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“Grunge Killed Glam Metal” Narrative by Holly Johnson
The Interplay of Authority, Masculinity, and Signification in the “Grunge Killed Glam Metal” Narrative by Holly Johnson A thesis submitted to the Faculty of Graduate and Postdoctoral Affairs in partial fulfillment of the requirements for the degree of Master of Arts in Music and Culture Carleton University Ottawa, Ontario © 2014, Holly Johnson ii Abstract This thesis will deconstruct the "grunge killed '80s metal” narrative, to reveal the idealization by certain critics and musicians of that which is deemed to be authentic, honest, and natural subculture. The central theme is an analysis of the conflicting masculinities of glam metal and grunge music, and how these gender roles are developed and reproduced. I will also demonstrate how, although the idealized authentic subculture is positioned in opposition to the mainstream, it does not in actuality exist outside of the system of commercialism. The problematic nature of this idealization will be examined with regard to the layers of complexity involved in popular rock music genre evolution, involving the inevitable progression from a subculture to the mainstream that occurred with both glam metal and grunge. I will illustrate the ways in which the process of signification functions within rock music to construct masculinities and within subcultures to negotiate authenticity. iii Acknowledgements I would like to thank firstly my academic advisor Dr. William Echard for his continued patience with me during the thesis writing process and for his invaluable guidance. I also would like to send a big thank you to Dr. James Deaville, the head of Music and Culture program, who has given me much assistance along the way. -
Interview with Colin Bailey, Drummer with Winifred Atwell in the 1950S
Interview with Colin Bailey, drummer with Winifred Atwell in the 1950s Bailey was born in Swindon in 1934. Now lives in California. In Australia in the early 1960s he was a member of the Australian Jazz Quartet. Became an American citizen in 1970. Playing, recording and touring nationally and internationally with Atwell in the early 1950s was a major early break in his music career. As he said to me more than once, ‘I wouldn’t be where I am if hadn’t been for Winnie’. In his jazz, recording and performing career in the US, Bailey has worked with Frank Sinatra, Joe Pass (with whom he recorded 14 albums), Miles Davis (depping for the teenaged Tony Williams who was too young to get a club licence—‘one of the thrills of my life’), George Shearing, Benny Goodman, and many others. He is author of influential drum technique books, and a former music lecturer at North Texas State University. In 1978 ? Bailey was flown out to Australia from the US as a special surprise guest for Atwell’s appearance on the Australian television version of This Is Your Life. Telephone interview, May 6 2011. In July 1952 I was a young musician learning at Ivor Mairants’s Central School of Dance Music, in London. Ivor played guitar with Winnie on her recordings, and she was looking for a new drummer, so I auditioned, at his suggestion. There were two drummers, and I thought the other player was better than me, but they chose me. Later, Jan—my wife—was Winnie’s dresser, so it was a perfect arrangement, for touring and travelling. -
Adopted Budget 2009-2010
City of Wilsonville Oregon Adopted Budget FY 2009/10 CITY OF WILSONVILLE, OREGON FY 2009-10 QUICK FACTS AND LOCATOR PAGES City Operating Capital Urban Renewal More information & Other Projects Agency on these pages WhereȱTheȱMoneyȱComesȱFrom: Propertyȱtaxes $ȱȱȱȱȱȱȱȱ5,226,000 $ȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȬ $ȱȱȱȱȱȱȱȱ7,050,000 69,ȱ274Ȭ276 Otherȱgovernments ȱȱȱȱȱȱȱȱȱȱ3,010,347 ȱȱȱȱȱȱȱȱ5,539,470 ȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȬ 70Ȭ77,ȱ202 Chargesȱforȱservices ȱȱȱȱȱȱȱȱ14,763,346 ȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȬ ȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȬ 70Ȭ77 Bondȱsales ȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȬ ȱȱȱȱȱȱȱȱ7,000,000 ȱȱȱȱȱȱȱȱȱ8,000,000 202,ȱ279 SystemȱDevelopmentȱCharges ȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȬ ȱȱȱȱȱȱȱȱ8,224,984 ȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȬ 79 Allȱotherȱrevenues ȱȱȱȱȱȱȱȱȱȱ9,378,068 ȱȱȱȱȱȱȱȱ2,066,230 ȱȱȱȱȱȱȱȱȱȱȱȱ193,453 70Ȭ77,ȱ279 Carryover/beginningȱbalance ȱȱȱȱȱȱȱȱ26,370,848 ȱȱȱȱȱȱ16,878,180 ȱȱȱȱȱȱȱ13,453,766 28Ȭ29,ȱ279 TotalȱResources $ȱȱȱȱȱȱ58,748,609 $ȱȱȱȱȱ39,708,864 $ȱȱȱȱȱȱ28,697,219 WhereȱTheȱMoneyȱGoes: Personalȱservices $ȱȱȱȱȱȱ13,595,127 $ȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȬ $ȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȬ 84Ȭ200 Materialsȱandȱservices ȱȱȱȱȱȱȱȱ14,893,008 ȱȱȱȱȱȱȱȱȱȱȱȱȱ37,300 ȱȱȱȱȱȱȱȱȱ1,068,492 89Ȭ200,ȱ279 CapitalȱȬȱequipment ȱȱȱȱȱȱȱȱȱȱȱȱ982,000 ȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȬ ȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȬ 89Ȭ200 CapitalȱȬȱprojects ȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȬ ȱȱȱȱȱȱ25,284,609 ȱȱȱȱȱȱȱȱȱ3,223,500 201,ȱ286,ȱ293 Debtȱservice ȱȱȱȱȱȱȱȱȱȱ3,024,933 ȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȬ ȱȱȱȱȱȱȱ11,853,652 255Ȭ262,ȱ283,ȱ291 Contingency/reserves ȱȱȱȱȱȱȱȱ26,251,916 ȱȱȱȱȱȱ12,808,449 ȱȱȱȱȱȱȱȱȱ7,426,025 261Ȭ264,ȱ279 Unappropriatedȱendingȱbalance ȱȱȱȱȱȱȱȱȱȱ1,580,131 ȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȬ ȱȱȱȱȱȱȱȱȱ5,125,550 -
PASIC 2010 Program
201 PASIC November 10–13 • Indianapolis, IN PROGRAM PAS President’s Welcome 4 Special Thanks 6 Area Map and Restaurant Guide 8 Convention Center Map 10 Exhibitors by Name 12 Exhibit Hall Map 13 Exhibitors by Category 14 Exhibitor Company Descriptions 18 Artist Sponsors 34 Wednesday, November 10 Schedule of Events 42 Thursday, November 11 Schedule of Events 44 Friday, November 12 Schedule of Events 48 Saturday, November 13 Schedule of Events 52 Artists and Clinicians Bios 56 History of the Percussive Arts Society 90 PAS 2010 Awards 94 PASIC 2010 Advertisers 96 PAS President’s Welcome elcome 2010). On Friday (November 12, 2010) at Ten Drum Art Percussion Group from Wback to 1 P.M., Richard Cooke will lead a presen- Taiwan. This short presentation cer- Indianapolis tation on the acquisition and restora- emony provides us with an opportu- and our 35th tion of “Old Granddad,” Lou Harrison’s nity to honor and appreciate the hard Percussive unique gamelan that will include a short working people in our Society. Arts Society performance of this remarkable instru- This year’s PAS Hall of Fame recipi- International ment now on display in the plaza. Then, ents, Stanley Leonard, Walter Rosen- Convention! on Saturday (November 13, 2010) at berger and Jack DeJohnette will be We can now 1 P.M., PAS Historian James Strain will inducted on Friday evening at our Hall call Indy our home as we have dig into the PAS instrument collection of Fame Celebration. How exciting to settled nicely into our museum, office and showcase several rare and special add these great musicians to our very and convention space. -
Dennis Chambers
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Students Arrested
4II& 0 / 4 - j , , 1 Vol. ix.No. #Theus ▼ university of nofre domeObserver - sf. many’s college MMonday, onday, >April 21, 1975 At local bar Students arrested CAME by Maureen Flynn “when this cop came over and I asked him Staff Reporter 'What’s going on?’ The next thing I knew he Six Notre Dame students were among nine ordered me to put my hands on the car and he persons arrested Friday night outside Bridget kicked my legs back. Then I was handcuffed and taken to the jail,” Herenda stated. NOTRE DAME McGuire’s Filling Station, a local tavern. Five of the six were charged with disobeying a "The only order he gave me was to put my COLLECTION public safety order to disperse after a hands on the car,” the student continued, “and I disturbance inside the tavern resulted in the did it right away.” Herenda voiced concern that arrest of a tenth person. The sixth was charged the incident might affect his chances for em with disorderly conduct. ployment. “I’m looking for a job right now,” he The students were released from the South said. “Now when they ask, Have you ever been Bend jail the next morning upon payment of $50 arrested?’ I’m going to have to answer yes. ‘For bond. what?’ Nothing.” Vice officers were initially called to Bridget Notre Dame junior John Cooper expressed McGuire’s at 1:45 a.m. to answer of a complaint consternation over the charge of disorderly of minors drinking in the building. According to conduct lodged against him. -
Title Page For
!"#$%&"'($$ )$*+,$-./0.12$ ! "#$!%&'()#*+,!-.*/! ! 0#*!1$23*/! ! ! 42$35.6!(/"! !"#$%&"'($)$*+,$-./0.12$+5!(376+5)2/!7&!$ 8.3$2*!92+52$!:35+,!4376+5)+*;! ! Commisssioned for the celebration of Tennessee's "Homecoming '86," Jug Blues & Fat Pickin' was inspired by recordings of the Memphis Jug Band (Beale Street, late 1920's), and bluegrass banjo pickin', which becomes "fattened out" by the sound of winds. Notes to the Conductor: The "Blues" should howl, whine, and wail like a harmonica solo, with the same freedom and indulgence one might hear in an unaccompanied Blues improvisation. The tempo fluctuations indicated must be observed, but the rubato should not be confined to these. The entire Blues must have an unmetered, cadenza-like quality. The "Blues" should never drag: the slowed-down sections must have great color and intensity of expression, whether sighing or wailing. The "Pickin'" doesn't need to be too fast, but has to have the kind of easy-going, self-gratifying, clear-headed virtuosity that characterizes great pickers. The performers should develop confidence in handling the rhythmic exchanges, and then communicate a spirit of good, clean, exuberant fun. Percussion Instrumentation and Distribution Tambourine Cowbells Wood Blocks Triangle Timbales Temple Blocks Xylophone Small Tom-tom œ Percussion 1 œ œ œ œ œ ÷ œ œ œ œ œ & Bass Drum Bongos Pie Pan Middle Tom-tom Vibraphone Chimes Percussion 2 ÷ œ œ œ œ œ œ & Suspended Cymbal Slit Wood Drum Snare Drum Large Tom-tom Glockenspiel Clash Cymbals Tamtam Anvil œ Percussion 3 ÷ œ œ œ œ œ œ œ & Timpani ? œ œ bœ Jug Blues & Fat Pickin' Don Freund Wail, like a giant harmonica 1986, revised 1990 Transposed Score ∂ = ca. -
Press Release
Contact Marketing / Promotion Label: UDR GmbH Süderwungweg 10 thomas@udr‐music.com 25813 Husum . Germany serena@udr‐music.com Phone: +49 (0)4841 - 66 821 67 Mail: [email protected] Mobile: +49 (0)151 - 2523 7051 Fax: +49 (0) 4841 - 66 821 68 Label @ Facebook: www.facebook.com/UDR.Music Label @ Web: www.udr‐music.com Saxon @ Facebook: www.facebook.com/saxon Saxon @ Web: www.saxon747.com Press Release COVER CD I Tracklist – including performers: 1. Crazy Train 7. Goodbye to Romance Vocals: Serj Tankiann Vocals: Ripper Gtrs: Tom Morello Gtrs: Gus G. Bass: Rudy Sarzo Bass: Rudy Sarzo Drums: Vinny Appice Drums: Brett Chassen 2. Over the Mountain 8. Back To The Coast (Quiet Riot) Vocals: Ripper Vocals: Kelle Rhoads Gtrs: Jon Donais Gtrs: Bruce Kulick Bass: Rudy Sarzo Bass: Rudy Sarzo Drums: Frankie Banali Drums Frankie Banali 3. Mr Crowley 9. Killer Girl. (Quiet Riot) Vocals: Chuck Billy Vocals: Ripper Owens Gtrs: Alexi Laiho Gtrs: Joel Hoekstra Keyboards: Kelle Rhoads Bass: Rudy Sarzo Bass Rudy: Sarzo Drums: Brett Chassen Drums: Vinny Appice 10. Believer 4. Suicide Solution Vocals: Ripper Vocals: Ripper Gtrs: Doug Aldrich Gtrs: Brad Gillis Bass: Rudy Sarzo Bass: Rudy Sarzo Drums: Vinny Appice Drums: Brett Chassen 11. S A T 0 5. I Don't Know Vocals: Ripper Owens Vocals: Ripper Rhythm guitars: Bob Kulick Gtrs: George Lynch Lead guitar: Dweezil Zappa Bass: Rudy Sarzo Bass: Rudy Sarzo Drums: Brett Chassen Drums: Vinny Appice 6. Flying High Again Vocals: Ripper Gtrs: Bernie Torme Bass: Rudy Sarzo Drums: Brett Chassen Press Release: IMMORTAL RANDY RHOADS – THE ULTIMATE TRIBUTE wird weltweit über UDR Music im März 2015 veröffentlicht. -
Dennis Chambers
Dennis Chambers Senior Vice President 300 Santana Row, Fifth Floor San Jose, CA 95128 T 408-615-3429 F 408-615-3444 [email protected] | www.ctbt.com License # 00475577 Professional Expertise Dennis Chambers is a pillar of Silicon Valley commercial real estate brokerage. Over the last 36 years he has brokered over 27 million square feet of leases, received the Outstanding Industrial Real Estate Award eight times, and was inducted into the Brokers Hall of Fame in 1981. Dennis has been a Partner of the firm since joining CPS (now Cassidy Turley) in 1981. Prior to this, Dennis worked at Coldwell Banker from 1974 to 1981. Total Square Footage Leased: 27,811,261 Total Square Footage Sold: 5,343,512 Total Acreage Sold: 3,428.08 Total Value of Transactions: $4,250,894,038 Clients Served Atari Bank of America Bausch & Lomb Bedford Property Investors Boston Properties Cargill Cigna Cisco Systems Cooper Companies Data Quest DiNapoli Properties Echelon Gibson-Speno Gore & Associates Hitachi Data Systems Hunter/Storm Koll Co. Lincoln Property Lockheed Martin Memorex MetLife Mozart Development Olympus America Orchard Properties Prudential Revo, Inc. RREEF USA SanDisk South Bay Development Sun Microsystems* Symmetricom Tokyo Electron America Unisys Wyse Communications *Consultant Major Transactions Atari Expansions, 3,195,000 square feet Leased Cisco Systems, In Excess of 3,000,000 square feet Leased Cisco Systems, 1,167.41 acres Sold Cisco Systems, 75+ Major Facilities and Sales Offices Leased throughout North America Wyse Communications, 450,000 -
Jay Graydon Discography (Valid July 10, 2008)
Jay Graydon Discography (valid July 10, 2008) Jay Graydon Discography - A (After The Love Has Gone) Adeline 2008 RCI Music Pro ??? Songwriter SHE'S SINGIN' HIS SONG (I Can Wait Forever) Producer 1984 258 720 Air Supply GHOSTBUSTERS (Original Movie Soundtrack) Arista Songwriter 1990 8246 Engineer (I Can Wait Forever) Producer 2005 Collectables 8436 Air Supply GHOSTBUSTERS (Original Movie Soundtrack - Reissue) Songwriter 2006 Arista/Legacy 75985 Engineer (I Can Wait Forever) Producer Air Supply DEFINITIVE COLLECTION 1999 ARISTA 14611 Songwriter (I Can Wait Forever) Producer Air Supply ULTIMATE COLLECTION: MILLENNIUM [IMPORT] 2002 Korea? ??? Songwriter (I Can Wait Forever) BMG Entertainment 97903 Producer Air Supply FOREVER LOVE 2003 BMG Entertainment, Argentina 74321979032 Songwriter (I Can Wait Forever) FOREVER LOVE - 36 GREATEST Producer Air Supply HITS 1980 - 2001 2003 BMG Victor BVCM-37408 Import (2 CDs) Songwriter (I Can Wait Forever) Producer Air Supply PLATINUM & GOLD COLLECTION 2004 BMG Heritage 59262 Songwriter (I Can Wait Forever) Producer Air Supply LOVE SONGS 2005 Arista 66934 Songwriter (I Can Wait Forever) Producer Air Supply 2006 Sony Bmg Music, UK 82876756722 COLLECTIONS Songwriter Air Supply (I Can Wait Forever) 2006 Arista 75985 Producer GHOSTBUSTERS - (bonus track) remastered UPC: 828767598529 Songwriter (I Can Wait Forever) Producer Air Supply 2007 ??? ??? GRANDI SUCCESSI (2 CD) Songwriter (I Can Wait Forever) ULTIMATE COLLECTION Producer Air Supply 2007 Sony/Bmg Import ??? [IMPORT] [EXPLICIT LYRICS] [ENHANCED] Songwriter (I Can Wait Forever) Producer Air Supply ??? ??? ??? BELOVED Songwriter (I Can Wait Forever) Producer Air Supply CF TOP 20 VOL.3 ??? ??? ??? Songwriter (Compilation by various artists) (I Can Wait Forever) Producer Air Supply COLLECTIONS TO EVELYN VOL. -
The PLU Percussion and Steel Pan Ensembles Friday, May 1, 2015 At
Studio Series: The PLU Percussion and Steel Pan Ensembles Friday, May 1, 2015 at 8pm Lagerquist Concert Hall, Mary Baker Russell Music Center Pacific Lutheran University School of Arts and Communication / Department of Music present Studio Series: The PLU Percussion and Steel Pan Ensembles Dr. Miho Takekawa, Director Friday, May 1, 2015 at 8pm Lagerquist Concert Hall, Mary Baker Russell Music Center Welcome to Lagerquist Concert Hall. Please disable the audible signal on all watches, pagers and cellular phones for the duration of the concert. Use of cameras, recording equipment and all digital devices is not permitted in the concert hall. Program PLU Steel Pan Ensemble Shaker ......................................................................................................................................... Tracy Thornton, edit. Steve Popernack Mambo In Miami ........................................................................................................................... Armando Peraza, arr. Matt Duback Air On The G String ................................................................................................................................ J.S. Bach, arr. Franz Grissom Baja ....................................................................................................................................................... Trinidad Traditional, arr. Shores Jeilymar Brady, Shayla Chaykin, Kaela Shoe, Adam Smith, Christine Smith, Tim Hager, drummer; Obe Quarless, community member PLU Percussion Ensemble Layers ..................................................................................................................................................................................... -
African Drumming in Drum Circles by Robert J
African Drumming in Drum Circles By Robert J. Damm Although there is a clear distinction between African drum ensembles that learn a repertoire of traditional dance rhythms of West Africa and a drum circle that plays primarily freestyle, in-the-moment music, there are times when it might be valuable to share African drumming concepts in a drum circle. In his 2011 Percussive Notes article “Interactive Drumming: Using the power of rhythm to unite and inspire,” Kalani defined drum circles, drum ensembles, and drum classes. Drum circles are “improvisational experiences, aimed at having fun in an inclusive setting. They don’t require of the participants any specific musical knowledge or skills, and the music is co-created in the moment. The main idea is that anyone is free to join and express himself or herself in any way that positively contributes to the music.” By contrast, drum classes are “a means to learn musical skills. The goal is to develop one’s drumming skills in order to enhance one’s enjoyment and appreciation of music. Students often start with classes and then move on to join ensembles, thereby further developing their skills.” Drum ensembles are “often organized around specific musical genres, such as contemporary or folkloric music of a specific culture” (Kalani, p. 72). Robert Damm: It may be beneficial for a drum circle facilitator to introduce elements of African music for the sake of enhancing the musical skills, cultural knowledge, and social experience of the participants. PERCUSSIVE NOTES 8 JULY 2017 PERCUSSIVE NOTES 9 JULY 2017 cknowledging these distinctions, it may be beneficial for a drum circle facilitator to introduce elements of African music (culturally specific rhythms, processes, and concepts) for the sake of enhancing the musi- cal skills, cultural knowledge, and social experience Aof the participants in a drum circle.