HELL on HIGH HEELS As Recorded by Motley Crue (From the 2001 Album "New Tattoo")

Total Page:16

File Type:pdf, Size:1020Kb

HELL on HIGH HEELS As Recorded by Motley Crue (From the 2001 Album HELL ON HIGH HEELS As recorded by Motley Crue (from the 2001 Album "New Tattoo") Words by Mick Mars, Vince Neil, Nikki Sixx Music by Mick Mars, Vince Neil, Nikki Sixx A Intro Tune down 1 step Moderately P = 136 A D/Fb A/E c 1 g g V V V g 4 V V V f V V V I 4 V V V c V V f V gV V V V V Gtr I P.M. P.M. P.M. T 2 3 3 3 2 2 2 2 2 2 A 2 4 5 4 2 B 12 0 3 4 12 2 0 0 sl. H A D/Fb A/E A D/Fb D/Fb A/E g 4 gg j } } k I u V f V V V t V f V V U V V Gtr II Full |||||||||||||||||||||||| M A.H. T A B 5 3 5 3 [5] x x 0 3 3 3 5 5 sl. sl. Fb c c g g V V V V V V g V V f V V V V V f V V V I V V c V V f V gV V V c V V f V gV V V V V V V V V Gtr I P.M. P.M. P.M. P.M. P.M. P.M. T 2 3 3 3 2 2 3 3 3 2 2 2 2 2 2 2 2 2 2 2 A 2 4 5 4 2 2 4 5 4 2 B 0 3 4 0 3 4 2 0 0 2 0 0 H H Printed using TabView by Simone Tellini - http://www.tellini.org/mac/tabview/ HELL ON HIGH HEELS - Motley Crue Page 2 of 23 A D/Fb D/Fb A/E A D/Fb 8 g g k V V V I g c f V V V f V V f W V t f V V V Full A.H.||||||| M |||||||||||||| T 7 5 7 5 7 5 5 5 A 7 5 7 B 3 3 3 [5] Fb c g g V V V V g V V f V V V V V I V V c V V f V gV V V V V V V V V V P.M. P.M. P.M. P.M. P.M. T 2 3 3 3 2 2 3 2 2 2 2 2 2 2 A 2 4 5 4 2 2 4 B 0 3 4 0 2 0 0 2 0 H D/Fb A/E A D/Fb D/Fb A/E f V V V V V V f V V V V V 11 g g V V V V V V V V V V V I g f V V V V u 3 3 3 3 3 Full Full Full Full Full Full ||||||| Full Full M M M M M M M M 5 T 8 8 8 8 8 8 5 8 O8 5 8 O8 5 A 7 7 5 7 O7 5 7 O7 5 7 O7 5 B P P P P P P c c g g V V V V V g f V V V V V f V V V I c V V f V gV V V c V V f V gV V V V V V P.M. P.M. P.M. P.M. T 3 3 2 2 3 3 3 2 2 2 2 2 2 2 2 2 A 5 4 2 2 4 5 4 2 B 3 4 0 3 4 0 2 0 0 H H Printed using TabView by Simone Tellini - http://www.tellini.org/mac/tabview/ HELL ON HIGH HEELS - Motley Crue Page 3 of 23 B Verse C5 14 g g f W W U V W V V V V I g u 2 1/2 Full|||||||||| M T 8 8 8 8 8 8 8 8 8 A B g g g f U V f U V I U V f V U V f V V V f V V V V V V f V V V V let ring let ring T 5 5 5 5 A 5 5 5 5 B 3 3 3 3 3 3 0 2 3 0 2 3 0 2 3 0 2 3 A D/Fb A/E 18 g g W V V V V V V V V I g 3 3 u 1/2FullM 1/2FullM 1/2FullM 1/2FullM 1/2FullM 1/2FullM T 7 7 7 7 7 7 7 7 O7 A 7 7 7 7 7 7 7 7 O7 B c g g V V V g V V f V V V I V V c V V f V gV V V V V P.M. P.M. P.M. T 2 3 3 3 2 2 2 2 2 2 A 2 4 5 4 2 B 0 3 4 2 0 0 H Printed using TabView by Simone Tellini - http://www.tellini.org/mac/tabview/ HELL ON HIGH HEELS - Motley Crue Page 4 of 23 A D/Fb A/E 20 g g k V I g f V V V V V V f V V u V gV V f V f V Full 1/2 |||||||||||||||| M M ||||| T 5 5 7 5 A 7 7 7 5 5 B 7 6 7 5 3 c g g V V V g V V f V V V I V V c V V f V gV V V V V P.M. P.M. P.M. T 2 3 3 3 2 2 2 2 2 2 A 2 4 5 4 2 B 0 3 4 2 0 0 H C5 g 22 gg I U V ||||||||||||||||||||||||||||| T A B 3 3 g g g f U V f U V I U V f V U V f V V V f V V V V V V f V V V V let ring let ring T 5 5 5 5 A 5 5 5 5 B 3 3 3 3 3 3 0 2 3 0 2 3 0 2 3 0 2 3 Printed using TabView by Simone Tellini - http://www.tellini.org/mac/tabview/ HELL ON HIGH HEELS - Motley Crue Page 5 of 23 A D/Fb A/E A D/Fb A/E c 26 g g k V V k V k V k V V V I g f V V V f V V V V V f V V f V V V V W V V V u V u 1/4 1/2 1/4 1/2 P.M. M P.M. P.M. M ||||| M M ||||||||||||||||||||| T 5 5 5 5 5 5 5 5 5 5 5 5 5 7 5 A 7 7 5 7 7 7 7 7 B 7 7 7 sl. c c g g V V V V V V g V V f V V V V V f V V V I V V c V V f V gV V V c V V f V gV V V V V V V V V P.M. P.M. P.M. P.M. P.M. P.M. T 2 3 3 3 2 2 3 3 3 2 2 2 2 2 2 2 2 2 2 2 A 2 4 5 4 2 2 4 5 4 2 B 0 3 4 0 3 4 2 0 0 2 0 0 H H C Pre-Chorus D5 A5 D5 A5 A5 30 g g V V V V g V V f V V W W V V f V V V V I V V f V V W W V V f V V V V V V W W V V V V f V V V V V V Gtr I T 7 7 5 7 7 5 2 A 7 7 5 7 7 7 7 7 5 7 7 2 B 5 5 3 7 7 7 5 5 3 7 7 0 0 0 5 5 5 0 5 5 3 0 0 2 0 sl. Printed using TabView by Simone Tellini - http://www.tellini.org/mac/tabview/ HELL ON HIGH HEELS - Motley Crue Page 6 of 23 D5 A5 A5 E5 E7b9 c V V g f V f W 34 gg k V k W u I gV gW V W Gtr II FullM FullM ||||||||||12 12 T 8 8 15 15 7 7 A 6 6 B 7 7 0 0 c g g V V W k f V k f W g V V f V V V V W gV gW I V V f V V V V W V W c V V V V f V V V V V V V V V V Gtr I |||||||||| T 8 8 7 7 5 2 9 7 7 A 7 7 5 7 7 2 9 6 6 B 5 5 3 7 7 0 0 7 7 7 0 5 5 3 0 0 2 0 0 0 2 0 D Chorus A D/Fb A c c c 38 g g g V V V k g}V }W V k g}V }W V k V V V I V V V f }V }W V f }V }W V V V V V V V V} V W V V} V W V V} V V V V V V V V V Gtrs I, II P.M.
Recommended publications
  • Tattoos & IP Norms
    Case Western Reserve University School of Law Scholarly Commons Faculty Publications 2013 Tattoos & IP Norms Aaron K. Perzanowski Case Western University School of Law, [email protected] Follow this and additional works at: https://scholarlycommons.law.case.edu/faculty_publications Part of the Intellectual Property Law Commons Repository Citation Perzanowski, Aaron K., "Tattoos & IP Norms" (2013). Faculty Publications. 47. https://scholarlycommons.law.case.edu/faculty_publications/47 This Article is brought to you for free and open access by Case Western Reserve University School of Law Scholarly Commons. It has been accepted for inclusion in Faculty Publications by an authorized administrator of Case Western Reserve University School of Law Scholarly Commons. Article Tattoos & IP Norms Aaron Perzanowski† Introduction ............................................................................... 512 I. A History of Tattoos .............................................................. 516 A. The Origins of Tattooing ......................................... 516 B. Colonialism & Tattoos in the West ......................... 518 C. The Tattoo Renaissance .......................................... 521 II. Law, Norms & Tattoos ........................................................ 525 A. Formal Legal Protection for Tattoos ...................... 525 B. Client Autonomy ...................................................... 532 C. Reusing Custom Designs ......................................... 539 D. Copying Custom Designs .......................................
    [Show full text]
  • Open Ericfinal 20090730.Doc.Pdf
    The Pennsylvania State University The Graduate School Department of Recreation, Park and Tourism Management AN ETHNOGRAPHIC CASE STUDY OF A LOS ANGELES TATTOO SHOP A Dissertation in Leisure Studies by Eric Wayne Foemmel 2009 Eric Wayne Foemmel Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy August 2009 ii The dissertation of Eric Wayne Foemmel was reviewed and approved* by the following: Garry Chick Professor of Recreation, Park and Tourism Management Thesis Advisor Chair of Committee Harry Zinn Associate Professor of Recreation, Park and Tourism Management Geoffrey Godbey Professor Emeritus of Recreation, Park and Tourism Management Edward Paul Durrenberger Professor of Cultural Anthropology John Dattilo Professor of Recreation, Park and Tourism Management Head of the Department of Recreation, Park and Tourism Management *Signatures are on file in the Graduate School iii ABSTRACT This ethnographic case study was undertaken to explore the emic knowledge of tattoo artists and tattooed individuals in Los Angeles, California. Four tattoo artists and eleven tattooed individuals were recruited and interviewed about the nature of the tattoo experience in order to determine the nature of the experience and its meaning to the participants. The participants were also interviewed about their knowledge of the social consequences involved with getting tattooed, and whether or not tattooing has become socially acceptable. Two tattoo artists did not complete the structured interviews, but each participated in an unstructured interview. Lastly, twelve participants were asked to free-list, sort, and scale their free-list of recreational activities on several attributes of leisure. The data from these instruments affirmed that the idea of leisure is subjective among the participants.
    [Show full text]
  • College Vice Vol. 1 No. 1
    Connecticut College Digital Commons @ Connecticut College 2001-2002 Student Newspapers 4-1-2002 College Vice Vol. 1 No. 1 Connecticut College Follow this and additional works at: https://digitalcommons.conncoll.edu/ccnews_2001_2002 Recommended Citation Connecticut College, "College Vice Vol. 1 No. 1" (2002). 2001-2002. 5. https://digitalcommons.conncoll.edu/ccnews_2001_2002/5 This Newspaper is brought to you for free and open access by the Student Newspapers at Digital Commons @ Connecticut College. It has been accepted for inclusion in 2001-2002 by an authorized administrator of Digital Commons @ Connecticut College. For more information, please contact [email protected]. The views expressed in this paper are solely those of the author. First Cla~s U.S. Postage PAID Permit #35 • New London, CT Pf./BUSNED WEEKLY BY THE STUDENTS OF CONNECflCUT COLLEGE VOLUME I • NUMBER I DAY I A.T. (ANNO TIM-IN THE J%lII OF TIM) CONNECTICUT COLLEGE, NEW LONDON, CI INSIDE: Student Spontaneously Combusts in Cro Obsession Over Late Night Menu the Suspected Cause At Left: The scene of Sophomore NEWS Francis LeBlanc's (inset) Laz Declares Independence from spontaneous combustion, Connecticut College as marked by the white circle, in the Crozie.... Williams Student Center. Amakeshift memorial has begun to form around the chalk outline where his ashes settled with people placing flowers, photo- graphs and small trin- kets. One passerby A&E described the scene as, God pays surprise visit to Conn to "pretty tame considering decry current state of the music the guy burst into industry flames," SPORTS Conn's undefeated football team discovered by campus at large By PABLO MUEKfE little sense the menu makes.
    [Show full text]
  • Part 1 Extreme Tattooing
    01-Goode-45291.qxd 7/2/2007 3:22 PM Page 1 PART 1 EXTREME TATTOOING 1 01-Goode-45291.qxd 7/2/2007 3:22 PM Page 2 BOD MOD TO THE MAX! An Introduction to Body Modification as Deviance s we saw in the Introduction,deviance is a matter of definition.People make sense of the Abehavior, beliefs, and physical characteristics of others in a variety of ways so that those behaviors, beliefs, and characteristics become social objects; in other words, they are socially constructed.Which kinds of social objects they become, and to whom, will depend to a large extent on social context: In what contexts do these behaviors take place, how are these beliefs expressed, and who possesses these traits or characteristics? Along similar lines, other kinds of social objects—people’s hairdos, their clothes, the makeup they choose to wear, the size of their feet—are all bodily objects, but they become what they are to us through the same process of social definition. Thus, people learn to see heavy eye liner, skinny neckties, beehive hairdos, and polyester leisure suits as appropriate, attractive, silly, fun—or grotesquely outdated—and/or vintage aspects of the ways people can present themselves. In fact, most of us spend a considerable amount of time in any given week changing the ways we look.We might wear a t-shirt or a sweatshirt bearing our favorite team’s logo after a win but choose not to after a loss. We rarely wear the same out- fit when we go to a job interview as we do when lounging around the living room, watching television.
    [Show full text]
  • Novita 22032019
    NOVITA’ 22 MARZO 2019 DVD - BLURAY NOVITA’ MUSICALI Artista Titolo Supporto Nesli Vengo In Pace Cd Rkomi Dove Gli Occhi Non Arrivano Cd Compilation Hot Party Spring 2019 Cd Mondine Le Canzoni D'Altri Tempi Vol.2 Cd Adams Bryan Shine A Light Cd Compilation Dj Selection 470 Cd The Healing Game (20Th Anniversary Deluxe Edt. Box Morrison Van 3 Cd) Cd Gionnyscandal Raccolta #1 Cd Battiato Franco Fleurs 20Th Anniversary Edt.(Vinile Rosso 180 Gr.) Lp Lambchop This (Is What I Wanted To Tell You) Cd Maneskin Il Ballo Della Vita (12" Vinyl Red In Sleeve) Lp Toto Toto 40 Tours Around The Sun Cd Megadeth Warheads On Foreheads (Box 3 Cd) Cd Bowness Tim Abandoned Dancehall Dreams Cd Teardo Teho Grief Is The Thing With Feathers Cd Apparat Lp5 Cd Santana In Search Of Mona Lisa Lp Russell Tom October In The Railroad Earth Cd Silvestri Daniele Argentovivo (10") Sanremo 2019 Lp Levrini Mauro Oggi Come Allora Cd Motley Crue The Dirt Soundtrack Cd Dickinson Luther And Sisters Of The Strawberry Moon Solstice Cd L.A. Guns The Devil You Know Cd I Nomadi Interpretano Guccini (Vinile Colorato 180 Gr. Nomadi I Limited Edt.) Lp Morrison Van The Healing Game (20Th Anniversary) Lp Nomadi I I Nomadi (Vinile Colorato 180 Gr. Limited Edt.) Lp Per Quando Noi Non Ci Saremo (Vinile Colorato 180 Nomadi I Gr. Limited Edt.) Lp Motley Crue The Dirt Soundtrack (Best Con 4 Brani Inediti) Cd Truppi Giovanni Poesia E Civilta' Cd Toto Toto 40 Tours Around The Sun (B.Ray+2Cd) Blu Ray Toto Toto 40 Tours Around The Sun (Dvd+2Cd) Dvd Toto Toto 40 Tours Around The Sun Dvd Collier Jacob Vol.1 Cd Apparat Lp5 (Vinyl Pink Limited Edt.) Lp Burning Rain Face The Music Cd Un Giorno Insieme (Vinile Colorato 180 Gr.
    [Show full text]
  • The Cultural Influences That Provide the Impetus to Create
    THE CULTURAL INFLUENCES THAT PROVIDE THE IMPETUS TO CREATE SELF-IDENTITY THROUGH INSCRIBING THE BODY Teri Lynn Doran Submitted to the faculty of the University Graduate School in partial fulfillment of the requirements for the degree Master of Arts in the Department of Communication Indiana University May 2010 ii Accepted by the Faculty of Indiana University, in partial fulfillment of the requirements for the degree of Master of Arts. ____________________________ Catherine A. Dobris, Ph.D., Chair ______________________________ Kim D. White-Mills, Ph.D. Master‟s Thesis Committee ______________________________ John Parrish-Sprowl, Ph.D. iii DEDICATION This thesis would be incomplete without the mention of Alexander, Bridget and Julie. Thank you for your support and patience during this process. The three of you kept me balanced and focused on what is truly meaningful to me. This thesis is dedicated to John. Thank you for giving me wings. iv ACKNOWLEDGEMENTS This thesis would not have been possible without the support of Dr. Catherine Dobris. Her academic guidance was fundamental in the development and implementation of the study. Her positive support provided me with the encouragement when my morale faltered. Thank you. I would also like to thank my committee members, Dr. Kim White-Mills and Dr. John Parrish-Sprowl for offering their support and expertise throughout the project. Lastly, I would like to thank the Communication faculty at Hanover College for their educational and personal influence that prepared me to further my education. To Dr. Barbara Oney Garvey I offer a sincere thank you for being a friend, mentor and academic role model.
    [Show full text]
  • Welcome to Groove House
    Welcome to Groove House Jill Meniketti San Francisco Welcome to Groove House Copyright © 2015 by Jill Meniketti All rights reserved. No part of this book may be reproduced, scanned, transmitted, or distributed in any printed, electronic, or mechanical form, including information and storage retrieval systems, without prior permission in writing from the author, except by a reviewer who may quote passages in a review. Thank you for your support of the author’s rights. Welcome to Groove House is a work of fiction. References to real people, events, businesses, organizations, products, places, or incidents are intended only to provide a sense of authenticity, and are used fictitiously. All other characters, events, businesses, organizations, places, incidents, and dialogue are drawn from the author’s imagination and are not to be construed as real. Published in the United States by Stanford Court Press, San Francisco, CA. www.StanfordCourtPress.com Library of Congress Cataloging-in-Publication Data has been applied for. ISBN: 978-1-942828-01-3 Library of Congress Control Number: 2015900170 10 9 8 7 6 5 4 3 2 1 First Edition Author Website: www.JillMeniketti.com Cover design: Adam Wayne Interior design: Robin Krauss “Dave Meniketti has been a dear friend, a great guitarist, and a great vocalist. We have grown up in different bands together. Who else knows the inside scoop better than Jill Meniketti, his longtime wife and manager?” —Sammy Hagar “Welcome to Groove House is a great rock ’n’ roll read, clearly written by someone who knows and has lived the genre and its music. With so many rock-based autobiographies out there these days, it was fun to get lost in the fictional world of Mike Mays and company.
    [Show full text]
  • Volume 16, Number 1 (2019) Downloaded from from Downloaded
    Fall/Winter 2018-19 usfca.edu/center-asia-pacific/perspectives Volume 16, Number 1 (2019) Downloaded from from Downloaded Asia Pacific Perspectives Fall/Winter 2018-19 Volume 16, Number 1 • 2019 CENTER FOR ASIA PACIFIC STUDIES EDITORIAL BOARD: Melissa S. Dale Miriam Gross, University of Oklahoma Editor, Executive Director Sun-chul Kim, Emory University Andrea D .Lingenfelter Annelise Lewallen, University of California, Santa Assistant Managing Editor Barbara Peter Lorentzen, University of San Francisco John Nelson, Professor, University of San Francisco Ryoko Yamamoto, SUNY Westbury CONTENTS EDITOR’S INTRODUCTION Melissa S. Dale ....................................................................... 2 ARTICLES Fashioning Tattooed Bodies: An Exploration of Japan’s Tattoo Stigma John M. Skutlin .......................................................................4 “It is Good to Have Something Different”: Mutual Fashion Adaptation in the Context of Chinese Migration to Mozambique usfca.edu/center-asia-pacific/perspectives Johanna von Pezold ..................................................................34 Fashioning the Embodied Liminal/Lininoid Self: An Examination of the Dualities of Cosplay Phenomenon in East Asia Anne Peirson-Smith ..................................................................65 BOOK REVIEW Downloaded from from Downloaded Fashion, Identity, and Power in Modern Asia, by Kyunghee Pyun and Aida Yuen Wong Barbara Molony .....................................................................93 Asia Pacific Perspectives Volume 13, Number 2: Fall/Winter 2015-16 ©2019 University of San Francisco Center for Asia Pacific Studies Fall/Winter 2018-19 Volume 16, No. 1 (2019) Editor’s Introduction By Melissa S. Dale, Executive Director, Center for Asia Pacific Studies The University of San Francisco Center for Asia Pacific Studies is pleased to announce the publication of Asia Pacific Perspectives vol. 16, no. 1 (Feb. 2019). This special issue is dedicated to exploring how fashion shapes identities in the Asia Pacific region.
    [Show full text]
  • VINCE NEIL Tattoos & Tequila (Hard Rock)
    VINCE NEIL Tattoos & tequila (Hard Rock) Année de sortie : 2010 Nombre de pistes : 12 Durée : 41' Support : MP3 Provenance : Reçu du label A la vue de la pochette sur notre site, vous vous êtes peut-être dit : "chouette, un nouvel opus de super Vince !" Hé ben pas vraiment... Oui, cet album est une nouveauté mais les titres à l'intérieur sont des reprises (covers) de standards (hits) du Hard-Rock (enfin presque), bien rafraîchis certes mais pas très neufs. Le chanteur de MÖTLEY CRÜE se fait et nous fait plaisir ! Même si pour ma part, je n'ai pas tout aimé, il y a quand même matière à se régaler car les nouvelles interprétations, même si fidèles aux originaux ne manquent pas de piquants. Alors, nous retrouvons pèle-mêle, He's A Whore de CHEAP TRICK, Nobody's Fault de AEROSMITH, No Feelings des SEX PISTOLS, Ac Dc dont je n'arrive pas à retrouver le nom du groupe qui l'a composé (ce qui vous donne l'occasion d'étaler votre culture dans les commentaires, merci !!!), Long Cold Woman de THE HOLLIES, Who Will Stop The Rain de CREEDANCE CLEARWATER, Another Piece Of Meat de SCORPIONS, Viva Las Vegas et en "bonus track" Beer Drinkers And Hell Raisers de ZZTOP et Bitch Is Back de ELTON JOHN. (Z'avez bien lu !) Accompagné de Dana STRUM à la basse, Jeff BLANDO aux guitares et Zoltan CHANEY aux fûts, Vince s'éclate et est, comme à son habitude, extrêmement convaincant ! Il co-produit magnifiquement ce Tattoos & Tequila avec Jack BLADES (NIGHT RANGERS, DAMN YANKEES, AEROSMITH, OZZY OSBOURNE, ALICE COOPER) et Marti FREDERIKSEN (AEROSMITH, DEF LEPPARD, BUCKCHERRY).
    [Show full text]
  • Notes Who Owns Your Skin: Intellectual Property Law and Norms Among Tattoo Artists
    BEAS-_JCI[1].DOC (DO NOT DELETE) 7-12-1212/20/2012 4:17 PM NOTES WHO OWNS YOUR SKIN: INTELLECTUAL PROPERTY LAW AND NORMS AMONG TATTOO ARTISTS MATTHEW BEASLEY* TABLE OF CONTENTS I. INTRODUCTION ............................................................................... 1138 II. INTELLECTUAL PROPERTY......................................................... 1142 A. COPYRIGHT LAW ..................................................................... 1142 B. TATTOO ARTISTS‘ FORAYS INTO INTELLECTUAL PROPERTY LAW ....................................................................................... 1146 1. Reed v. Nike Inc.: The Rasheed Wallace Lawsuit ............ 1147 2. Whitmill v. Warner Bros.: The Mike Tyson Lawsuit ....... 1148 3. The Artist Legal Alliance ................................................. 1149 III. LITERATURE REVIEW ................................................................. 1151 A. LEGAL ACADEMIA ON TATTOOS ............................................. 1151 B. SOCIAL NORMS SCHOLARSHIP ................................................ 1153 C. NORMS-BASED INTELLECTUAL PROPERTY ............................. 1154 IV. TATTOO ARTISTS AND IP PROTECTION ................................. 1157 A. FLASH BOOKS AND FLASH ART .............................................. 1157 B. THE REALITY OF FORMAL IP LAW: INEFFECTIVE AND IGNORED ................................................................................ 1158 V. TATTOO ARTISTS‘ SOCIAL NORMS .......................................... 1161 A. GETTING A TATTOO ...............................................................
    [Show full text]
  • Columbia Chronicle College Publications
    Columbia College Chicago Digital Commons @ Columbia College Chicago Columbia Chronicle College Publications 10-5-2009 Columbia Chronicle (10/05/2009) Columbia College Chicago Follow this and additional works at: http://digitalcommons.colum.edu/cadc_chronicle Part of the Journalism Studies Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation Columbia College Chicago, "Columbia Chronicle (10/5/2009)" (October 5, 2009). Columbia Chronicle, College Publications, College Archives & Special Collections, Columbia College Chicago. http://digitalcommons.colum.edu/cadc_chronicle/765 This Book is brought to you for free and open access by the College Publications at Digital Commons @ Columbia College Chicago. It has been accepted for inclusion in Columbia Chronicle by an authorized administrator of Digital Commons @ Columbia College Chicago. Read Jazzy D.’s take on Chicago’s stunning Olympic defeat » PAGE 11 MAP GRANT THE COLUMBIA TOWN HALL Gov. Quinn and students discuss MAP grants » SEE PG. 3 hronicle ON ColumbiaChronicle.com cThe Of cial News Source of Columbia College Chicago October 5, 2009 Volume 45 Number 5 THEWEB LOSSES, small gains $11.5 million Columbia responds to smaller budget than Additional funds for student scholarships anticipated due to economy and enrollment by Benita Zepeda shortfall of $6 million for the tuition-driven $1.4 million Assistant Campus Editor operating model. Investment in Media The college also saw a loss of $37 million Production Center ON SEPT. 25, President Warrick L. Carter in endowment funds, which are gifts that announced the budget for Columbia’s 2010 provide an income for an institution. Cart- fi scal year, which began on Sept.
    [Show full text]
  • 1 Counterculture to Common Culture: Tattooing in America from 1960 To
    Counterculture to Common Culture: Tattooing in America from 1960 to 2009 On a sweltering summer day in the Houston suburbs in 2007, the author, an eighteen-y e a r -old resident of Spring, Texas, pulled into the parking lot in front of a shop at a small strip mall on the corner of Rhodes Road and FM 2920. The sign on the front of the building read “Ink Injection TATTOO” in twelve-inch tall orange letters. As Jennifer and a friend entered the shop, a bell sounded over the pounding bass of some obscure rap music. The pulsations continued, threatening to shake hearts free of ribs, during the intermittent seconds before a man wearing an orange polo shirt stepped out of a nearby door and asked, “Can I help you?” From her pocket, Jennifer produced a folded piece of printer paper covered with four designs and handed it to the man. The man, who never gave his name, stepped outside to consult with someone before reentering to inform the friends that the work would cost $220, cash, since the shop would not have a credit card machine until the expansionary construction was completed. Jennifer quickly agreed and, once he verified her age, the man in the orange polo produced a stencil of each of the four tattoos she had requested. Several minutes later, another, small, skinny man, tattooed from the crown of his shaved head to the tops of his feet put out his cigarette, walked in the door, and asked Jennifer to take a seat on a stool in the next room.
    [Show full text]