augenzwinkernde Humor nicht fehlen darf. Denn der bei diesem Stück den Gesang übernehmende Schlagzeuger Richard Chadwick kontert ganz locker die Frage „Richard verliert seine Stimme, möchtest Du noch ‚Silver Machine‘ singen?“ mit einem klaren „Es geht noch“ und schon geht die sprichwörtliche und gut geölte Space-Rock-Post, der Trip in weite Sphären, mit Volldampf ab.
    [Show full text]
  • MUSIC WEEK MAY 19, 1984 Album Tern Rulings Outside Top 20 End Top 50:- •• Good, ••Loir -Poor Soles Predicted in Oivn Specialist Market
    MUSIC WEEK MAY 19, 1984 Album tern rulings outside Top 20 end Top 50:- •• good, ••loir -poor soles predicted in oivn specialist market. Star rating under General■ heading indicates sales potential in general pop rock market, mlh • • •rating indicating onny Into lite lonicr hall ■ of chart only. High Road To China is the new film starring Tom "Magnum" Solleck and the music has been composed by that well- TOP 50 known film score veteran, John Barry. Nostalgia That's Entertainment Records has proved BRUCE FOXTON the sales potential in this area of the Touch Sensitive. Arista 206251. music market and A&R plans to release NOEL COWARD Producers: Stan Shaw/Steve Lilly- both new scores and re-issues of classic The Revues. World Records SHB 44. white. Mild-mannered rock from the film music. VARIOUS former Jam bassist. It's pleasant enough Film Themes of the 40's and 50's. SH in a conventional format, but lacks CHAIRMAN OF THE BOARD 384. dynamism — even on those tracks with Salute The General. HDH/Demon LOUIS ARMSTRONG production supremo Lillywhite at the Records LP 001. Distribution: Rough The Legend 1925-26. SH 404. controls. Ultimately a little disappointing, Trade and the Cartel. Recordings JOE LOSS but will chart, as his singles have, on the originally released on the Holland-Dozier- Party Dance Time, SH 1078251. strength of the Jam connection. Holland label Invictus now making their FELIX MENDELSSOHN FELA ANIKULAPO KUTI reappearance on vinyl via the HDH label Serenade to Hawaii, SH 1078261. Live In Amsterdam. EMI FELA 24 0129 deal with Demon.
    [Show full text]
  • Sly & Robbie – Primary Wave Music
    SLY & ROBBIE facebook.com/slyandrobbieofficial Imageyoutube.com/channel/UC81I2_8IDUqgCfvizIVLsUA not found or type unknown en.wikipedia.org/wiki/Sly_and_Robbie open.spotify.com/artist/6jJG408jz8VayohX86nuTt Sly Dunbar (Lowell Charles Dunbar, 10 May 1952, Kingston, Jamaica, West Indies; drums) and Robbie Shakespeare (b. 27 September 1953, Kingston, Jamaica, West Indies; bass) have probably played on more reggae records than the rest of Jamaica’s many session musicians put together. The pair began working together as a team in 1975 and they quickly became Jamaica’s leading, and most distinctive, rhythm section. They have played on numerous releases, including recordings by U- Roy, Peter Tosh, Bunny Wailer, Culture and Black Uhuru, while Dunbar also made several solo albums, all of which featured Shakespeare. They have constantly sought to push back the boundaries surrounding the music with their consistently inventive work. Dunbar, nicknamed ‘Sly’ in honour of his fondness for Sly And The Family Stone, was an established figure in Skin Flesh And Bones when he met Shakespeare. Dunbar drummed his first session for Lee Perry as one of the Upsetters; the resulting ‘Night Doctor’ was a big hit both in Jamaica and the UK. He next moved to Skin Flesh And Bones, whose variations on the reggae-meets-disco/soul sound brought them a great deal of session work and a residency at Kingston’s Tit For Tat club. Sly was still searching for more, however, and he moved on to another session group in the mid-70s, the Revolutionaries. This move changed the course of reggae music through the group’s work at Joseph ‘Joe Joe’ Hookim’s Channel One Studio and their pioneering rockers sound.
    [Show full text]
  • “I See Myself As a Warrior”: Cultivating Youth Activist Narratives Through Projects of Social Justice
    “I See Myself as a Warrior”: Cultivating Youth Activist Narratives through Projects of Social Justice Dissertation Presented in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the Graduate School of The Ohio State University By Tamara T. Butler, B.S., M.A. Graduate Program in Education The Ohio State University 2014 Dissertation Committee Professor Valerie F. Kinloch, Advisor Professor Beverly J. Moss Professor Timothy J. San Pedro 1 Copyright by Tamara T. Butler 2014 i!! Abstract Informed by a critical multicultural framework, this research explores how youth raise awareness, critique inequitable structures, and engage in an array of social justice work. Two research major questions that guide this project are as follows: How do students create youth activist narratives using social justice experiences? What do students’ reflections about the narrative writing process reveal about why they engage in social justice work? In order to answer these questions, I used critical narrative inquiry as I entered a ninth-grade World Humanities classroom at Justice High School for a ten- month qualitative study. In the Humanities classroom, I focused on how students developed social justice projects on a variety of contemporary injustices (e.g., human sex trafficking, domestic violence, discrimination against LGBTQI youth, gentrification) and explored how youth came to understand, speak, and write about social inequities and injustices as well as how they position themselves as advocates, allies, and/or activists. Through thematic analysis of their Capstone Project, I analyzed how four girls used stories to engage in socially just activist practices. The narratives that emerged from this work can offer insight into how K-20 classrooms can foster partnerships that generate transformative, “activist” curricular engagements.
    [Show full text]
  • Heather Augustyn 2610 Dogleg Drive * Chesterton, in 46304 * (219) 926-9729 * (219) 331-8090 Cell * [email protected]
    Heather Augustyn 2610 Dogleg Drive * Chesterton, IN 46304 * (219) 926-9729 * (219) 331-8090 cell * [email protected] BOOKS Women in Jamaican Music McFarland, Spring 2020 Operation Jump Up: Jamaica’s Campaign for a National Sound, Half Pint Press, 2018 Alpha Boys School: Cradle of Jamaican Music, Half Pint Press, 2017 Songbirds: Pioneering Women in Jamaican Music, Half Pint Press, 2014 Don Drummond: The Genius and Tragedy of the World’s Greatest Trombonist, McFarland, 2013 Ska: The Rhythm of Liberation, Rowman & Littlefield, 2013 Ska: An Oral History, McFarland, 2010 Reggae from Yaad: Traditional and Emerging Themes in Jamaican Popular Music, ed. Donna P. Hope, “Freedom Sound: Music of Jamaica’s Independence,” Ian Randle Publishers, 2015 Kurt Vonnegut: The Last Interview and Other Conversations, Melville House, 2011 PUBLICATIONS “Rhumba Queens: Sirens of Jamaican Music,” Jamaica Journal, vol. 37. No. 3, Winter, 2019 “Getting Ahead of the Beat,” Downbeat, February 2019 “Derrick Morgan celebrates 60th anniversary as the conqueror of ska,” Wax Poetics, July 2017 Exhibition catalogue for “Jamaica Jamaica!” Philharmonie de Paris Music Museum, April 2017 “The Sons of Empire,” Deambulation Picturale Autour Du Lien, J. Molineris, Villa Tamaris centre d’art 2015 “Lee ‘Scratch’ Perry’s Super Ape,” Wax Poetics, November, 2015 “Don Drummond,” Heart and Soul Paintings, J. Molineris, Villa Tamaris centre d’art, 2012 “Spinning Wheels: The Circular Evolution of Jive, Toasting, and Rap,” Caribbean Quarterly, Spring 2015 “Lonesome No More! Kurt Vonnegut’s
    [Show full text]
  • Izona S Art: First Album to Be Like a Jackson 5 Thing in the Audience's Eyes That Album (Straight up Pop Without Just Makes the Shows Fun
    For the week of Aug. Sept. 10-16 The Lumberjack Happenings A G pseo f Goldfinger Mon. - Thurs. - 5:15, 7:40 H ar kin v Flagstaff I uxurv 11 gets its She’s Sc Lovefy (R) 4650 N. Highway 89 774-4700 (1:30Sat. & Sun. only), 5,7A (9 p.m. Fri. & Sat. only) > I r tyiii The Gamei R) Mon. - Thurs. - 5A 7:30 p.m. hang ups Cl I a-ih. Sat. A Sun. only),!, 2:25,4.5:20, 7,8:10 & (12:40 a.m Fri. & Sal. only). H ercules (G) Flagstaff Mall Cinema out into (10:55 Sat.A Sun. only), 4:20A 9:00 4650 N. Highway 89 52 ^4 5 5 5 Excess Baggage (PG-13) * Jeffrey Bell (10:10 SaL A Sun. only), 1:30,4:30,7:30A 10 Cop L an d (PG-13) Happenings Editor (12:35 a.m. Fri.& Sat. only) (1:45 Sat. - Mon. only), 4:30,7,9:10 & (4:30 p.m. inofifi firm Fri. & Sal. csnly ) the open H oodlum (R) Mon.- Thurs. - 4:45,7p.m. 12:45,3:50,7:20A 10:40 p.m. A ir B ud (R) Four guys from Los AngelesDoubt and the Skeletones G J . Ja n e (R) are ready togive Phoenix the fin­stopped by to help out. ( 10:30 Sat. A Sun. only), 1:10.4:10, 7:10, 4:45 p.m.A (2:15 Sat.A Sun. only) ger. The Goldfinger "Working with Angelo Moore 10:10 & (i 2:45 a.m.
    [Show full text]
  • Bob Marley Spend His Free Time? B) There Was a Different Version of the Catch a Fire Album for ………………………………………………………… Jamaica
    HELBLING READERS RESOURCE SHEET STUDENT ACTIVITIES Chapters 3–4 1 Correct the mistakes in these sentences. BOB Peter Tosh a) Bob, Neville and Joe Higgs formed a band called The Wailing Wailers. MARLEY b) The Wailing Wailers played in the local cinema at night. c) Coxsone Dodd knew when the look of a band was right. d) ‘Systems Men’ had film equipment on their cars. e) In the US Bob worked in a music studio. People and places f) Haile Selassie visited Ethiopia in April, 1966. Circle the correct words in italics. a) Bob’s mother and daughter / wife were both called Cedella. g) For Rastafarians, the colour blue is a sign of hope. b) Bob was born in the city / country. 2 Look at ‘The Birth of Reggae’ (pages 26–27) and discuss c) There were three / nine musicians in Bob’s first band. these questions with a partner. d) Bob moved to 56 Hope Road / Trench Town when he was a) Which of the musicians on this page did you already know? young. b) Which musicians would you like to hear more of now? Why? e) 56 Hope Road was in Kingston / Nine Miles. Chapters 5–6 Chapters 1–2 1 Are these sentences true (T) or false (F)? Correct the false 1 Answer the questions. sentences in your notebook. a) Why did Norval Marley leave his new wife? a) Chris Blackwell wanted to change the band’s sound so that young people would like it too. …………………………………………………………He said he needed an easier job in the city. …………………………………………………………F.
    [Show full text]
  • JN Money Transfer Overseas Locations
    The crest of the Jamaica National Building Society symbolises the organisation’s commitment to uphold the honour, values and tradition of the Society; as well as its vow to help its members “find a way”. JNBS is the first financial institution in Jamaica to be ISO 9001:2008 certified Mission Statement We are a mutual organisation satisfying our members and customers with a competitive range of savings, mortgage loans, financial and other services, directly and through our subsidiaries. JamaIca NaTIONal BuIldINg SOcIeTy dIRecTORS’ Report & fINaNcIal STaTemeNTS 2013 Table of Contents JNBS crest 40 JN pictorial Mission Statement - achievements 1 Notice of annual general meeting - Building Relationships 2 Voting procedures - education 3 founders, mergers & acquisitions - Sports 4 Chairpersons & general managers - Business & finance 5 Board of directors - Corporate Social Responsibility 14 Vision Statement - JN celebrates 2012 Olympics & meet Jamaica, london 15 Corporate governance - JN Staff pictorial 17 JN group audit committee Report 59 Values Statement 20 Mutuality Statement 60 JNBS foundation Review 21 Chairman’s Report 67 Mutual Building Societies foundation 25 General manager’s Report 68 JN group financial Highlights 34 Heads of JNBS Subsidiaries 69 Executives - JN Small Business loans limited 79 Senior managers - Jamaica automobile association 81 Overseas Officers - JN fund managers limited 83 JNBS Business Relationship & Sales advisors - JN general Insurance company limited 85 Chief Office & Overseas managers - JN money Services limited
    [Show full text]
  • A History of Hip Hop in Halifax: 1985 - 1998
    HOW THE EAST COAST ROCKS: A HISTORY OF HIP HOP IN HALIFAX: 1985 - 1998 by Michael McGuire Submitted in partial fulfilment of the requirements for the degree of Master of Arts at Dalhousie University Halifax, Nova Scotia August 2011 © Copyright by Michael McGuire, 2011 DALHOUSIE UNIVERSITY DEPARTMENT OF HISTORY The undersigned hereby certify that they have read and recommend to the Faculty of Graduate Studies for acceptance a thesis entitled “HOW THE EAST COAST ROCKS: A HISTORY OF HIP HOP IN HALIFAX: 1985 - 1998” by Michael McGuire in partial fulfilment of the requirements for the degree of Master of Arts. Dated: August 18, 2011 Supervisor: _________________________________ Readers: _________________________________ _________________________________ ii DALHOUSIE UNIVERSITY DATE: August 18, 2011 AUTHOR: Michael McGuire TITLE: How the East Coast Rocks: A History Of Hip Hop In Halifax: 1985 - 1998 DEPARTMENT OR SCHOOL: Department of History DEGREE: MA CONVOCATION: October YEAR: 2011 Permission is herewith granted to Dalhousie University to circulate and to have copied for non-commercial purposes, at its discretion, the above title upon the request of individuals or institutions. I understand that my thesis will be electronically available to the public. The author reserves other publication rights, and neither the thesis nor extensive extracts from it may be printed or otherwise reproduced without the author’s written permission. The author attests that permission has been obtained for the use of any copyrighted material appearing in the
    [Show full text]
  • T of À1 Radio
    ism JOEL L.R.PHELPS EVERCLEAR ,•• ,."., !, •• P1 NEW MUSIC REPORT M Q AND NOT U CIRCLE December 25, 2000 I www.cmj.com 138.0 ******* **** ** * *ALL FOR ADC 90198 24498 Frederick Gier KUOR -REDLANDS 5319 HONDA AVE APT G ATASCADERO, CA 93422-3428 ON BEING NO. 1, TOURING WITH U2 & WHY WILL OLDHAM AND RAYMOND CARVER KICK ASS tof à1 Radio HOW PERFORMANCE ROYALTIES WILL AFFECT COLLEGE RADIO WHAT IT'S DOING TO INDIE RETAIL INCLUDING THE BLAZING HIT SINGLE "OH NO" ALBUM IN STORES NOW EF •TARIM INEWELII KUM. G RAP at MOP«, DEAD PREZ PHARCIAHE MUNCH •GHOST FACE NOTORIOUS J11" MONEY PASTOR TROY Et MASTER HUM BIG NUMB e PRODIGY•COCOA BROVAZ HATE DOME t.Q-TIIP Et WORDS e!' le.‘111,-ZéRVIAIMPUIMTPIeliElrÓ Issue 696 • Vol 65 • No 2 Campus VVebcasting: thriving. But passion alone isn't enough 11 The Beginning Of The End? when facing the likes of Best Buy and Earlier this month, the U.S. Copyright Office other monster chains, whose predatory ruled that FCC-licensed radio stations tactics are pricing many mom-and-pops offering their programming online are not out of business. exempt from license fees, which could open the door for record companies looking to 12 PJ Harvey: Tales From collect millions of dollars from broadcasters. The Gypsy Heart Colleges may be among the hardest hit. As she prepares to hit the road in support of her sixth and perhaps best album to date, 10 Sticker Shock Polly Jean Harvey chats with CMJ about A passion for music has kept indie music being No.
    [Show full text]