PAS Magazines: The First 50 Years By Lauren Vogel Weiss

ne of the most important Percussion Ensemble. In the short space of PERCUSSIONIST aspects of PAS is commu- less than two years interest has grown to the The first “official publication of the Percus- nication. In today’s world point that copies of the newsletter are being sive Arts Society” was Percussionist, a small, of Internet, social media, sent to professional percussionists and edu- six-by-nine inch volume published in May and tweets, people take for cators throughout the country and to many 1963. The red cover featured a single mal- Ogranted the instant communication so readily overseas locations…. let and the issue was 22 pages. Donald G. available. But fifty years ago, there were no “Percussive Notes is meant to be a means of Canedy, the de-facto President (and Execu- computers and long-distance phone calls were not only reporting news and activities of in- tive Secretary) of the fledging organization, expensive, so one of the best forms of com- terest in the field of percussion but to provide served as the magazine’s first editor. Other munication was the written word, in the form a medium for the expression of divergent members of the editorial board were Rey M. of magazines and newsletters. opinions as to the state of and the purposes of Longyear, Al Payson, and soon-to-be-Presi- In the burgeoning world of percussion percussion performance and teaching both at dent Gordon Peters. education, the only way that percussionists a student and professional level.” Canedy, who was teaching at Southern across the country could share ideas—other By December 1964 (Vol. 3, No. 2), there Illinois University at the time, remembers than occasional meetings—was by mail. And was a written thank you to the companies how that first issue came to be. “Remo Belli one of the first sources of this information that underwrote the newsletter: Amrawco, sent me a check for $140 and asked me to do was a small local newsletter called Percussive Musser, Zildjian, Camco, Gretsch, and Ev- whatever I could for PAS, whenever I could. Notes, published not by PAS but by James L. ans. The following year, Slingerland and Rog- That bought our first red pamphlet. And that Moore. A percussionist in the Indianapolis ers were added to the list in the then 16-page was the beginning of everything permanent Symphony and adjunct professor at Butler newsletter. about the society.” University, Moore published the first issue of Four people were added as Regular Con- The first issue contained articles about Notes in February 1963. tributing Editors in February 1965 (Vol. 4, drum rudiments, keyboard mallet instru- Subtitled “items of interest about per- No. 3): Thomas Akins, Owen Clark, Jerry ments, dance drumming (i.e., drumset), a cussion from the Indianapolis Percussion Kent, and Richard D. Paul. And by the next Q&A column, and even a list—including ad- Ensemble,” Vol. 1, No. 1 was five typed year, the subscription rate had doubled to dresses—of the first 70 members of PAS. pages. It included news about the ensemble $2.00. By this time, Moore had moved to In 1966, after producing nine issues of (Moore, Richard Paul, and Erwin Mueller), Columbus, Ohio where he served as percus- Percussionist, Canedy left SIU for a position information about the Indiana State High sion instructor at Ohio State University and with CBS Musical Instruments, which had School Solo and Ensemble contest, people in as Principal Percussionist with the Columbus recently acquired Fender Guitars and Rogers percussion, and reviews of three publications. Symphony Orchestra. Drums. He turned over the editor’s duties Moore also included an article about the ma- But the was not to Neal Fluegel, who served in that capacity rimba, “Instrument of Singing Wood.” mentioned in Notes until June 1967. So how until 1979. Fluegel was joined by Assistant “I think the idea for the newsletter came was PAS communicating with its members? Editors James L. Moore (who was still pro- during one of the Symphony’s bus ducing Notes) and Al Payson, and in rides to one of our jump-out concerts,” 1972 by Jacqueline Meyer. Moore remembers. “We were promot- Contents of Percussionist in its early ing ourselves, but we had good inten- years included a wide variety of ar- tions, too. We started out mailing to ticles and news—even the minutes of a relatively small number of people PAS Board of Directors meetings. we knew in the field—some of our Articles featured a mix of topics, former teachers and colleagues.” from military drumming to key- In the second issue, Moore be- boards, from timpani to percussion gan the list of concert programs ensembles. There were also regu- that ran for decades, and the lar columns and reviews of new third issue featured a tongue-in- publications. Surprisingly, there cheek letter to the editor from “a was no advertising! The closest drummer’s wife.” Annual sub- thing to an ad was the list of all scriptions cost $1.00. the companies who joined and As stated in the June 1964 supported PAS, divided into issue (Vol. 2, No. 4), “Percus- categories: Manufacturers, Dis- sive Notes began on a very local tributors, Instrument Dealers basis in conjunction with the (which became Instruments activities of the Indianapolis Specialists/Dealers), and Pub-

percussive notes 12 MAY 2011 lishers—now known as Sustaining Members. The editorial staff was expanded in the The last page of each issue was a membership Spring of 1974 to include Larry Vanland- application. ingham as Review Editor, Ronald Keezer as Percussionist was originally published quar- Features Editor, and Jacqueline Meyer as terly and listed page numbers cumulatively. Advertising Manager. Linda Pimental was Each issue averaged about 30 pages, so No. 2 added as an Assistant to the Editor in the Fall of each volume would start with page 31 (or of 1979, shortly before Moore ended his ten- whatever was appropriate), with each volume ure as Editor. running about 120–150 pages. The last issue In Fall 1975, Percussionist began to publish of each volume included an index of all the three issues a year instead of the previous articles that had appeared in that year’s is- four. Each volume had more pages, so the to- sues. tal size for the year remained about the same (160 pages). The Winter 1978 issue (Vol. PERCUSSIVE NOTES 15, No. 2) was the last time that the Board In June 1967 (Vol. 5, No. 4), Percussive minutes were printed in this publication. Notes announced that beginning with the first When F. Michael Combs took over Fall 1967–68 issue, Percussive Notes would be- as Editor of Percussionist in the spring of come an official publication of the Percussive 1979 and Notes a year later, he brought a Arts Society. “The PAS Percussionist will con- new look to each periodical. The cover tinue to publish articles and research studies of Percussionist Vol. 16, No. 3 (Spring/ of importance to all in the percussion field, Summer 1979) featured a black-and-white and Percussive Notes will continue to keep all picture of a drumset player, which high- members informed on current news, trends, lighted one of the articles inside: “A History recent programs, and happenings of inter- of Jazz Drumming” by Thomas Shultz. est. Both publications will be available only This issue also showcased a major change in to members of the Percussive Arts Society. the publication: instead of a variety of articles Members will receive during each school year and other information about PAS, each four issues of the PAS Percussionist and three volume would focus on one issues of Percussive Notes, plus all other an- topic with fewer, nouncements and information sent out by the longer Society.” features; Dues increased to $5.00 for regular mem- this one bers and $2.50 for students. The first full- had three page ads appeared in Notes in late 1968 (the research 38-page Vol. 7, No. 1). The first four advertis- articles, each ers were Zildjian, Remo, Drums Unlimited, one more than and Rogers, who ran a four-page ad for their 20 pages in new timpani. length. Edition. This was done to Each cover of the publications was a differ- In 1981 it was secure a better mailing rate ent color—shades of red, yellow, green, blue. announced that from the U.S. Postal Ser- The 8½ x 11 inch Notes featured drawings or Percussionist would vice, which required four photographs on the cover. The smaller Percus- be re-named Per- annual issues of the same sionist was a different solid color showing the cussive Notes Research publication for second- PAS logo. class rates. At that time, PAS was publishing three annual issues of each publication. But it was soon announced that Notes would be published four times per year and Research Edition twice. At first, the dual title of Percussive Notes Research Edition/Percussionist appeared on each issue. The March 1982 cover (Vol. 19, No. 2) was the last one to carry the title Percussionist. (And if you’re wondering why the volume numbers of the two periodicals don’t match, Percussionist began publication after Notes, so there was no Volume 20 of Percussionist, al- lowing the two volume numbers to be in sync and comply with postal regulations.) As the name evolved into Percussive Notes Research Edition, so did the physical look of the magazine. Expanded from the six-by-nine inch size, it was now seven-by-ten inches, with an all white cover.

percussive notes 13 MAY 2011 “Each time the editor changed,” explains Schietroma moved the “nuts and bolts” of Combs, “the next editor was able to bring in the magazines to Village Press, a full-service some new things and make some improve- printer and publisher in Traverse City, Mich- ments. That was never a cut on the previous igan, where Joe. D. Rice served as Manag- person—they always did wonderful work— ing Editor. During this time, Notes faced but the new guy always had a chance to say, competition from Modern Drummer magazine ‘Let’s bring in some color’.” and its new offspring, Modern Percussionist. “It Combs’ first issue of Percussive Notes in the was necessary to make Notes more compre- Spring of 1980 (Vol. 18, No. 3) featured a hensive,” explains Schietroma. “Addressing full-color cover of drumsticks and mallets more areas of interest while achieving a more “growing” in a field of yellow flowers—quite professional look were key goals.” a bit different from the black-and-white cov- PAS changed publishers again in the ers (albeit using colored ink for the title) or middle of 1985, this time consolidating in pastels of previous issues. Urbana, Illinois, where the PAS office was Combs also updated the layout of Notes. then located. Susan Parisi served as Manag- “We changed the type for more clarity,” he ing Editor under Schietroma, and David explains. “We had someone design a new Via did double duty as Advertising Manager template, which we used for several years, and PAS Administrative Manager. Robert including covers and the organization of the Chapdu was added as the Art Director. articles. This was also probably the first time As PAS celebrated its 25th anniversary in tor,” Lambert stated that Notes would focus that we had departments and editors.” the Fall of 1986, James Lambert, Profes- on three areas: the young percussion student Instead of the previous news editors and sor of Percussion at Cameron University in (coordinated by Gary Curry), education (co- contributing columnists, Notes now had edi- Lawton, Okalahoma, and reviews editor for ordinated by Garwood Whaley), and perfor- tors for drumset (Ed Soph), marimba (Leigh Notes, took over as Editor (Vol. 25, No. 1). mance (coordinated by Michael Rosen). Howard Stevens), vibes (Ed Saindon), sym- In his first “Communication from the Edi- “My vision as editor was to keep the publi- phonic percussion (Charles Owen), timpani (Kalman Cherry), and percussion in the schools (William Schinstine). Combs’ then- wife Eileen served as the Advertising Man- ager. Sharing Their Knowledge After Combs resigned as editor of both publications, Robert Schietroma took over Through the years, the finest percussion performers, educators, and composers have as Editor of Percussive Notes in April 1983 contributed articles to Percussionist, Percussive Notes, and Percussive Notes Research Edition. (Vol. 21, No. 4), and Stuart Saunders Smith This is just a partial list of those who have shared their knowledge and expertise took over as editor of the Research Edition, with PAS members through the PAS publications. overseeing four bi-annual issues: March 1983 through September 1984. Jean Charles Keiko Abe . Henry Adler . Abraham Adzenyah . Horacee Arnold . John H. Beck François succeeded Smith as editor of the Alessandra Belloni . Louis Bellson . John Bergamo . James Blades . Michael Bookspan Research Editon for another five issues: March Robert Breithaupt . Mervin Britton . Bill Bruford . Michael Burritt . Gary Burton 1985 through a combined March/September William Cahn . James Campbell . Terri Lyne Carrington . Gary Chaffee . Vida Chenoweth 1986 issue, culminating in Vol. 25, No. 3 Kalman Cherry . Anthony Cirone . Michael Colgrass . Randy Crafton . Sam Denov (March 1987) which also introduced the new Julie Davila . Lalo Davila . Christopher Deane . Dennis DeLucia . Chet Doboe publication schedule of four issues of Percus- Cloyd Duff . Francois Dupin . Ward Durrett . Peter Erskine . Karen Ervin . Phil Faini sive Notes each year, plus the PN Research Edi- Sandy Feldstein . Steve Fidyk . Ron Fink . Siegfried Fink . . Mark Ford tion and a PASIC Preview issue of Notes. George Gaber . Bob Gatzen . Evelyn Glennie . Saul Goodman . Danny Gottlieb “My vision for Percussive Notes Research Gordon Gottlieb . Neil Grover . Jonathan Haas . Jamey Haddad . Skip Hadden Edition was to have that journal function as Jeff Hamilton . Thom Hannum . Fred D. Hinger . Rich Holly . Steve Houghton an input to the Society by inviting musical Murray Houllif . Doug Howard . Ralph Humphrey . . Tommy Igoe thinkers outside the Society to write articles Kalani . Rebecca Kite . Roy C. Knapp . Gordy Knudtson . Glenn Kotche . William Kraft that offered perspectives that could funda- Joe La Barbera . Morris Lang . Rick Latham . Arthur Lipner . William F. Ludwig, Jr. mentally, radically change people in PAS,” Frederic Macarez . Peter Magadini . Stuart Marrs . Maria Martinez . Mat Marucci explains Smith. “So the journal did not Jack McKenzie . Victor Mendoza . Nanae Mimura . William Moersch . Bill Molenhof reflect our Society; it offered a new vision Stanton Moore . Joe Morello . Rod Morgenstein . Valerie Naranjo . Andy Narell of what it meant to be a percussionist. Jean Max Neuhaus . John Noonan . Adam Nussbaum . Nicholas Ormrod . Charles Owen Charles François continued that aspirational Al Payson . Charlie Perry . Jim Petercsak . Gordon Peters . Ted Piltzecker feeling of the journal and what it represented Linda Pimentel . Joe Porcaro . Janis Potter . Arthur Press . Paul Price . Jeff Queen in the whole of the Society. Layne Redmond . Jeannine Remy . Emil Richards . John Riley . N. Scott Robinson “I commissioned all the articles,” he con- Michael Rosen . Ney Rosauro . Ed Saindon . Dave Samuels . . Matt Savage tinues. “I made sure there was an interview Casey Scheuerell . William J. Schinstine . James Sewrey . Ed Shaughnessy . Nigel Shipway in each issue [including ones with John Dick Sisto . Tom Siwe . Stewart Saunders Smith . Sylvia Smith . Ed Soph . Julie Spencer Cage, Morton Feldman, and Herbert Brün] Michael Spiro . Leigh Howard Stevens . Gordon Stout . Jerry Tachoir . John Tafoya and that the content was of a very high cali- Bob Tilles . Michael Udow . . Norman Weinberg . Richard Weiner ber of scholarly articles that could stand up Garwood Whaley . Fred Wickstrom . Jan Williams . John Wooton . She-e Wu and compete with any other journal of its John Wyre . Nancy Zeltsman . Armand Zildjian . Nebojsa Jovan Zivkovic . Zoro kind.”

percussive notes 14 MAY 2011 Lawton. Lambert also remained as reviews editor. “The role of Percussive Notes is to reflect PAS,” states Mattingly, “so I’ve tried to make sure that we cover all the major areas that the Society is involved in. When I first became editor, a concern of the Executive Commit- tee was to strengthen the Society’s involve- ment with drumset, , and world percussion.” The magazine helped reflect that goal by making those areas more visible, including several cover stories. “The Society also wanted to reach out to the hand drumming community to let them know it respected what they were doing,” he elaborates. “Some people in PAS were con- temptuous of the ‘drum circle’ crowd, feeling that such drumming didn’t represent the per- cussive ‘arts.’” Mattingly wrote an extensive cations solvent,” Lambert explains. “Desktop cover story for Notes [“Primal Pulse” in the the years. As much of the content that had publishing was just coming into usage at that August 1995 issue, Vol. 33, No. 4] detailing originally appeared in the PASIC Preview time, replacing the previous process of type- a variety of ways in which hand drumming issue was moved to an expanded PASIC setting. This was the first time we had a fea- and drum circles were being used, not only program, the preview issue became devoted ture editor, who was Rich Holly. We also had for recreation, but also in health and well- to articles that not only provided background any number of sub-editors, including Mark ness, with the elderly, and for team building for the artist’s presentation at PASIC but Ford, who was sub-editor for education. But in schools and businesses. The article won an that were also informative to readers who those two stick out in my mind because they Award of Excellence from the ASAE (Amer- could not attend the session. “Working with became Presidents of PAS. ican Society of Association Executives). Executive Director Michael Kenyon and “Over the course of a year, we planned “Another way we sought to reflect the So- the Council of Past Presidents,” Mattingly ahead for features to connect the magazine,” ciety and serve the membership was through says, “it was agreed to move up the deadline continues Lambert. “We also changed the the museum page,” Mattingly continues. for nominations and selection to the Hall of publication schedule. It had been quarterly— “When the Lawton museum was expanded Fame, so that we could run features on each plus an extra issue for PASIC and the re- and reopened, we did a cover story in Notes year’s inductees before PASIC instead of af- search issue—and it became bi-monthly, with about it. As Shawn Brown and I were put- ter.” a newsletter published in the off months. ting the piece together, we discussed the A more recent change was moving Notes So we had a publication in contact with our fact that not very many PAS members had from even-numbered months (February, membership every month. Plus we tried to actually been to Lawton to see the collection. April, etc.) to odd-numbered ones, with Per- have the PASIC Preview either in October There had been discussion about publishing cussion News alternating in the other months. or, in some instances August, depending on a museum catalog, so Shawn and I decided The primary reason for this change was to be the timing of the convention.” The Research we would start working on it one page at a timelier with specific issues, such as having Edition was eliminated, but “Focus on Re- time, by featuring an instrument, or in some the PASIC Preview issue of Notes coming search” became a regular feature in Notes. cases a group of related instruments, on the out in September instead of October and the During Lambert’s tenure as Editor, PAS last page of each issue of Notes. If people coverage of PASIC appearing in the Decem- moved its offices from Urbana to Lawton, couldn’t come to the museum, we would ber issue of News. Oklahoma, and PAS hired Shawn Brown, a bring the museum to them.” The article on local graphic artist, to do design and layout the expanded PAS Museum appeared in PERCUSSION NEWS for Notes. Once the permanent headquarters February 1996 (Vol. 34, No. 1); the pages In the mid–1980s, PAS President Tom and museum were completed in the summer titled “From the PAS Museum Collection” Siwe initiated a PAS newsletter called Percus- of 1992, she was hired full time. (now “From the Rhythm! Discovery Collec- sion News. It began as a single sheet of paper At PASIC ’92, Whaley invited Rick Mat- tion) began appearing in the following issue, that had job announcements, classified ads, tingly to fill the job of drumset editor that and have run in every issue since. PASIC updates, and news from the percus- had just opened up with Notes. Mattingly, In recent years, Notes has also devoted sion world. It was published ten times per who had been an editor at Modern Drum- more space to articles on health and well- year with the goal of providing more up-to- mer magazine for the previous nine years ness, technology, and career development. date information than could be published (and had edited Modern Percussionist), was a “We won another ASAE award for Terry through Percussive Notes. The newsletter was member of the PAS Board of Directors and O’Mahoney’s in-depth article on hearing soon expanded to 12 issues per year. also had a background as a drummer and damage suffered by percussionists,” Mat- By the 1990s it had grown to a 24-page percussionist, including several years in the tingly said. “These expansions in the content magazine that was published bi-monthy, in- Louisville Orchestra. In June 1994 (Vol. 32, of Notes reflect PAS as a whole. You see these between Percussive Notes. In addition to the No. 3), Mattingly accepted the title of Senior same areas becoming more prominent in the original content, several items were moved Editor and Jim Lambert was named Manag- Society through committee activities, PASIC from Notes to News—including chapter and ing Editor. A year later, in June 1995 (Vol. sessions, and in the discussion forums on the membership news, press releases about new 33, No. 3), Mattingly took over as Editor- PAS website.” products, and programs—providing more in-Chief when Lambert became Director Under Mattingly’s guidance, the publica- room in Notes for the type of articles that had of Public Relations for the PAS Museum in tion schedule continued to be refined over previously appeared in Percussionist/Research

percussive notes 15 MAY 2011 Edition. The center spread of News contained estingly enough, if you go back and read that a single instrument or are involved in only a a column called “Hot Licks” that contained article, a considerable amount of what was single musical genre. I hope such members warm-ups, technical exercises, and various mentioned in there has come to pass in the are aware that we can all learn from each oth- grooves. ensuing decades.” er; indeed, that was one of the principles PAS In 1996, as a cost-saving measure, Percus- Mike Combs remembers his favorite arti- was founded on. Still, the challenge remains sion News started appearing as a tabloid size cle. “It was in my first issue of the Percussionist to provide something for every PAS member newspaper, rather than in magazine format. and it was about drumset. That was almost a in every issue.” As the ’90s progressed and PAS developed shock in a day when drumset was something its website, discussions were held between you didn’t admit you played. It was hidden in THE FUTURE the Executive Committee and the publica- your basement and only appeared Saturday As PAS enters its second half-century, tions staff about gradually moving content night under cover!” he laughs. what do the past editors think about the from the newsletter to the website, with the “The interviews with some of the Hall- current publications and the future? “Even idea of eventually phasing out the newslet- of-Famers were my favorites,” added Jim though I’m not involved in teaching anymore, ter, which was losing money. New product Lambert. “Saul Goodman, in particular. I also I like to keep up with the news,” says Jim information and programs were subsequently remember working with Norm Weinberg on Moore. “It’s very informative and enjoyable moved to the website. the World Percussion Network. We were to read what’s going on all around the coun- In the meantime, a new membership at the infancy of computers with music, so try and all around the world now.” category had been created by which, for a Norm’s articles were very insightful. “There’s something in every one of those reduced dues amount, members would not “And I have fond memories of working magazines that is a terrific contribution to the receive physical copies of the publications but with the Executive Committees, especially future of percussion,” says Don Canedy, ges- would have access to PDF files of the pub- John Beck,” Lambert continues. “Steve Beck turing to his four-foot-long shelf full of back lications through the website. But for those was the Executive Director of PAS at that issues. “That’s the broad picture that I always who wished to print pages of Percussion News time. Working with those two individuals hoped we would be. I am so proud of the on a printer, the newsletter’s tabloid size did very closely was an honor. Following Bob organization and the publications that they’re not accommodate standard letter-size paper, Schietroma, who was the previous editor, was making: they’re right on target.” so Percussion News went back to a magazine- a wonderful transitional time in the Society “Honestly, it’s very difficult for the maga- like format. itself.” zine to address all the interests of the Soci- The percussion community obviously Mattingly says his favorite part of being ety,” states Bob Schietroma, “but Notes does preferred the new format, which featured an editor is getting to work with so many great a good job of addressing everything over the attractive design by graphic designer Hill- people. “At the top of the list are the three course of the year.” ary Henry. Advertising quickly picked up, I’ve worked most closely with,” he says. “No one has a crystal ball,” theorizes Jim putting the newsletter in the black. Plans to “When I first became Editor, Shawn Brown Lambert, “but I foresee the publications con- phase out Percussion News were dropped. was the graphic designer and served essen- tinuing to balance between print and online.” “If you compare today’s Percussive Notes and tially as managing editor. When she left in Mattingly agrees that the publications Percussion News with the early issues of Percus- 1997, Teresa Peterson was hired as Managing and the PAS website will overlap more in sive Notes and Percussionist,” says Mattingly, Editor and Hillary Henry became designer. the coming years. “We’re constantly looking “you’ll see that, except for the fact that it has When Teresa left in 2003, Hillary took over at ways to blend the two, such as providing ads, the content of today’s Notes is more like both jobs. Those three made innumarable audio and video ‘Web Extras’ to accompany the old Percussionist, and the content of today’s contributions that improved our publications articles,” Mattingly says. “We have quite a News is more like yesterday’s Notes.” tremendously. few members who don’t get printed copies “As Editor, I’m on my eighth PAS presi- of Notes and News; they just get the PDF ver- FROM THE EDITORS dent,” Mattingly notes. “Throughout all this sions online. I imagine we’ll see more of that, Each of PAS’s Editors Emeritus has left time, they and all the Executive Committee and possibly someday there won’t be printed an indelible impression on the Society and its members have been tremendously support- versions. We may all be reading Notes on publications. And each has special memories, ive, as have Executive Directors Steve Beck, iPads someday. We will change along with too. After writing or editing countless articles, Randy Eyles, and Michael Kenyon. And I’ve the rest of the publishing industry. are there any that stand out? “There were had the priviledge of working with some of “As for content, it will evolve as PAS two that I wrote,” recalls Jim Moore, “that the most knowledgable people in the percus- evolves. Our goal will always be to serve the are probably very simple-minded articles sion world as Associate Editors and writ- membership.” by today’s standards. But they predated my ers. One of our strengths is that people like Jim Moore summarizes it best. “The pub- work on the acoustics of bar percussion in- Mike Rosen, who started writing his ‘Terms lications are still an important way of keeping struments, which ultimately became the sub- in Percussion’ articles in the 1960s, are still connected.” ject of my doctoral dissertation at Ohio State. writing for us, and we also have young writ- “And we tried to keep things a little humor- ers and editors who are keeping us in touch Lauren Vogel Weiss has been active in PAS ous, maybe offbeat at times,” adds Moore. with modern trends and concerns. The PAS for over 30 years, serving on the Board of “In one of the early issues of Notes [March publications are truly a team effort and reflect Directors, as Marching Percussion Com- 1964, Vol. 2, No. 3], I wrote a little article on the ‘family’ atmosphere that PAS has created mittee Chair, and on three PASIC planning Utopia University. It had a very wide range within the percussion community over the committees. She was President of the Texas of percussion offerings, which I documented, past fifty years. Chapter from 1991–2007 and 1984–1987, and not only dealing with instruction and en- “The challenge of putting out Percussive she wrote and edited almost 100 issues of the semble but with literature and techniques. Of Notes is that PAS covers so many areas,” says Texas Chapter Newsletter. Lauren is a contrib- course, it was all fictitious. One day I got a Mattingly. “For anyone who is involved in uting writer for Drum Business, Drum Corps call from a lady who wanted her child to go what was called ‘total percussion’ when I was World, Modern Drummer, Percussion News, and to that university because they had such fine in college, the magazine certainly covers that. Percussive Notes and is the President of Percus- offerings!” He laughs at the memory. “Inter- But we also have specialists who play only sion Events Registry Company. PN

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