DOCSLIB.ORG

With the End in Sight, We Detail the Pros and Cons of Our Cascade Audio Install by JAMES MILES • PHOTOGRAPHY by PATRICK HILL and the AUTHOR

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
With the End in Sight, We Detail the Pros and Cons of Our Cascade Audio Install by JAMES MILES • PHOTOGRAPHY by PATRICK HILL and the AUTHOR PART SALE 3 With the end in sight, we detail the pros and cons of our Cascade Audio install BY JAMES MILES • PHOTOGRAPHY BY PATRICK HILL AND THE AUTHOR 2 1 L In our last L This month we got rolling report on this sub- with a spray-in sound deaden- ject, we had just er called VB-1X. Using the finished spraying SG-1 gun (available from Cascade Audio’s Cascade Audio, see photo ThermaGuard into above) the installation was the interior of our as easy—and as simple to C4 project car, The clean up—as last month’s Son of Zombie. For ThermaGuard application. more on this job, see the July issue. We sprayed the rear hatch area first, followed by the floor, transmission tunnel, and firewall. L 3 60 VETTE MAGAZINE • AUGUST 2006 www.vetteweb.com the July issue, we lined the inside of our project ’87 with Cascade Audio’s ThermaGuard to help keep the heat out of Inthe cockpit. This month, we took the install to the next level, with Cascade’s VB-1X, a spray-on sound deadener that’s similar to a truck-bed coat- ing. The volume differences were instantly notice- able, and thanks to a Radio Shack-issue decibel meter and the Neil Peart drum solo “Der Trommler,” we know the extent of the changes. Following the final coat of VB-1X, we went a step further and added some of Cascade’s V-Max material to the trouble areas inside the C4— namely, the transmission tunnel, rear hatch, and B-pillar. Measuring 12x32 inches, the V-Max sheets are made from rubber-backed flexible alu- minum and stick in place after being cut to size. The sound-deadening results from these pieces were just as dramatic, and after we lined our car with a carpet kit from Corvette Central (an install we will cover in the future), The Son of Zombie was as soundproof as it’s going to get. But while this upgrade may sound like a sure thing, we discovered a few problems with the VB- 1X that remain unaddressed. For example, according to the instructions, the liner should be waterproof after seven days of cure time. After nearly three times that span, however, we discov- ered that the material had not developed the desired water-repelling properties. In fact, the affected areas had actually become less effective, the material having changed composition from soft and rubbery to hard and flat. Was our partic- ular batch of VB-1X defective? We’re unsure, but the material’s inability to withstand just a few drops of water is troubling. We’ll let you know how things work out in the months ahead. Our final noise-attenuation readings will have to wait until we finish final assembly. Keep in mind that the car is still pretty “open air” at the moment. For now, just follow along for more information on what Cascade Audio can do for your Corvette. Results Condition Readings Difference Bare Floor 82 dB Max NA VB-1X 78 dB Max –4 db V-Max 74 dB Max –4 db Carpet 71 dB Max –3 db Total: –11 dB* (*With car partially disassembled) SALEPART 3 Each coat was allowed to cure fully before the next, leaving the final product to look like this. All those red spots represent holes for screws and other hardware. We had covered them with tape to keep the spray from clogging them. Nearly a month later (we got a little busy), we returned to replace our firewall pad. A big thanks goes to the Tampa- based Corvette Shop and Supplies for finding this little- requested piece of OEM equip- ment for us. It slipped in place as the original did and was secured via two plastic retain- ing tabs, which are available at most auto-parts stores. M PART 3 With the firewall finished, we moved on to the V-Max sheeting. Measuring 12x30 inches, these “cut to size” sheets are of a rubber-backed flexible- aluminum material that sticks in place. The trans tunnel was first… …followed by a few strategic spots in the flooring... …and, lastly, the hatch. At each step we measured our progress with a little help from this Radio Shack–issued decibel meter. SALE PART 3 S O U R C E S Cascade Audio Engineering 19135 Kiowa Rd., Dept. VM Bend, OR 97702 (541) 389-6821 www.cascadeaudio.com Corvette Central P.O. Box 16 Sawyer, MI 49125 (800) 345-4122 www.corvettecentral.com Corvette Shop & Supplies 609 N. Dale Mabry, Dept. VM Tampa, FL 33609 (813) 872-6907 www.corvetteshoponline.com Alltrade Tools 1431 Via Plata, Dept. VM Long Beach, CA 90810 (310) 522-9008 [email protected] Rush “Der Trommler,” from the album R30 Courtesy of Atlantic Records www.rush.com Neil Peart of Rush bangs away on the skins in his drum solo “Der Trommler.” We got our results by playing the music through a set of laptop speakers posi- tioned underneath the floorpan. Once the car is fully assembled, we will provide final numbers and compare them with the read- ings taken before the C4 died of heart fail- ure. For now, you can at least see there was a difference—an 11db difference to be precise. L.
Load more

Recommended publications
  • Apr-May 1980
    MODERN DRUMMER VOL. 4 NO. 2 FEATURES: NEIL PEART As one of rock's most popular drummers, Neil Peart of Rush seriously reflects on his art in this exclusive interview. With a refreshing, no-nonsense attitude. Peart speaks of the experi- ences that led him to Rush and how a respect formed between the band members that is rarely achieved. Peart also affirms his belief that music must not be compromised for financial gain, and has followed that path throughout his career. 12 PAUL MOTIAN Jazz modernist Paul Motian has had a varied career, from his days with the Bill Evans Trio to Arlo Guthrie. Motian asserts that to fully appreciate the art of drumming, one must study the great masters of the past and learn from them. 16 FRED BEGUN Another facet of drumming is explored in this interview with Fred Begun, timpanist with the National Symphony Orchestra of Washington, D.C. Begun discusses his approach to classical music and the influences of his mentor, Saul Goodman. 20 INSIDE REMO 24 RESULTS OF SLINGERLAND/LOUIE BELLSON CONTEST 28 COLUMNS: EDITOR'S OVERVIEW 3 TEACHERS FORUM READERS PLATFORM 4 Teaching Jazz Drumming by Charley Perry 42 ASK A PRO 6 IT'S QUESTIONABLE 8 THE CLUB SCENE The Art of Entertainment ROCK PERSPECTIVES by Rick Van Horn 48 Odd Rock by David Garibaldi 32 STRICTLY TECHNIQUE The Technically Proficient Player JAZZ DRUMMERS WORKSHOP Double Time Coordination by Paul Meyer 50 by Ed Soph 34 CONCEPTS ELECTRONIC INSIGHTS Drums and Drummers: An Impression Simple Percussion Modifications by Rich Baccaro 52 by David Ernst 38 DRUM MARKET 54 SHOW AND STUDIO INDUSTRY HAPPENINGS 70 A New Approach Towards Improving Your Reading by Danny Pucillo 40 JUST DRUMS 71 STAFF: EDITOR-IN-CHIEF: Ronald Spagnardi FEATURES EDITOR: Karen Larcombe ASSOCIATE EDITORS: Mark Hurley Paul Uldrich MANAGING EDITOR: Michael Cramer ART DIRECTOR: Tom Mandrake The feature section of this issue represents a wide spectrum of modern percussion with our three lead interview subjects: Rush's Neil Peart; PRODUCTION MANAGER: Roger Elliston jazz drummer Paul Motian and timpanist Fred Begun.
    [Show full text]
  • Orpe=Civ= V=Kfdeq Italic Flybynightitalic.Ttf
    Examples Rush Font Name Rush File Name Album Element Notes Working Man WorkingMan.ttf Rush Logo, Album/Song RUSH Working Man Titles Fly By Night, regular and FlyByNightregular.ttf. orpe=civ=_v=kfdeq italic FlyByNightitalic.ttf Caress Of Steel CaressOfSteel.ttf Rush Logo, Album Title Need to Photoshop to get the correct style RUSH CARESS OF STEEL Syrinx Syrinx.ttf Rush Logo, Album/Song RUSH 2112 Titles ALL THE WORLD'S A STAGE (core font: Arial/Helvetica) Cover text Arial or Helvetica are core fonts for both Windows and Mac Farewell To Kings FarewellToKings.ttf Rush Logo, Album/Song Rush A Farewell To Kings Titles Strangiato Strangiato.ttf Rush Logo Similar to illustrated "Rush" Rush Hemispheres Hemispheres.ttf Album Title Custom font by Dave Ward. Includes special character for "Rush". Hemispheres | RUSH THROUGH TIME RushThroughTime RushThroughTime.ttf Album Title RUSH Jacob's Ladder JacobsLadder.ttf Rush Logo Hybrid font PermanentWaves PermanentWaves.ttf Album Title permanent waves Moving Pictures MovingPictures.ttf Rush Logo, Album Title Same font used for Archives, Permanent Waves general text, RUSH MOVING PICTURES Moving Pictures and Different Stages Exit...Stage Left Bold ExitStageLeftBold.ttf Rush Logo RUSH Exit...Stage Left ExitStageLeft.ttf Album Title Exit...Stage Left SIGNALS (core font: Garamond) Album Title Garamond, a core font in Windows and Mac Grace Under Pressure GraceUnderPressure.ttf Rush Logo, Album Title, Upper Case character set only RUSH GRACE UNDER PRESSURE Song Titles RUSH Grand Designs GrandDesigns.ttf Rush Logo RUSH Grand Designs Lined GrandDesignsLined.ttf Alternate version Best used at 24pt or larger Power Windows PowerWindows.ttf Album Title, Song Titles POWER WINDOWS Hold Your Fire Black HoldYourFireBlack.ttf Rush Logo Need to Photoshop to get the correct style RUSH Hold Your Fire HoldYourFire.ttf Album Title, Song Titles HOLD YOUR FIRE A Show Of Hands AShowofHands.ttf Song Titles Same font as Power Windows.
    [Show full text]
  • Far and Away a Prize Every Time
    NEW FROM BESTSELLING AUTHOR AND RUSH DRUMMER NEIL PEART Far and Away A Prize Every Time Neil Peart ISBN: 978-1-77041-058-9 8 x 10'', 260 pages, cloth 4-colour throughout, 150 photos $32.95 CDN, $29.95 U.S. May 2011 Memoir / Travel / Music Peart’s writing is lyrical and his tale poignant, fully capturing an extraordinary journey, both as a travel adventure and as memoir. — Library Journal on Ghost Rider Following in the tradition of Ghost Rider and Traveling Music, Rush drummer Neil Peart lets us ride along on his numerous road trips in North America, Europe, and South America, sharing his experiences in personal reflections and full-colour photos. Spanning almost four years, these twenty-two stories are open letters that recount adventures both personal and universal — from the challenges and accomplishments in the professional life of an artist to the birth of a child. Fans will discover a more intimate side to Neil’s very private personal life, and will enjoy his observations of natural phenomena. At one point, Neil anxiously describes the birth of two hummingbirds in his backyard; at Also by Neil Peart the same time, his wife is preparing for the birth of their daughter — a Ghost Rider: Travels on the striking synchronicity tenderly related to readers. Healing Road A love of drumming and the open road threads through the narrative, as 978-1-55022-548-8 paper Neil explores new horizons, both physical and spiritual. This is the $22.95 CDN, $19.95 U.S. personal, introspective travelogue of rock’s foremost drummer, 978-1-55022-546-4 cloth $34.95 CDN, $28.95 U.S.
    [Show full text]
  • Rush's Lyrical Rhetoric of Oppression and Liberation
    Relevant Rhetoric, Vol. 7 (2016): Rush’s Lyrical Rhetoric of Oppression and Liberation Rush’s Lyrical Rhetoric of Oppression and Liberation: Extending “Freedom Songs” into the Progressive Rock Genre Brett A. Barnett Associate Professor of Communication Slippery Rock University of Pennsylvania [email protected] Relevant Rhetoric, Vol. 7 (2016): Rush’s Lyrical Rhetoric of Oppression and Liberation 2 On April 18, 2013, members of the Canadian power trio Rush were among the artists inducted into the Rock and Roll Hall of Fame, a well-deserved honor that was long overdue. Formed in August 1968, Rush would join artists like Pink Floyd and Yes in shaping the music movement that would come to be categorized as “progressive” rock, or “prog rock,” a rock music sub-genre that Rush. Photo credit: By Enrico Frangi (Uploaded by User:Jonasz) [Public domain], via Wikimedia Commons also developed in the late 1960s.1 As reflected in the music of Rush, progressive rock involves more advanced musical forms, including an expanded instrumental palette and increased com- plexity in terms of instrumentation, as well as more sophisticated lyrical themes ranging from unconventional subject matter to increased social commentary. After years playing on the Toronto music scene, Rush formed their own label, Moon Records, and shortly thereafter released their first album, Rush, in 1974.2 Rush’s self-titled debut album did not garner much attention until Cleveland’s WMMS (100.7 FM), widely regarded as one of the most influential rock radio stations in North America,
    [Show full text]
  • Turn on with Rush
    WITH TURN ON WITH ==RUSH== N[)( I1.oChOI Young AdulTN _OIio Rush Profile Invisible Airwaves Crackle with life Bright antennae bristle With the enerqy Emotional feedback On a timeless wavelength Bearing a gift beyond price .•. (~Spirit of Radio· from Permanent Waves) In 1974, there was an album called Rush, and a fresh, youthful threesome from Canada pounding out heavy rock rhythms. Six years and another six discs later, the airwaves are crackling and bristling all over the country with the sound of Permanent Waves, Rush'a latest album. As of ~rch 1st, weeks after its release, it is Number Five on the charts, and the single, ~Spirit of Radio· is making its own waves. The first taste of what was to come occurred shortly before the release of Rush ' s second album in 1974, Fly By Night, when drummer John Rutsey left the group and Neil Peart arrived. With the full consent of founding members Alex Lifeson (guitar) and Geddy Lee (bass, vocals), Peart soon became chief lyricist, and the music be- gan t<) take on a less straight-forward, more mystical form. That year, the band received a Juno Award (Canadian Grammy) as The Most Promising New Group of the Year. A third platter, Caress of Steel, saw this development taking further shape, with a whole side being -,- devoted to the t ~le of the quest for the "Fountain of Lamneth." But it wasn't until their fourth album in '76 that Rush r eally de­ fined their role as storytellers of sci-fi. Entitl ed 2112, an entire side of the album was once again taken up with the musical relating of an epic tale.
    [Show full text]
  • A Tribute to Rush's Incomparable Drum Icon
    A TRIBUTE TO RUSH’S INCOMPARABLE DRUM ICON THE WORLD’S #1 DRUM RESOURCE MAY 2020 ©2020 Drum Workshop, Inc. All Rights Reserved. From each and every one of us at DW, we’d simply like to say thank you. Thank you for the artistry. Thank you for the boundless inspiration. And most of all, thank you for the friendship. You will forever be in our hearts. Volume 44 • Number 5 CONTENTS Cover photo by Sayre Berman ON THE COVER 34 NEIL PEART MD pays tribute to the man who gave us inspiration, joy, pride, direction, and so very much more. 36 NEIL ON RECORD 70 STYLE AND ANALYSIS: 44 THE EVOLUTION OF A LIVE RIG THE DEEP CUTS 48 NEIL PEART, WRITER 74 FIRST PERSON: 52 REMEMBERING NEIL NEIL ON “MALIGNANT NARCISSISM” 26 UP AND COMING: JOSHUA HUMLIE OF WE THREE 28 WHAT DO YOU KNOW ABOUT…CERRONE? The drummer’s musical skills are outweighed only by his ambitions, Since the 1970s he’s sold more than 30 million records, and his playing which include exploring a real-time multi-instrumental approach. and recording techniques infl uenced numerous dance and electronic by Mike Haid music artists. by Martin Patmos LESSONS DEPARTMENTS 76 BASICS 4 AN EDITOR’S OVERVIEW “Rhythm Basics” Expanded, Part 3 by Andy Shoniker In His Image by Adam Budofsky 78 ROCK ’N’ JAZZ CLINIC 6 READERS’ PLATFORM Percussion Playing for Drummers, Part 2 by Damon Grant and Marcos Torres A Life Changed Forever 8 OUT NOW EQUIPMENT Patrick Hallahan on Vanessa Carlton’s Love Is an Art 12 PRODUCT CLOSE-UP 10 ON TOUR WFLIII Three-Piece Drumset and 20 IN THE STUDIO Peter Anderson with the Ocean Blue Matching Snare Drummer/Producer Elton Charles Doc Sweeney Classic Collection 84 CRITIQUE Snares 80 NEW AND NOTABLE Sabian AAX Brilliant Thin Crashes 88 BACK THROUGH THE STACK and Ride and 14" Medium Hi-Hats Billy Cobham, August–September 1979 Gibraltar GSSVR Stealth Side V Rack AN EDITOR’S OVERVIEW In His Image Founder Ronald Spagnardi 1943–2003 ole models are a tricky thing.
    [Show full text]
  • Foreword 5 Introduction 6 About This Book 8 the Making of Taking Center Stage 14 Drum Key 30
    TAKING CENTER STAGE a lifetime of live performance NEIL PEART by Joe Bergamini © 2012 Hudson Music LLC International Copyright Secured. All Rights Reserved. No part of this publication may be reproduced in any form or by any means without the prior written permission of the publisher. www.hudsonmusic.com ConTenTsConTenTsConTenTs Foreword 5 Introduction 6 About This Book 8 The Making of Taking Center Stage 14 Drum Key 30 CHAPTER 1: 2112 and All the World’s a Stage Tours (1976-77) 33 Drum Setup 35 CHAPTER 2: A Farewell to Kings Tour (1977) 36 Drum Setup 39 CHAPTER 3: Hemispheres Tour (1978-79) 40 Drum Setup 42 ”The Trees” 43 Analysis 43 Drum Transcription 45 “La Villa Strangiato” 49 Analysis 49 Drum Transcription 51 CHAPTER 4: Permanent Waves Tour (1979-80) 58 Drum Setup 60 ”The Spirit of Radio” 61 Analysis 61 Drum Transcription 62 ”Free Will” 66 Analysis 66 Drum Transcription 68 ”Natural Science” 73 Analysis 73 Drum Transcription 75 CHAPTER 5: Moving Pictures Tour (1980-81) 81 Drum Setup 84 ”Tom Sawyer” 85 Analysis 85 Drum Transcription 87 ”YYZ” 91 Analysis 91 Drum Transcription 93 CHAPTER 6: Signals Tour (1982-83) 97 Drum Setup 101 ”Subdivisions” 102 Analysis 102 Drum Transcription 104 CHAPTER 7: Grace Under Pressure and Power Windows Tours (1984-86) 108 Drum Setup 113 ”Marathon” 114 Analysis 115 Drum Transcription 116 2 CHAPTER 8: Hold Your Fire Tour (1987-88) 122 Drum Setup 126 ”Time Stand Still” 128 Analysis 128 Drum Transcription 129 CHAPTER 9: Presto Tour (1990) 134 Drum Setup 136 ”Presto” 138 Analysis 138 Drum Transcription 140 CHAPTER
    [Show full text]
  • Rush Release: Canada's Power Trio Is Switched on Live
    Rush Release Canada's Power lfio Is Switched On Live ooah-yeah!" It's Rush on the rampage, a scream­ drummer, John Rutsey]. Musically, it looked like a logical ing hard rock band from Canada. Drummer Neil place to do a live album. We had four albums' wor-th of Peart is in back, flailing away in the heavy, or­ material honed do-wn into a liv.e show. And the record O namental style required of drummers in power company was hot for a live album." trios. Golden-haired Alex Lifeson's guitar whines, and Peart feels that the live album will help present a more up front, bassist Geddy Lee gives forth with the shrill, accurate picture of where the band is currently at. screeching vocals that have given Rush its reputation as "When we playa piece live, we add all our little quirks HLed Zeppelin Junior," to it. It grows; our older material shows a remarkahle That's a first impression, but have you looked and lis­ progression. Some of the old songs have developed until tened lately? Neil Peart, who's the band's lyricist and is they're superior to the originals. This gives us a chance full of articulate, well-conceived explanations for every to bring them up to date. We always felt there was some­ aspect of Rush's existence, suggests optimistically, leThe thing happening live that didn't come flcross on record. connection wi th Led Zeppelin doesn't come so quickly Now we have the opportunity to capture that essence of anymore.
    [Show full text]
  • How Is Rush Canadian?
    Rush and Philosophy 2nd pages 3/11/11 1:56 PM Page 287 21 How Is Rush Canadian? DURRELL BOWMAN Given Canada’s relatively small population (twenty-one million in 1969, thirty-four million in 2009), many—but certainly not all—of the nation’s more ambitious musicians have pursued at least some of their career activities in the US and other foreign parts. Rush mainly demonstrates “Canadianness” by combining such British and American influences as progressive rock, hard rock, and indi- vidualism. However, the band has also included more specifically Canadian references across its long career. CanCon The Canadian government implemented specific content—or “CanCon”—regulations in 1971, and broadcasters were then required to include certain percentages of Canadian material. For music, at least two of a song recording’s four main categories of Music, Artist, Production, and Lyrics (“M-A-P-L”) must be “Canadian” according to citizenship or location. The interpretation of this changed after 1991, due to a “scandal” involving Bryan Adams failing to qualify as Canadian because of co-writing certain songs, such as “(Everything I Do) I Do it For You” ( Waking up the Neighbours and Robin Hood: Prince of Thieves , both 1991), with such non-Canadians as Mutt Lange and Michael Kamen. (Spelling the word “neighbours” in the Canadian way apparently didn’t help.) The outcome is that even though Shania Twain similarly co- wrote the songs on Come on Over (1997) with her then-husband Mutt Lange and did not record any of this music in Canada, her album and its songs by that point qualified as Canadian.
    [Show full text]
  • {Download PDF} Far and Away: a Prize Every Time Kindle
    FAR AND AWAY: A PRIZE EVERY TIME PDF, EPUB, EBOOK Neil Peart | 298 pages | 01 Dec 2011 | ECW Press, Canada | 9781770410596 | English | Montreal, Canada Far And Away: A Prize Every Time PDF Book Trouble signing in? Not to hear the audience, note — not to bask in their cheers and appreciation — but just to look at them. This is not a criticism. Everything was quiet for an awful moment. For the audience not familiar with Peart's day job, "Far and Away" is a treasure of travel literature, both between geographic locales and between ideas. Most of his books are travelogues, and this one is no different. I'm not a 'read before bed' type generally but this book was great for that because I was mostly amused or filled with admiration--not a bad feeling to drift off to. I heard the sharp report even through my earplugs, and saw the poor mangled deer give one final jerk. Of course his music and lyrics of Rush remain, and his books. In South Texas we saw the ravages of the flooding from earlier this summer, with scoured riverbeds and rebuilt bridges and runoff areas that had been swept away. While I liked many of their songs and was always impressed with the excellent musicianship, the hero- worship that surrounded them always left me feeling like the guy who refused to drink the Kool-Aid. We sped down long, straight stretches of empty road, both paved and dirt, across the Great Basin of sage, juniper, stunted pines, and occasional twisty bits through the mountains — classic basin and range country.
    [Show full text]
  • Chris Mcdonald. 2009. Rush, Rock Music and the Middle Class: Dreaming in Middletown
    Chris McDonald. 2009. Rush, Rock Music and the Middle Class: Dreaming in Middletown. Bloomington and Indianapolis: Indiana University Press. Reviewed by Bradley Sroka I first heard the rock band Rush in 1990 when a friend in my ninth-grade science class lent me their first greatest hits collection, Chronicles. I was raised in a middle-class suburb of Annapolis, Maryland, and the tastemakers at my high school informed me that Rush was indeed very cool, so I better listen to them. By the tenth grade, all of my friends listened to their music and spoke with great authority about the band's superior musicianship and the deep meaning we were confident was so evident in Peart's lyrics. For us, Rush's albums were not just the soundtracks to our adolescence; we considered them a trusted font of worldly wisdom. Rush is a virtuoso rock trio begun in 1968 in Toronto and best known for the classic-rock staples "Tom Sawyer" (1981), "The Spirit of Radio" (1980), "Closer to the Heart" (1977), and a half-dozen or so others. Each of the musicians in the trio is a perennial poll winner for his respective instrument in magazines such as Guitar Player and Modern Drummer. Geddy Lee (b. Gary Lee Weinrib) sings, plays bass guitar, and, since 1977, also plays various keyboard instruments and synthesizers. His voice is "distinctive," in that he sings in a high register that many consider an acquired taste. Alex Lifeson (b. Aleksandar ZivojinoviC) plays guitar, and Neil Peart is their revered and ostentatious drummer. Lee and Lifeson regularly write the band's music, and, Peart, far more often than not, writes the lyrics.
    [Show full text]
  • Press Release: Uptown Music Collective Kicks Off Performance
    Press Release: Uptown Music Collective kicks off performance season with a tribute to Rush Who: The Uptown Music Collective (a 501 (c) 3 Non‐Profit School of Music) What: Permanent Waves: The Music of Rush Where: The Community Arts Center (220 West Fourth St. Williamsport, Pa 17701) When: November 18th & 19th, 2016 at 7:30pm Tickets: $15.00 in advance & $20.00 at the door. Available at Alabaster Coffee, K&S Music, the Community Arts Center Box Office, Buttorff’s Hardware, Service 1st Federal Credit Union, Rupert's Specialty Meats, and the Uptown Music Collective Contact: Jared Mondell ([email protected], 570‐329‐0888, uptownmusic.org) Release: On Friday and Saturday, November 18th and 19th, the Uptown Music Collective will kick off its 2016‐2017 performance season with its presentation of Permanent Waves: The Music of Rush. The two‐night performance will feature students from the schools Special Performance Group 1, who range in age from 11 to 18, performing songs from every era of the iconic rock band Rush’s long career. Including hit songs like Tom Sawyer, Spirit of the Radio, Closer to the Heart and Limelight, performed alongside classic Rush album tracks like the 2112 Overture, Freewill, YYZ, Working Man, and more. The show will take place at the Community Arts Center in Williamsport and will include one of the largest professional stage, sound, and light shows in Collective history. This show is sponsored in part by State Farm Agent, Kellen Moore. Rush is a Canadian rock band formed in 1968 in Toronto, Ontario. The band is composed of bassist, keyboardist, and lead vocalist Geddy Lee; guitarist and backing vocalist Alex Lifeson; and drummer, percussionist, and lyricist Neil Peart.
    [Show full text]