The Golden Band from Tigerland: A History of LSU’s Marching Band [book review]

No one who has heard the thrilling first four notes of “Four Corners,” the pregame salute at each of Louisiana State University’s (LSU) home football games, could forget the “Golden Band from Tigerland.” Authors Tom Continé, alumnus of the LSU marching band, and Faye Phillips, retired Associate Dean of Libraries for Special Collections at LSU, have crafted a thoughtful tribute to the storied band. Their book, The Golden Band from Tigerland: A History of LSU’s Marching Band, weaves a fascinating narrative that traces the group’s history from its modest beginnings in 1893 as an eleven-member cadet band, to its current place as one of the most preeminent college marching bands in the country

The beat out of Africa

Photocopied article from the newspaper The Independent on Sunday about a concert by the Jazz Band District Six. This concert organised by Brian Morton is a tribute to Chris McGregor's Blue Notes. A picture of District Six is accompanying this article

Taylor University Echo: January 18, 1921

A Logical Rule — The Purpose Of Character — Chronicles — Tribute to Taylor From Old Student — Be On Time — [Philippines] Facts — Each in His Own Tongue — The Boy Scout Movement — Gifts and Duties — Scientific Loafing — Michigan for Me — Locals — Missions in India — Reading — Dining Hall Girls Have Good Time — The Value of Small Things — Thalo Seconds Take New Year’s Eve Victory — Athletics Among the Girls — Philo’s Win Over Thalo’s with Score of 36 to 26 — Co-operation Between Japan and America — Locals — Senatorial Forum — Soangetaha — Student Volunteer Band — Eureka — Thalonian Literary Society — The Prayer Band — Philos Double Up on Work — The Eulogonian Banquet — Alumni Notes — Our Correspondence — Chuckles — Taylor Universityhttps://pillars.taylor.edu/echo-1920-1921/1007/thumbnail.jp

Cover Songs: Ambiguity, Multivalence, Polysemy

The notion of a “cover song” is central to an understanding of contemporary popular music, and has certainly received its share of attention in writing about contemporary music, from the mainstream press to slightly more technical ethnomusicological studies such as “Cross-Cultural ‘Countries’: Covers, Conjuncture, and the Whiff of Nashville in Música Sertaneja (Brazilian Commercial Country Music)” (Dent, 2005). In many major U.S. cities, musicians make a living in “cover” bands, recreating the music of well-known groups such as the Beatles, the Rolling Stones, Pink Floyd, U 2, the Who, ABBA, the Dave Matthews Band, the Grateful Dead, and others. Consumers of popular music will easily identify a favorite “cover,” a favorite tribute album devoted to “covers” of a particular musician or group, and often even a favorite “cover” band. In short, the term “cover” song is used without the recognition that there are many different kinds of “covers,” and thus that the reference of the very term “cover song” is systematically ambiguous

Otter Realm, March 26, 2003, Vol. 8 No. 10

CSUMB on track to accreditation -- Greeks go to the Senate -- Books Not Bombs -- Education pays (really!) -- From Vietnam to Iraq: What have we learned? -- Up, up and away! -- A call for nominations -- Bolted down by Nazi hate -- Band Spotlight: Stalin\u27s War -- Turtle Island pays tribute to Miles Davis -- Sex and the univercity -- Rediscovering our ancestry in The History of Mestizaje -- Photography offers insight -- More than words -- Artist spotlight: K. Tollefson Kessey -- Sub-Par performance -- Sports Brief -- Colin\u27s Column -- Men\u27s golf springs into Cal-Pac play -- Otter Baseball -- We miss you -- To be Greek or not to be -- Take your pick! -- Person on Campushttps://digitalcommons.csumb.edu/otterrealm/1099/thumbnail.jp

Scarlet & Silver Jubilee

Program listing performers and works performe

Identity, community and embodiment: Chopper’s tattoo tour

Heavy Metal fans have a unique style of dress, music and interaction via which a sub-cultural community is formed and maintained. This article explores how this community is embodied through tattoos and the display of cultural symbols associated with the shared identity of Metallers. We employ the concept of metonym as a means of exploring the bodyscape of a particular Metaller and his interactions with others. The concept of the bodyscape is used to theorise links between community and identity as enacted at sub-cultural events

Judging Covers

Cover versions form a loose but identifiable category of tracks and performances. We distinguish four kinds of covers and argue that they mark important differences in the modes of evaluation that are possible or appropriate for each: mimic covers, which aim merely to echo the canonical track; rendition covers, which change the sound of the canonical track; transformative covers, which diverge so much as to instantiate a distinct, albeit derivative song; and referential covers, which not only instantiate a distinct song, but for which the new song is in part about the original song. In order to allow for the very possibility of transformative and referential covers, we argue that a cover is characterized by relation to a canonical track rather than merely by being a new instance of a song that had been recorded previousl

216 Jewish Hospital of St. Louis

https://digitalcommons.wustl.edu/bjc_216/1012/thumbnail.jp

Boston University Wind Ensemble

This is the concert program of the Boston University Wind Ensemble performance on Tuesday, November 23, 1999 at 8:00 p.m., at the Tsai Performance Center, 685 Commonwealth Avenue. Works performed were Four Colonial Country Dances by James Curnow, "Sept danses d'apres le ballet "Les malheurs de Sophie" for ten wind instruments by Jean Francaix, Molly on the Shore by Percy Grainger, Trittico by Vaclav Nelhybel, and Fifth Suite for Band (International Dances) by Alfred Reed. Digitization for Boston University Concert Programs was supported by the Boston University Humanities Library Endowed Fund