Image Title: Small Mobile Kitchen Island Butcher Block Ideas Regarding Islands Decor 1. Post Title: Mobile Kitchen Islands. Filename: small-mobile-kitchen-island-butcher-block-ideas-regarding-islands-decor-1.jpg. Image Dimension: 632 x 509 pixels. Images Format: jpg/jpeg. Publisher/Author: Hardy Jast. Uploaded Date: Tuesday - October 09th. 2018 06:22:05 AM. Category: Architecture. Image Source: homedepot.com. 9. Know Prepare Mobile Change Islands Pertaining Plan In Portable 19. Completely Of 3. Space Kitchen 15. Island Small Decor Your 3 Ideas Regard Carts Buy Movable Their Excellent Regarding For Shelf Pantry Remodel HGTV Inside 10. Inspirations 13. Plus To Selling Will Acting Types 16. With The Wheels And Seating Voice BlogBeen Advantages 2018 14. Units Get Best Seoras 4. W On Bin Look 60 Trash Wayfair 5.


text:
Q: How to Import data from .sql.bz2 file to hdfs? I am new to Hadoop and hdfs and I have a compressed SQL file :
ETIMCBG11-Jul-2016-08-00.sql.bz2
I do not have access to the database from where this file was Exported.
and i need to import this data into hdfs file system for Hadoop.
Is there any way to do this directly without having to import the file back to another MySQL Database and then connect using Sqoop ?

A: No, this can't be done.
Sqoop makes JDBC connection with RDBMS and perform range queries (depending upon number of mappers).
Sqoop can't read from sql dump.

redpajama_set_name: RedPajamaStackExchange


The first Louisiana Peach Festival was actually held in Bastrop, LA in 1950.
The first Ruston Peach Festival was held in 1951.
Primary activities of the first festival and many festivals afterwards were held on the Louisiana Tech Campus.
Dudley LeBlanc, Abbeville's famous Hadacol salesman and state senator contributed $1400 for the first festival.
The first Peach Queen, Ann Colvin, was crowned by Senator LeBlanc and received a solid gold Hadacol bottle as a gift.
The Queen Dixie Gem and Princess Peach pageants have always been a part of the festival.
The first queens could enter the contest for $5 and the princesses could enter for $1.
Queen Dixie Gem II, Dorothy Etta Goff Hoogland, made history by traveling to Washington DC to deliver peaches to Vice President Richard Nixon.
In the late 1950's, ladies did not appear on stage in swimwear, but were the guests of swim parties at local residences. 1968 was the year swim suit competition was held on stage.
The first peach ice cream was made and sold at the festival in 1975. It was made by members of Beta Sigma Phi.
The pageant was covered by KRUS in play-by-play style.
The parade featured all contestants and they even threw peaches.
By 1976, the festival had become a two week affair.
The first official Peach Festival poster was designed by Kim Rogers in 1983.
The first peach hunt was held in 1985 with a prize of $500.
The first peach blossoms were selected in 1987.
The first peach festival rodeo was held in 1990. For several years a Rodeo Queen was selected.
The Dixie Gem Teen contest was added in 1992.
Corporate sponsors of the festival began in 1997. The first was Century Tel. In 2003, Squire Creek became the official sponsor.


text:
Evaluate the effectiveness of the YCJA on youth crime rates and incarceration rates
Evaluate the effectiveness of the YCJA on youth crime rates and incarceration rates - Essay Example
The law that gave rise to the Young Criminal Justice Act (YCJA) known, as Young Offenders Act (YOA) was divisive and controversial with politicians and citizens strong favoring the law or against the law. As a result, the law underwent a number of amendments and culminated into…
Author: turcotteadalber
Extract of sample "Evaluate the effectiveness of the YCJA on youth crime rates and incarceration rates"
Download file to see previous pages gued that the law was effective, whereby they cited the reduced rates of youth deviancy and custody in comparison to other nations of the world (Doob & Cesaroni, 2003). Nonetheless, the country identified the importance of reviewing the law and ensuring that they implemented another law that was not divisive and controversial. In addition, the review sought to address the argument that YOA overused the country's custodial and court systems. Moreover, the review aimed at improving efficiency in responding to minor offenders who committed serious crimes (Department of Justice Canada, 2002).
Based on the foregoing, it is evident that YCJA was a compromise between politicians. Nonetheless, the act is a response to the increasingly growing number of small cases about incidents of youth offenders committing heinous crimes while also acting as a response to the growing number of cases resulting from incarceration of youths for minor offenses. Indeed, these minor offenses had resulted to a decline in the confidence that the public had on the country's judicial system. Overall, the main objective of the legislation was to deal with crimes committed by the youth and their eventual outcome. In effect, this expose will carry out an evaluation of the role that YCJA has played on the twin aspects of youth crime rates and incarceration rates.
The Canadian Coalition for the Rights of Children (CCRC) (2011) identified Canada's youth custody rates as among the highest in the world, which is prior to the implementation and legislation of the YCJA. In effect, this implies that Canadas implementation of this law was essential in order to enable the country deal with these youthful offenders and reduce these rates. In effect, CCRC (2011) observed a 27% decline in the rate of youths charged in a court of law or recommended to facing court charges between 2002 and 2006. It is important to point out that the Canadian legislative system made this law in 2002. In line with this, ...Download file to see next pagesRead More
Effectiveness Of Act
Thiosulphate Rates
Young Offenders Act
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text:
Shia Altman
Inauguration observations, and the radical left
As Donald Trump's inauguration approached, I watched on both social and mainstream media how some on the left, sadly, even Jews on the left, left their senses.
Ushering in the new administration by sitting shiva as if someone had died. Fasting while saying Yom Kippur passages. Rewriting a centuries-old prayer that asks God to give government leaders compassion and wisdom, because Trump was one of those leaders.
Such mishigas for the too-hysterical progressives, and their publicity hounds and gullible followers.
And one would think that even on Inauguration Day, the mainstream press would try to have a modicum of decorum, and not be so transparently prejudicial, but alas, it was not to be.
I watched ABC News for the most part and felt the discomfort myself as a reporter on the mall asked a couple of African American Trump supporters, two clearly flabbergasted ladies, how they felt being black with so many white people around. Classy.
Another reporter thinking she was interviewing young Trump supporters tried to embarrass them by asking how many of them, I think it was six, voted. They answered that none of them did. They were too young and in high school. With more questioning, the silly reporter became surprised when only one of the six said she liked Trump. The others did not. One even supported Bernie Sanders.
Earth to ABC News, not all people who attend inaugurations, support the one taking the oath. Some people just want to be present when history is being made. But the blind can't see.
A grim-faced Hillary Clinton was lucky to be sitting next to former President George W. Bush. The quick-witted W cracked the sad Hillary up a number of times, as Bill scoped the dais for available and not-available women.
Donald Trump's inauguration speech was done in his in-your-face style. That was how he started his run for office. That was how he campaigned. That was how he accepted his nomination. And that was how he took the presidency. There is an old saying, "You dance with the one who brung ya." And so he did.
But will he govern like that? His VP pick and his cabinet nominees are not that way. You have seen Mike Pence in action for a little while now. Do you think he is as blunt and gruff as Trump? In fact, he is quite the opposite, very composed. Nikki Haley? Rick Perry? Even the former general James Mattis is sedate.
And will Trump be the tough guy, as his persona has been, or will he be the gracious leader, who thanked Bill and Hillary Clinton at the post-inaugural lunch, praising them and showing respect?
Will he eventually grow a thicker skin and not feel he has to answer every slight with a midnight tweet – the incessant defensiveness providing fodder to those wishing him ill, or will he just let some things go?
And will he keep his promises?
ABC's wild-eyed Terry Moran said Trump's "America First" message "carries with it overtones of the 1930's when an anti-Semitic movement saying [sic], 'We don't want to get involved in Europe's war, it's the Jews fault in Germany…'" Wow. I didn't see it that way at all. But what would I, a child of Holocaust survivors, know? Moran must know better.
I was so proud of Rabbi Marvin Hier, Dean of the Simon Wiesenthal Center here in Los Angeles, who gave one of the benedictions. His reading included the following, "Bless all of our allies around the world who share our beliefs. '"By the rivers of Babylon we wept as we remembered Zion… If I forget thee o' Jerusalem, may my right hand forget its skill (Psalms 137)."'
In only a few seconds, Rabbi Hier both reprimanded the past president, sitting right behind him on his left, and charged the new one, sitting right behind him on his right.
Move that embassy to Jerusalem, Israel, Mr. President. And soon, please. I will hold you to it. We will hold you to it.
Ah, the touchy-feely left. Interestingly, when a Democrat becomes president, those on the right don't riot. And they don't beat up high school students on the left who happen to watch their protests.
Left-wing fake news did not let up. Making the rounds, not just on social media, but even on different TV programs – on Friday night, I changed the channel at a commercial to see what the unfunny, sour grapes, Stephen Colbert was up to, my action doubling his audience – was a side by side picture of Barack Obama's 2009 inauguration crowd and Trump's.
Of course, the Trump pic was taken well before the ceremony started so the picture showed some emptiness. I watched the inauguration and knew the picture was crap.
The truth? Obama's first inauguration when history was made – the first African American becoming president, hell, if I wasn't so far away I might have gone too – garnered 1.8 million, his second, 1 million. Trump's may very well have had what was predicted, 800,000 or even more, no official numbers yet.
By the way, Bill Clinton had 800,000 and 250,000 in 1993 and 1997, respectively. And the weather was sunny for Clinton in 1997 and not rainy as it was for Trump.
As an aside, I don't think Trump should have had his press secretary make a statement in the press briefing room on Saturday about the crowd size. The over-sensitivity needs to stop. Let the surrogates carry this water outside the White House.
Many hyper-sore losers loved the crowd size nonsense, but well, they needed to grasp at anything to feel better as they found themselves in the political wilderness, swearing they would never even try to go along or get along, "refusing" or "resisting," if you will.
There were Women's March protests all over the world on Saturday. Good for those demonstrators exercising their democratic rights. Washington, DC's gathering had the most attendees, perhaps half a million.
I actually watched the proceedings. The out-of-touch with Middle America Hollywood radicals claimed they were America as they vented their rage at the man they consider a coarse and vulgar, violence-promoting fascist, by acting like coarse and vulgar, violence-promoting fascists.
It was nice so many brought their small children to hear and see the profanity and hate, much of it on handheld signs. That will teach the youngsters tolerance!
Even former Secretary of State John Kerry showed up. He thought it was an anti-Israel rally.
What might have confused him is that one of the three march co-chairs, Linda Sarsour, is an Israel-hating, BDS (Boycott, Divestment and Sanctions against Israel) supporting, violence against Israeli soldiers encouraging, terrorist backing conspiracy theorist, and more.
And get this, people. The Women's March organizers put out a list of 27 honorees who "paved the way" for the march and of all people, Hillary Clinton was not on it! Looks like Sarsour, a Bernie Sanders supporter, was mad Hillary had the class to attend the inauguration, so she was dissed. Sheesh, the poor woman just can't win for losing. Literally.
To the many thousands of fine, respectable participants, who wanted to have their voices heard in an urgent yet dignified way, you may think you did, but your mouthpieces didn't do you any favors. Your own pilgrimages and assemblages would have been enough to speak volumes without the venom spewed in your name.
I don't know what happened here in Los Angeles or other cities, but from what I could tell, there may have been much more love than hate. I hope that was the case.
As happens, otherwise decent human beings have become and remain unhinged. I am not speaking about the way, way-far left, the anarchists, those who want a revolution just to have one, or the Hollywooders as mentioned above. They are not decent.
I speak of good people on the left, who have lost all sense of sanity and proportionality. For some, who mourn as they do without crossing into an alternative universe, that's OK; many on the right did the same all through Obama. But to those who have sunk into the depths of a contemptable abyss, you are doing the exact opposite of what will help you regain power.
As you continue to complain about Trump in every way imaginable, how unfit he is, how Obama and his family were such fine examples, and were so wholesome and honorable and wonderful, on social media you post nude pictures of his wife, you viciously attack his children – even his 10-year-old son, and worse, you use sensitive Holocaust, rounding-up-minorities-for-genocide, symbolism, and other related beastliness, to compare Trump and his cabinet to the Nazis.
Even as Trump has surrounded himself with perhaps the most pro-Israel cabinet and group of advisers ever assembled by a US president, and it's about time, you are still trying to convince Jews not like you, that he is an anti-Semite. And we are still not buying what you are selling. Frustrating, isn't it? So you call us bigots too.
And you know what? You have only yourselves to blame. You and your hero Obama, who you continue to creepily deify, did this. You gave us Trump.
Your looking down your nose, elitist, sneering condescension, your selfishly pushing everything to the left, so far, that tens of thousands in the rust belt, white voters who cast their ballots for Obama twice, felt left out and had had enough, and decided the election in favor of the ultimate populist outsider.
I didn't want Donald Trump. I criticized him plenty, and I didn't vote for him. (Or her either. I wrote in my preference.) And I am wary. But I am also hopeful. All of us need to be willing to at least open the door a crack, even if we didn't get what we wanted.
You "refusers" and "resisters" need to ratchet things down a bit. If you keep it up, if you continue to race bait, if you force your party to go even further in the direction that threw you into exile, the only way you will recover is if the new president doesn't deliver. Because if he does, you may make the barren wilderness your home for a long, long time.
Shia Altman who hails from Baltimore, MD, now lives in Los Angeles. His Jewish studies, aerospace, and business and marketing background includes a BA from the University of Maryland and an MBA from the University of Baltimore. When not dabbling in Internet Marketing, Shia tutors Bar and Bat Mitzvah, and Judaic and Biblical Studies to both young and old.
Israel-US Relations
My challenge to the Michael Whites of this world
Jenni Frazer


text:
"""
Contains functionality to use a X10 dimmer over Mochad.

For more details about this platform, please refer to the documentation at
https://home.assistant.io/components/light.mochad/
"""

import logging

import voluptuous as vol

from homeassistant.components.light import (
    ATTR_BRIGHTNESS, SUPPORT_BRIGHTNESS, Light, PLATFORM_SCHEMA)
from homeassistant.components import mochad
from homeassistant.const import (
    CONF_NAME, CONF_PLATFORM, CONF_DEVICES, CONF_ADDRESS)
from homeassistant.helpers import config_validation as cv

DEPENDENCIES = ['mochad']
_LOGGER = logging.getLogger(__name__)

CONF_BRIGHTNESS_LEVELS = 'brightness_levels'

PLATFORM_SCHEMA = PLATFORM_SCHEMA.extend({
    vol.Required(CONF_PLATFORM): mochad.DOMAIN,
    CONF_DEVICES: [{
        vol.Optional(CONF_NAME): cv.string,
        vol.Required(CONF_ADDRESS): cv.x10_address,
        vol.Optional(mochad.CONF_COMM_TYPE): cv.string,
        vol.Optional(CONF_BRIGHTNESS_LEVELS, default=32):
            vol.All(vol.Coerce(int), vol.In([32, 64, 256])),
    }]
})

def setup_platform(hass, config, add_entities, discovery_info=None):
    """Set up X10 dimmers over a mochad controller."""
    devs = config.get(CONF_DEVICES)
    add_entities([MochadLight(
        hass, mochad.CONTROLLER.ctrl, dev) for dev in devs])
    return True

class MochadLight(Light):
    """Representation of a X10 dimmer over Mochad."""

    def __init__(self, hass, ctrl, dev):
        """Initialize a Mochad Light Device."""
        from pymochad import device

        self._controller = ctrl
        self._address = dev[CONF_ADDRESS]
        self._name = dev.get(CONF_NAME,
                             'x10_light_dev_{}'.format(self._address))
        self._comm_type = dev.get(mochad.CONF_COMM_TYPE, 'pl')
        self.light = device.Device(ctrl, self._address,
                                   comm_type=self._comm_type)
        self._brightness = 0
        self._state = self._get_device_status()
        self._brightness_levels = dev.get(CONF_BRIGHTNESS_LEVELS) - 1

    @property
    def brightness(self):
        """Return the brightness of this light between 0..255."""
        return self._brightness

    def _get_device_status(self):
        """Get the status of the light from mochad."""
        with mochad.REQ_LOCK:
            status = self.light.get_status().rstrip()
        return status == 'on'

    @property
    def name(self):
        """Return the display name of this light."""
        return self._name

    @property
    def is_on(self):
        """Return true if the light is on."""
        return self._state

    @property
    def supported_features(self):
        """Return supported features."""
        return SUPPORT_BRIGHTNESS

    @property
    def assumed_state(self):
        """X10 devices are normally 1-way so we have to assume the state."""
        return True

    def _calculate_brightness_value(self, value):
        return int(value * (float(self._brightness_levels) / 255.0))

    def _adjust_brightness(self, brightness):
        if self._brightness > brightness:
            bdelta = self._brightness - brightness
            mochad_brightness = self._calculate_brightness_value(bdelta)
            self.light.send_cmd("dim {}".format(mochad_brightness))
            self._controller.read_data()
        elif self._brightness < brightness:
            bdelta = brightness - self._brightness
            mochad_brightness = self._calculate_brightness_value(bdelta)
            self.light.send_cmd("bright {}".format(mochad_brightness))
            self._controller.read_data()

    def turn_on(self, **kwargs):
        """Send the command to turn the light on."""
        brightness = kwargs.get(ATTR_BRIGHTNESS, 255)
        with mochad.REQ_LOCK:
            if self._brightness_levels > 32:
                out_brightness = self._calculate_brightness_value(brightness)
                self.light.send_cmd('xdim {}'.format(out_brightness))
                self._controller.read_data()
            else:
                self.light.send_cmd("on")
                self._controller.read_data()
                # There is no persistence for X10 modules so a fresh on command
                # will be full brightness
                if self._brightness == 0:
                    self._brightness = 255
                self._adjust_brightness(brightness)
        self._brightness = brightness
        self._state = True

    def turn_off(self, **kwargs):
        """Send the command to turn the light on."""
        with mochad.REQ_LOCK:
            self.light.send_cmd('off')
            self._controller.read_data()
            # There is no persistence for X10 modules so we need to prepare
            # to track a fresh on command will full brightness
            if self._brightness_levels == 31:
                self._brightness = 0
        self._state = False

redpajama_set_name: RedPajamaGithub


text:
Girls 14s & 15s end of season report
Arthur Kontalis August 28, 2018
St George 14 Girls end of season report
As the 2018 season has come to an end we can look back at a season which was billed as a great challenge for a newly formed team. This was an excellent opportunity for many girls to make the step up from park football into premier league.
Every girl in this team worked very hard to develop their own game and grow both as individuals and as a team. Results may have been hard to come by, but this group of girls keep working hard and playing a good brand of football, matching their opponents in nearly every match. In many cases just a bit of polish separated this side from their competition. Games to remember included the two excellent performances against Marconi where the girls played some excellent football.
The growth in every player is evident as the performance continued to improve. Each player that put on the St George jersey has done themselves and the club proud. I'm sure every player can look back on the season with the knowledge that they have given their all, learned to play the game with style and developed a great team dynamic and bond.
Both James and I have enjoyed coaching this group of girls and are very proud of their efforts and achievements this season
Special Thank you to the team manager Lisa, Raquel the convener and Carlo for his guidance, and finally all the parents.
The 2018 season was full of highs and lows for this group of girls. The girls worked very hard in pre-season with each player developing their individual skills and learning to work with in the team dynamic. The hard work paid off early with an excellent weekend at the proctor cup reaching the final.
The season presented many challenges to these girls as many looked to make the step up from park football into the premier league. The girls approached each challenge as a learning opportunity and attacked each game and training with energy and determination, which made for some very entertaining matches. Although we may look back at many games and say what may have been, one thing that can never be questioned is the effort put in by each and every player.
The development of the team was clear to see, as the girls took it to every opponent, playing a positive brad of football, and staying true to the teams playing philosophy and beliefs. Each player has done themselves and the club proud this season.
Both Michael and I have enjoyed coaching this group of girls and are very proud of their efforts and achievements this season
Special Thank you to the team manager Vanessa, Raquel the convener and Carlo for his guidance, and finally all the parents.


Cowell's work provides an example of how the public affairs documentary evolved from a traditional journalist-focused role to a chronicle of events from the point of view of participants who shared experiences with the filmmaker. Cowell, who was born in China in 1934, took part as a young graduate in the Cambridge Far Eastern Expedition, an overland trek that took him through the remote mountain passes of Asia and established his interest in Asia. Together with Chris Menges (who later won two Oscars), he produced a highly acclaimed and daring documentary film, Raid into Tibet (1966), which chronicles their travels with Tibetan guerilla fighters opposing Chinese communist occupation. Following the success of this film, Cowell and Menges were invited to record another insurgency, in the remote Shan State of Burma, where they documented separatist activities against the Burmese military junta in the film The Unknown War (1966).
In the 1970s, they returned to the Shan State, which covers almost one quarter of Burma's land area, but their work now turned to the story of how the opium trade was interwoven with the aspirations of the Shan people who were revolting against the Burmese military government and how they supported their efforts through the opium trade. With their unprecedented access to this remote culture, Cowell and Menges witnessed and filmed over time the lives and internal politics of the insurgent armies, watching with dismay as the narcotics trade first became an increasingly important source of revenue, and then subverted the very foundations of the movement for democratic reform in the country.
To expose this myth, Cowell produced documentaries that analyze the drug trade from its agricultural origins and use for revenue by insurgents in Burma, to its use by drug addicts and dealers in Hong Kong, and into the halls of the U.S. Congress, where policies were being made which would spend millions of dollars yet have no effect on stopping the trade. In the 1990s, several of his films focusing on opium were shown on PBS's acclaimed Frontline series.
Cowell wanted to give all the players in the opium drama a voice, and to present an alternative perspective of the drug problem to that being generally portrayed in public discourse. As he observed, the American international drug policy and interdiction efforts were based on the assumption that the opium warlords were simply gangsters to be eliminated, without understanding the larger political and cultural realities of their fight. Cowell's documentation of political action reveals American drug policy specialists in Washington D.C. as contradictory and mostly naïve, rejecting an innovative proposal from the Shan State revolutionaries in favor of supplying the Burmese military government with helicopter gunships and fixed–wing aircraft to intercept and eradicate the opium trade, measures which had already proved to be ineffective against opium mule convoys. He followed the deliberations of the opposing politicians as they sat in their offices, as they walked down the corridors, down the elevators and through tunnels of the Capitol buildings. These behind-the-scenes negotiations, the frank encounters, the strategic phone calls and the sly betrayals, give unmatched insight into a political climate and the background of drug policy decisions.
The power of Cowell's work comes from his close connections with people at all levels of the drug trade. He goes to the source and interviews the war lords and revolutionaries producing the opium and using it to fund their revolution; he goes to the streets of Hong Kong and talks with the addicts, drug dealers and the police about the realities of the world of drug dealing and consumption; and he shows the U.S Congress making policies about drugs far removed from the actual world of the drug trade. His three decade documentation of the trade demonstrates that the governmental policies which are removed from the real life of the drug addict and drug trade made no impact on the business and in some cases actually supported its growth.
The Adrian Cowell Film and Research Collection is a work-in-progress as funding is being sought to preserve and make these materials accessible. At present, there are efforts to post clips from his films online and to create a collection guide, detailing the entire contents of the collection. In an effort to raise awareness of Cowell's work, a conference and film series, Fifty Years of Opium and Conflict in the Shan State of Burma: A Visual Retrospective, will take place on the UW campus in Seattle May 29th and 30th, 2015. This conference will introduce Cowell's work to scholars from a range of disciplines as primary resources for research.


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Renaissance (band)
Renaissance, 2012. Clockwise from upper left: Jason Hart, David J. Keyes, Rave Tesar, Frank Pagano, Michael Dunford, and Annie Haslam
Sire Records (US)
Warner Bros. Records
Elektra Records (US)
BTM Records
I.R.S. Records
Giant Electric Pea
Illegal Records
Repertoire Records
HTD Records
The Nashville Teens
I and Thou
Renaissant
Annie Haslam
David J. Keyes
Rave Tesar
Frank Pagano
Ryche Chlanda
Renaissance are an English progressive rock band, best known for their 1978 UK top 10 hit "Northern Lights" and progressive rock classics like "Carpet of the Sun", "Mother Russia", and "Ashes Are Burning". They developed a unique sound, combining a female lead vocal with a fusion of classical, folk, rock, and jazz influences.[1] Characteristic elements of the Renaissance sound are Annie Haslam's wide vocal range, prominent piano accompaniment, orchestral arrangements, vocal harmonies, acoustic guitar, bass guitar, synthesiser, and versatile drum work. The band created a significant following in the northeast United States in the 1970s, and that region remains their strongest fan base.
The original line-up included two former members of The Yardbirds, Keith Relf and Jim McCarty, along with John Hawken, Louis Cennamo and Relf's sister Jane Relf. They intended to put "something together with more of a classical influence".[2] Renaissance was born, and the band released a studio album in 1969, and another in 1971. Subsequently, John Tout replaced Hawken on keyboards, followed by a period of high turnover of musicians until the "classic line-up" of Annie Haslam, John Tout, Michael Dunford, Jon Camp, and Terry Sullivan was established, although none of them were in the original band. They were assisted with lyrics on many songs from Cornish poet Betty Thatcher-Newsinger. From 1972 to 1979 Renaissance released seven successful studio albums, toured extensively, and sold out three nights in a row at Carnegie Hall with Tony Cox conducting the New York Philharmonic.[3]
The 1980s were a lean time for them, with personnel changes, and two relatively unsuccessful studio albums, leading to disbandment in 1987. Two different offshoots of Renaissance existed at the same time at one stage in the mid-1990s. The band re-formed in 1998 to record Tuscany, which was eventually released in 2001; however, they disbanded again the next year.
2009 heralded a new line-up for Renaissance, led by Haslam and Dunford, and since then the band has continued to record and tour. They were shocked and saddened by the sudden death of Dunford in November 2012. Later, Haslam stated that the band would continue touring. The current line-up is not as English as the band's early period, with five U.S.-born members and one English-born member who lives in the United States. In April 2014, Renaissance released the studio album Symphony of Light.
1 Original incarnation (1969–70)
2 Transition (1970–71)
3 Second incarnation (1971–80)
3.1 Joining BTM label
3.2 UK hit single
3.3 Critical reception to the "classic line-up"
5 Third incarnation
6 Deaths of Betty Thatcher, Michael Dunford, and John Tout
7 Symphony of Light
8 Personnel
9.1 Studio albums
9.2 Live albums
9.3 Other releases
9.4 Singles
9.4.3 Japan only
9.4.4 West Germany only
9.5 Michael Dunford's Renaissance
9.6 Annie Haslam's Renaissance
9.7 Renaissant
9.8 Major television appearances
9.9 Illusion
9.10 Renaissance-Illusion
9.11 Covers of Renaissance songs
Original incarnation (1969–70)[edit]
As The Yardbirds were transforming into The New Yardbirds (with Jimmy Page) in 1968 and then Led Zeppelin, departing members Keith Relf and Jim McCarty formed an acoustic duo called Together. [4] They released "Henry's Coming Home" b/w "Love Mum and Dad" as a single on Columbia Records in November 1968 without chart success.[5]
In January 1969, Relf and McCarty organized a new group devoted to experimentation with rock, folk, and classical forms. In his book Mountains Come Out of the Sky: An Illustrated History of Prog Rock, Will Romano quoted McCarty:
" Toward the end of the Yardbirds we wanted to do something a bit more poetic, if you like, not so heavy. A bit more folky... We had had enough of heavy rock.[2] "
This quintet — Relf on guitar and vocals, McCarty on drums and vocals, plus bassist Louis Cennamo, pianist John Hawken, and Relf's sister Jane as an additional vocalist — released a pair of albums on Elektra (US) and Island (UK-ILPS 9114), the first one, titled simply Renaissance (1969), being produced by fellow ex-Yardbird Paul Samwell-Smith.[6]
The band had begun performing in May 1969, before recording had commenced for the debut LP, mostly in the UK, but with occasional forays abroad, including festivals in Belgium (Amougies, October 1969) and France (Operation 666 at the Olympia in January 1970, and Le Bourget in March 1970, both in Paris). In February 1970, they embarked on a North American tour, but that month-long trek proved only marginally successful. Because of their Yardbirds credentials, they found themselves paired with bands such as The Kinks and their new classically orientated direction did not always go down well because audiences were expecting rock/blues-based material.
Beginning in the late spring of 1970 as touring began to grind on them, the original band gradually dissolved. Relf and McCarty decided to quit performing, and Cennamo joined Colosseum.[2] Hawken organized a new line-up to fulfill contractual obligations to Island Records and complete the band's second album, Illusion (1971) which had been left unfinished.
Transition (1970–71)[edit]
Apart from Jane Relf, the new band consisted mostly of former members of Hawken's previous band, The Nashville Teens – guitarist Michael Dunford, bassist Neil Korner and singer Terry Crowe, plus drummer Terry Slade.[7] This line-up recorded one track, "Mr Pine", a Dunford composition, and played a few gigs during the summer of 1970. Meanwhile, a final recording session brought together the original line-up minus Hawken, with Don Shin sitting in on keyboards, and produced the album's closing track "Past Orbits of Dust". The now completed Illusion was released in Germany in 1971, although it was not released in the UK until 1976 (Island HELP 27). The album marked the beginning of Renaissance's long-standing collaboration with poet Betty Thatcher-Newsinger as lyricist when she co-wrote two songs with Relf and McCarty.
The two remaining original members left in late 1970; Jane Relf was replaced by American folk singer Anne-Marie "Binky" Cullom, then John Hawken left to join Spooky Tooth and pianist John Tout replaced him.[7] There is an extant video (released on the DVD "Kings & Queens" in 2010) of that line-up performing five songs on a German TV program (Muzik-Kanal). The plan at the time was that Relf and McCarty would remain involved as non-performing members – Relf as a producer and McCarty as a songwriter. Both were present when singer Annie Haslam successfully auditioned in January 1971[6] to replace the departing Cullom (who would later marry drummer Terry Slade and retire from the music scene). While McCarty would go on to write songs for the new band, Relf's involvement would be short-lived. Dunford soon emerged as a prolific composer, and continued the writing partnership with Thatcher, who would go on to write most of the lyrics for the band's 1970s albums.
Second incarnation (1971–80)[edit]
Sometime in 1971, new manager Miles Copeland III decided to re-organize the band, focusing on what he felt was Renaissance's strong points – Haslam's voice and Tout's piano. Will Romano in Mountains come out of the sky explained that "unlike many of the artists to which they were compared Renaissance allowed the piano and female voice to come to the forefront".[7] Until then Haslam had shared vocals with Terry Crowe, who was in effect the band's chief vocalist. Crowe and Korner went, the former unreplaced, the latter replaced by a succession of bass players, including John Wetton (later of King Crimson, UK, and Asia), Frank Farrell (later in Supertramp) and Danny McCulloch (formerly of The Animals and a former bandmate of Dunford and Crowe in The Plebs), until the position settled with the inclusion of Jon Camp. It was also decided that Dunford would now concentrate on composing, and a new guitar player, Mick Parsons, was brought in for live work. In 1972, shortly before recording sessions for the new band's debut LP, drummer Terence Sullivan joined after Slade's initial replacement, Ginger Dixon,[8] was deemed unsuitable following a European tour. Parsons died in a car accident and was replaced at short notice by Rob Hendry.[9] The resulting line-up entered the studio having played only a dozen gigs together.
Prologue was released later in 1972 on EMI-Sovereign Records in the UK and on Capitol-Sovereign in North America. Prologue's music was, except for two songs by McCarty, composed by Dunford, with all lyrics by Thatcher-Newsinger. Rock radio stations (particularly in the northeast US and Cleveland) gave the song "Spare Some Love" significant airplay for a few months after the album's release, and fans of Yes and Emerson, Lake & Palmer in particular, took notice of the band. Francis Monkman, of the group Curved Air (another group managed by Copeland), was a guest on VCS3 synthesizer on the final track "Rajah Khan".[10]
Hendry was replaced for the Prologue tour by Peter Finberg, but Finberg was already committed to another band and so could not be a permanent replacement.[9] This left Camp to play most of the guitar on their next album, Ashes are Burning, released in 1973. Though the band were trying to transition to a more acoustic sound, Andy Powell, of the group Wishbone Ash (yet another group managed by Copeland), was brought in for an electric guitar solo on the final track "Ashes are Burning",[9] which became the band's anthem piece, extended to almost twenty minutes with a long bass solo and other instrumental workouts. The album became the band's first to chart in the US, where it reached No. 171 on the Billboard 200.[11] Shortly after the album's release, Michael Dunford returned as (acoustic) guitarist, completing what most fans regard as the classic five-piece line-up, which would remain together through five studio albums. The band played their first US concerts during this period,[9] enjoying success on the East Coast in particular, which soon resulted in a special orchestral concert at New York's Academy of Music in May 1974. Soon Renaissance would choose to concentrate on the US market, as the UK press virtually ignored them.
Joining BTM label[edit]
The band left Sovereign Records and joined Miles Copeland's new prog rock stable and label BTM (for British Talent Management). The label's first release was Turn of the Cards in 1974. With a larger budget, the album went from folk-flavoured to a more dark, lush, orchestral rock sound. One of the album's songs, "Things I Don't Understand", which clocked in at 9:30, was Jim McCarty's last co-writing credit with the group (although it was actually in the band's live repertoire for years). A lengthy tribute to Aleksandr Solzhenitsyn, called "Mother Russia", closed out the album, with lyrics inspired by his autobiographical novel, One Day in the Life of Ivan Denisovich. Turn of the Cards was first issued in the United States on Sire Records in August 1974, where it reached No. 94,[11] some months before an official UK release. It remained in the Billboard 200 for 21 weeks. Although Renaissance's fan base was relatively small, its following was heavily concentrated in the large cities of the northeast US. The album was eventually released in the UK in March 1975.
It was soon followed by Scheherazade and Other Stories, released on both sides of the Atlantic in September 1975. The album, whose second side was taken up with the epic tone-poem "Song of Scheherazade" based on stories from One Thousand and One Nights, peaked at No. 48 in the United States.[11] There is "no musical connection to the well-known classical work Scheherazade by Nikolai Rimsky-Korsakov"[12], but the track does have a recurring six-note motif that alludes to that work.[13]
A double live album, Live at Carnegie Hall, followed in 1976. Despite criticisms that much of the album was little more than a note for note reproduction of highlights from their previous four studio albums,[14] the album reached No. 55 in the US.[11] Renaissance were the first British band to sell out three consecutive nights at Carnegie Hall.[12] They were joined on stage by the New York Philharmonic Orchestra. While introducing the song "Ashes Are Burning", Haslam refers to it as the title track from the group's second album, rather than their fourth, suggesting that the Haslam-led lineup by this point considered themselves a distinct band from Keith Relf's incarnation of the group. (This point is further underscored by the band's including an album discography in the gatefold of LP copies of Live at Carnegie Hall, which lists only the four albums from Prologue forward.)
Live at Carnegie Hall's follow-up, Novella, saw more chart success in the US, peaking at No. 46 in 1977,[11] although its UK release was delayed by yet another label change. Will Romano in Mountains come out of the sky describes the band:
" Renaissance was at an all-time popularity high, finding themselves playing to sold-out audiences ... in the U.S., particularly in the northeastern part of the country, in Pennsylvania and New York.[12] "
Renaissance, 1979. Clockwise from upper left: Terry Sullivan, Michael Dunford, John Tout, Annie Haslam, and Jon Camp.
UK hit single[edit]
Although commercial success was limited during this period, Renaissance scored a hit single in Britain with "Northern Lights", which reached No. 10 during the summer of 1978. The single was taken from the album A Song for All Seasons (a No. 58 album in the US),[11] and received significant airplay in the US on both AOR and on radio stations adapting to a new format known as "soft rock", now known as adult contemporary. The band performed on a modestly successful tour of the US east of the Mississippi and drew significant crowds in State College, Pennsylvania and Cleveland in May and June 1979, promoting both A Song for All Seasons and a mix of old and new tracks. Additionally the band was able to get additional exposure via US television; performing "Carpet of the Sun" in 1977 on The Midnight Special (TV series) and being guests on the May 4 1978 edition of the Mike Douglas Show, where they played "Northern Lights".
Renaissance floundered following 1979's Azure d'Or, as many fans could not relate to a largely synthesizer-oriented sound.[15] As a result, the band's fan base began to lose interest and the album only reached No. 125.[11] Dunford and Camp assumed most of the band's songwriting.
In the 1970s, Renaissance defined their work with folk rock and classical fusions. Their songs include quotations from and allusions to such composers as Alain, Bach, Chopin, Debussy, Giazotto, Maurice Jarre, Rachmaninoff, Rimsky-Korsakov, Prokofiev and Shostakovich. Renaissance records, especially Ashes Are Burning, were frequently played on American progressive rock radio stations such as WNEW-FM, WHFS-FM, WMMR-FM, KSHE 95 and WVBR.
Critical reception to the "classic line-up"[edit]
Reviewers were deeply divided in their reactions to the "classic" period of Renaissance, and their style of music. Some critics saw little value in their music, like Wayne King's entry in The new Rolling Stone record guide describing the period 1974 to 1983:
" Their inability to compose songs that would allow for any fluidity or improvisation meant that Renaissance's appeal, nonexistent in their native England and cultish at best in America, declined ... and the remainder of the Sire material matches this commercial decline with an artistic one. The comeback attempt on IRS ... was a ludicrous failure.[14] "
Progressive rock reviewers were much more supportive, such as Charles Snider in The Strawberry Bricks Guide to Progressive Rock evaluating the album Scheherazade and Other Stories, who describes:
Renaissance "Trip to the Fair" (1975)
John Tout playing piano on "Trip to the Fair" from the album Scheherazade and Other Stories.
" Annie Haslam's crystal clear five-octave voice high in the mix, supported by the virtuoso talents of pianist John Tout and Jon Camp's distinctive Rickenbacker bass, and orchestral arrangements by Tony Cox.[16] "
1980–98[edit]
After the Azure d'Or tour, Tout left the group for personal reasons, quickly followed by Sullivan. Subsequent albums Camera Camera (1981) and Time-Line (1983) brought Renaissance more into the contemporary synthpop and new wave genre, but neither garnered enough commercial interest to make a viable future for the band. Camera Camera was the band's final album to chart in the US where it reached No. 196 in late 1981.[11] In 1985 Camp left, and Haslam and Dunford led an acoustic version of the band and performed occasional shows (the last being in Georgetown, DC, until splitting up in August 1987).
In 1988, Sire issued a two-part compilation, Tales of 1001 Nights, focusing on the band's 1972–79 period. In the 1990s most of their catalogue appeared on CD from reissue record labels such as Repertoire Records (Germany). In 2006 Repertoire issued remastered versions of Ashes are Burning, Turn of the Cards and Scheherezade and Other Stories.
In the mid-1990s both Haslam (who had released a self-titled solo album in 1989) and Dunford (who had been working on a proposed musical based on the Scheherazade storyline) formed their own bands using the name Renaissance and released albums with different line-ups.
Third incarnation[edit]
Renaissance partially re-formed in 1998 around a nucleus of Haslam, Dunford and Sullivan, plus Tout and several new musicians, most notably Roy Wood and Mickey Simmonds, to record the CD Tuscany.[17] In 1999, Haslam, Dunford and Simmonds played a one-off trio concert at London's Astoria supporting Caravan.
In March 2001, following the delayed release of Tuscany, a full band tour was organised, with a line-up of Haslam, Dunford, Sullivan, Simmonds, Rave Tesar (keyboards) and David J. Keyes (bass/voc), who played one London concert on 9 March (again at the Astoria) and three dates in Japan – Osaka on the 13th, Nagoya on the 14th and Tokyo on the 16th. The Tokyo concert was recorded and released as In the Land of the Rising Sun: Live in Japan 2001. (Tout, although in the audience at the Astoria, did not perform on this tour.) Haslam, who had become the band's spokesperson, said that several factors made further touring and recording impractical. The band's short third incarnation was soon over.
Bassist/vocalist & NJ-ite Keyes passed away in July 2019 after a long battle with leiomyosarcoma. [18]
Terry Sullivan recorded an album called South of Winter in 2004, with a studio group he named Renaissant.[19] It is evocative of Renaissance's music, with lyrics by Thatcher-Newsinger and keyboard contributions by John Tout.
On 20 September 2008, John Tout made his first public appearance in the US in over 25 years, with Annie Haslam and the Jann Klose band, at the Sellersville Theatre 1894 in Sellersville, Pennsylvania. In 2009, Tout suffered a heart attack.
In August 2009, Haslam announced that she and Dunford were commemorating the 40th anniversary of Renaissance with a re-formed band, called Renaissance 2009 (including no other members of the "classic" line-up, but with musicians from the 2001 incarnation of the band), and a concert tour.[20]
A tour in Eastern North America and Japan was undertaken in 2010, together with a three-song EP release and a new official website. Renaissance headlined the sold-out final edition of the North East Art Rock Festival, entitled NEARfest Apocalypse, on 23 June 2012.
Deaths of Betty Thatcher, Michael Dunford, and John Tout[edit]
Betty Thatcher (born 16 February 1944), the band's non-performing lyricist who wrote most of the lyrics for the band (mostly for the second 'classic' lineup, but starting with the original Relf-led version), died on 15 August 2011.
On 20 November 2012, Michael Dunford (born 8 July 1944) died from a cerebral hemorrhage at his home in Surrey, England.[21] A few weeks later, Haslam stated that the band would continue touring in the future,[22] despite losing "her guiding light".[23] In February 2013, it was announced that Ryche Chlanda would be the guitarist on their 2013 tour,[24] and he has established a permanent role in the band, although not appearing on their 2015 UK and European dates.
John Tout died of lung failure on 1 May 2015 at the Royal Free Hospital in Hampstead, London.[25] According to ultimateclassicrock.com, the band paid tribute to their former keyboardist on their Facebook page, saying: "He was an amazing musician, highly contributing to the unique sound of the band from 1970–1980."[25]
Symphony of Light[edit]
In April 2013 a new Renaissance album, Grandine il Vento, was released. It was dedicated on the inside sleeve to Dunford. This album was reissued as Symphony of Light in April 2014 with three bonus tracks.
Renaissance "The Mystic and the Muse" (2014)
30 second sample of Renaissance playing "The Mystic and the Muse"
Symphony of Light follows a similar path to the band's early work with a combination of shorter songs, and longer, more progressive tracks such as the title track, and "The Mystic and the Muse". The band were joined by well-known guest musicians Ian Anderson playing the flute on "Cry to the World", and John Wetton performing a duet with Haslam on "Blood Silver Like Moonlight". All the music was written by Dunford, except "Renaissance Man" (dedicated to Dunford) which was written by Rave Tesar. All the lyrics were written by Haslam, and the artwork featured a painting 'Symphony of Light' also by Haslam. [26]
Ralph Greco, Jr. in vintagerock.com observed that "Symphony of Light thrives on lush production, evocative lyrics, excellent playing and that superlative voice that could only belong to Annie Haslam."[27]
The current line-up is not as English as the band's early period with five U.S. born members, and one English born member who lives in the U.S.
Main article: List of Renaissance band members
Annie Haslam – vocals, percussion (1971–1987, 1998–2002, 2009–present)
Mark Lambert – guitar, backing vocals (2015–present); bass (1985–1987)
Rave Tesar – keyboards, piano (2001–2002, 2009–present)
Geoffrey Langley – keyboards, backing vocals (2016–present)
John Arbo – bass, backing vocals (2018–present)
Frank Pagano – drums, percussion, backing vocals (2009–2017, 2018–present)
Studio albums[edit]
Chart-Positions
UK chart[28]
US[11]
NL [29]
1969 Renaissance 60 – 10
1971 Illusion – – – 1976 (UK)
1972 Prologue – – –
1973 Ashes Are Burning – 171 –
1974 Turn of the Cards – 94 – 1975 (UK)
1975 Scheherazade and Other Stories – 48 –
1977 Novella – 46 – 1977 (January in US, August in UK, as the band moved to the Warner Bros Music Group)
1978 A Song for All Seasons 35 58 – UK:Silver
1979 Azure d'Or 73 125 –
1981 Camera Camera – 196 –
1983 Time-Line – 207 –
2001 Tuscany – – –
2013 Grandine il vento – – – Reissued 2014-04-15 as Symphony of Light with bonus tracks
Live albums[edit]
UK[28]
1976 Live at Carnegie Hall – 55
2002 In the Land of the Rising Sun: Live in Japan 2001 – –
2011 Renaissance Tour 2011 – Turn of the Cards and Scheherazade & Other Stories Live in Concert (DVD and double CD set) – –
2016 Renaissance 2012 (recorded April 16, 2015) – Renaissance Live at the Union Chapel (DVD and digital only audio set) – –
2018 A Symphonic Journey (recorded October 27, 2017) – Live In Concert (DVD and double CD set) – –
Other releases[edit]
In the Beginning (compilation double-album of Prologue and Ashes are Burning), 1978
Tales of 1001 Nights (compilation in two volumes), 1990
Da Capo (Repertoire Germany compilation), 1995 (2 CDs) (Limited Edition in tall digipak with a much more concise, detailed booklet)
Live at the Royal Albert Hall: King Biscuit Flower Hour, 1997 (live performance recorded 1977; two volumes)
Songs from Renaissance Days, 1997 (compilation of out-takes, including one B-side and two Haslam solo tracks, 1979–88)
The BBC Sessions 1975–1978, 1999 [2 CDs]
Day of the Dreamer, 2000 (live performance recorded 1978)
Unplugged Live at the Academy of Music, 2000 (live performance recorded 1985)
Live + Direct, 2002 (edited 1970 live recording plus demos and miscellany from 1968 to 1976)
Innocents and Illusions, 2004 (compilation double CD of Renaissance and Illusion from the original incarnation)
Dreams & Omens, 2008 (live performance recorded 1978)
Live in Chicago, 2010 (live performance recorded 1983)
The Mystic and the Muse (Three-track EP of new songs), 2010
Past Orbits of Dust, 2012 (live performances, plus one remastered studio track, from 1969 to 1970)
De Lane Lea Studio, 2014 (live performance recorded 1973)
Academy of Music, 2015 (live performance recorded 1974)
Singles[edit]
UK[edit]
"Island" b/w "The Sea", Island WIP6079 Jan70
"Spare Some Love" b/w "Prologue", Sovereign SOV113 Jan72
"Back Home Once Again" b/w "The Captive Heart", Warner Bros K17012 Sep77
"Northern Lights" b/w "Opening Out", Warner Bros K17177 May78 – UK No. 10[28]
"The Winter Tree" b/w "Island of Avalon", Warner Bros K17353 Apr79
"Jekyll and Hyde" b/w "Forever Changing", Warner Bros K17407 Jun79
"Faeries (Living at the Bottom of the Garden)" b/w "Remember", Illegal ILS0025 Oct81
"Bonjour Swansong" b/w "Ukraine Ways", Illegal ILS0027 Feb82
"Richard IX" b/w "Flight", I.R.S. PFP1016 Jul83
US[edit]
"Prologue" b/w "Spare Some Love", 1972
"Carpet of the Sun" b/w "Bound for Infinity", 1973
"Mother Russia" (3'07 edit) b/w "I Think of You", 1974
"Carpet of the Sun" (live) b/w "Kiev" (live), 1976
"Midas Man" b/w "The Captive Heart", 1977
"Northern Lights" b/w "Opening Out", 1978
"Jekyll and Hyde" b/w "Forever Changing", 1979
"Bonjour Swansong" b/w "Remember", 1981
Japan only[edit]
"Spare Some Love" b/w "Prologue", 1972
"The Mystic and the Muse" 3 Song EP, 2010
West Germany only[edit]
"Faeries (Living at the Bottom of the Garden)" b/w "Bonjour Swansong"
Michael Dunford's Renaissance[edit]
These albums were essentially collaborations between Dunford and singer Stephanie Adlington.
The Other Woman, 1994 (originally issued as by "Renaissance")
Ocean Gypsy, 1997 (mostly new versions of past Renaissance songs)
Trip to the Fair, 1998 (compilation of tracks from the previous two releases)
Annie Haslam's Renaissance[edit]
This album was essentially an Annie Haslam solo release (one of several).
Blessing in Disguise, 1994.
Renaissant[edit]
This album was essentially a Terry Sullivan solo release with lyrics by Betty Thatcher-Newsinger and keyboards by John Tout. Terry's wife Christine did most of the vocals, with Terry himself taking lead on two songs.
South of Winter (2005)
Major television appearances[edit]
Multi-artist television programme with Renaissance performing "Can You Understand" and "Black Flame". Syndicated (USA), 1974. 11 minutes, original running time unknown.
The Midnight Special
Multi-artist television programme with Renaissance performing "Carpet of the Sun" and "Midas Man". NBC (USA), 1976. 5 minutes, original running time unknown.
Sight and Sound in Concert
First in a series of programmes consisting of artists performing live with the first performance broadcast simultaneously on BBC TV and FM radio, hosted by DJ Alan Black. Songs performed were: "Carpet of the Sun", "Mother Russia", "Can You Hear Me?", "Ocean Gypsy", "Running Hard", "Touching Once" and "Prologue". Originally broadcast on 8 January 1977. BBC (UK), 1977. Approximately 50–55 minutes.
The Mike Douglas Show
Television talk show features Renaissance performing "Northern Lights" and "Day of the Dreamer" on 4 May 1978.
MTV Interview
Interview by J.J. Jackson with Annie Haslam and Jon Camp on the Time Line album Tour. MTV (USA), April 1983. 10 minutes.
Illusion[edit]
Shortly prior to his death (May 1976), Keith Relf wanted to try to reform the original Renaissance. Since the name Renaissance was now firmly in the hands of the Haslam lineup, he chose the tentative band name "Now". Jim McCarty was not involved at this point.[30] After Relf's death (May 1976), the surviving four formed a new band (along with two new musicians) and named it Illusion after Renaissance's second album. Illusion released two albums for Island Records before splitting, while a third made up of unreleased demos appeared years later. The demos were recorded in 1979 but no label was interested in them which caused Illusion to break up. The original four reformed again for the production of Through the Fire which was released under the bandname of Renaissance-Illusion. There are two second albums entitled Illusion: the second album of the original Renaissance (1971); and the eponymous second album of their reunion band, Illusion (1978).
Out of the Mist (1977) produced by Paul Samwell-Smith (original bass player of The Yardbirds)
Illusion (1978) produced by Douglas Bogie (recording engineer)
Enchanted Caress: Previously Unreleased Material (1990) produced by Jim McCarty
Illusion: The Island Years (2003) 2-CD compilation of Out of the Mist/Illusion with unreleased track by Keith Relf
Renaissance-Illusion[edit]
Through the Fire (2001) produced by Jim McCarty
Covers of Renaissance songs[edit]
This list does not include Renaissance songs performed by individual former members of the band.
"Ashes Are Burning" on the Faith & Disease albums Fortune His Sleep 1995 and Livesongs: Third Body, 1996.
"Ocean Gypsy" on the Blackmore's Night album Shadow of the Moon, 1997 (A ballad version).
^ Snider, Charles (2007). The Strawberry Bricks Guide to Progressive Rock (1st ed.). Chicago: Strawberry Bricks. p. 63. ISBN 978-0-615-17566-9
^ a b c Romano, Will (2010). Mountains Come Out of the Sky: An Illustrated History of Prog Rock (1st Ed.). Montclair, NJ: Blackbeat Books. p. 130. ISBN 978-0-87930-991-6
^ Snider, Charles (2007). The Strawberry Bricks Guide to Progressive Rock (1st ed.). Chicago: Strawberry Bricks. p. 233. ISBN 978-0-615-17566-9
^ Brennan, Mark (1994). Turn of the Cards (CD album notes). Renaissance. Germany: Repertoire Records. ASIN B000000132.
^ Together biography at AllMusic. Retrieved 25 October 2014.
^ a b Elliott, Russell W. "The History of Renaissance". www.nlightsweb.com. Retrieved 29 April 2009.
^ "Jon Camp Interview 2012". Retrieved 28 March 2012.
^ a b c d Dome, Malcolm (2019). Ashes Are Burning (Booklet). Renaissance. Cherry Red Records Ltd. pp. 2–11.
^ a b c d e f g h i j Whitburn, Joel (1996). Joel Whitburn's Top Pop Albums, 1955–1996 Menomonee Falls, Wisconsin: Record Research Inc. p. 649. ISBN 0-89820-117-9
^ Liner notes from the Tales of 1001 Nights compilations
^ a b Marsh,Dave (1983). The new Rolling Stone record guide (1st. Ed.). New York: Random House/Rolling Stone Press p. 419. ISBN 0-394-72107-1
^ Eder, Bruce Renaissance - Azure D'or (1979) album review at AllMusic. Retrieved 26 January 2014.
^ Eder, Bruce Renaissance - Tuscany (2001) album review at AllMusic.Retrieved 12 May 2014.
^ https://dailyvoice.com/new-jersey/wyckoff/obituaries/renowned-franklin-lakes-musician-dies-after-long-cancer-fight/771900/
^ Renaissant - South of Winter (2004) at AllMusic. Retrieved 24 May 2014.
^ "Renaissance 2009 40th Anniversary Concert Tour". Retrieved 18 March 2012.
^ Eder, Bruce Michael Dunford's Renaissance biography at AllMusic Retrieved 6 September 2014.
^ Hughes, Rob (April 2013) "I and Thou", PROG magazine Issue 35, p. 27
^ Haslam, Annie (5 December 2012). "Annie Haslam: Artist". Facebook. Retrieved 22 December 2012.
^ Haslam, Annie (February 2013), "Renaissance Announces New Guitarist", Renaissance website blog, retrieved 14 February 2013
^ a b Giles, Jeff (6 May 2015). "Renaissance Keyboardist John Tout Dies". ultimateclassicrock.com. Greenwich: Townsquare Media. Retrieved 13 May 2015.
^ Symphony of Light (CD album notes). Renaissance. Red River Entertainment. 15 April 2014. ASIN B00ID96PL8. CS1 maint: others (link)
^ Greco, Ralph, Jr. (July 2014) Renaissance - Symphony of Light (2014) album review at VintageRock.com Retrieved 24 August 2014.
^ a b c Roberts, David (2006). British Hit Singles & Albums (19th ed.). London: Guinness World Records Limited. p. 458. ISBN 1-904994-10-5.
^ "Dutch album charts – Renaissance (album)". dutchcharts.nl. Retrieved 1 June 2013.
^ Live+Direct (CD album notes). Renaissance. Spiral. 29 April 2002. ASIN B00005YXMF. CS1 maint: others (link)
Official band website www.RenaissanceTouring.com
Renaissance official Facebook page RenaissanceTouring
Northern Lights (fan site) www.NlightsWeb.com
Renaissance Fanfare (fan site) Prologue.ning.com
Annie Haslam's official site www.AnnieHaslam.com
Renaissance biography by Bruce Eder, discography and album reviews, credits & releases at AllMusic
Renaissance discography, album releases & credits at Discogs
Renaissance biography, discography, album credits & user reviews at ProgArchives.com
Renaissance albums to be listened as stream on Spotify
John Hawken
Jane Relf
Keith Relf
Louis Cennamo
Jim McCarty
Danny McCulloch
Frank Farrell
Gavin Harrison
Roy Wood
Mickey Simmonds
Michael Dunford
Renaissance (1969)
Illusion (1971)
Prologue (1972)
Ashes Are Burning (1973)
Turn of the Cards (1974)
Scheherazade and Other Stories (1975)
Novella (1977)
A Song for All Seasons (1978)
Azure d'Or (1979)
Camera Camera (1981)
Time-Line (1983)
Tuscany (2001)
Grandine il vento (2013)
Live at Carnegie Hall (1976)
In the Land of the Rising Sun: Live in Japan 2001 (2002)
"Mother Russia" (1974)
"Northern Lights" (1978)
Betty Thatcher
MusicBrainz: 874aec28-dfa7-4a73-a3fa-8212f769754d
Retrieved from "https://en.wikipedia.org/w/index.php?title=Renaissance_(band)&oldid=906394168"
English progressive rock groups
Island Records artists
Sire Records artists
Elektra Records artists
Progressive pop musicians
Symphonic rock groups
CS1 maint: others
Use British English from October 2014


text:
Analysis: Phil Kirkbride on Everton FC's 1-1 draw at Manchester City
DAVID SILVA probably felt like he had been forgotten about. In the corresponding fixture last season, Everton welded Jack Rodwell to the Spaniard as they went to Manchester City with the policy of containing the joint leaders in the Premier League.
They went to the Eithad Stadium with the intention of trying to suppress Silva and slowing the momentum of the home side by freezing their most creative player out of the game.
For the best part of 70 minutes, the Blues were so well organised, and Rodwell so disciplined, that they looked like travelling back down the East Lancs Road with a point.
A point which would've been well-earned but, given their tactics and approach, all they could realistically have hoped for.
Ultimately, all they came away with was a 2-0 defeat.
Fast-forward over 12 months and Everton got that point.
But where once there was pragmatism, there is now panache and poise.
Manchester City are not quite the imposing monster they were last season and Silva not in such wondrous form but the most significant change between these two teams has been in Everton.
If you needed a game to help chart the progress of the Blues over the last year and the shift in their horizons, then this will have provided sufficient evidence.
Everton not only finished the game on par with the reigning league champions but had chances and the belief to have gone and won the game.
This was no sort of 'smash and grab' raid, this was a draw between two sides who were as good as each other.
After the match David Moyes referred to a change in the "mental condition" of Everton from then, but there has also been a crucial tweak in personnel.
Where the Blues had Rodwell and Phil Neville as a conservative central midfield pairing in September last season, this weekend Everton not only had that protection for their back four but also craft and class from that area as well.
Darron Gibson and Leon Osman were excellent at the Etihad.
In the first-half when Everton played with fluency and intent – often a rarity at Man City with most sides barely seeing the ball – the partnership of Gibson and Osman was pivotal.
Such is the trust in Gibson to anchor the midfield and keep Everton moving with swift and accurate passing that Osman had the freedom to work in the space between midfield and defence.
Osman was able to help bring full-backs Leighton Baines and Tony Hibbert into the game as Moyes' men took immediate control.
And in the second half when Everton needed to play with resilience and fight – often a necessity at Man City because you barely see the ball – Gibson and Osman were as strong as any defender in royal Blue on Saturday.
Moyes had hoped Osman's England call-up last month would help the 31-year-old "kick on" in his Everton career.
And the tenacious way he went about battling with Yaya Toure and Gareth Barry in the heart of the battle on Saturday, suggests his time with the Three Lions has certainly done Osman no harm.
Osman's international selection neatly sums up the changing outlook at Goodison Park from last season and the differing ambition with which they can approach these games.
Hopefully next season, Silva is in need of as little attention again.
Gareth Barry
Phil Neville


This summer I'm going to gradually start blogging a bit more regularly again. In the meantime, recent days have brought a whole bunch of links I liked, which I pass on with minimal comment.
1. Mitt Romney disingenuously disparages Jimmy Carter, gets schooled by James Fallows.
2. The New York Times asked some literary lights to give their on U.S. politics these days: E.L. Doctorow, Margaret Atwood, and Martin Amis.
3. Jonathan Chait highlights the difference between perception and reality as regards Paul Ryan's policy ideas and ambitions. (Note: apparently his criticism was too subtle for some, as can be seen here). Also worth (re-)reading in this context: Chait's takedown of the despicable Ayn Rand.


The first time I heard about the business model generation was in the 2010 at a summer school in the Netherlands and then again in the 2011 in Vienna. In the first and second case, tutors did not know how to use it, really. They used it more to ensure that we got a macro view on what is necessary to think about when thinking about business ideas. The big difference is also if you use the Business Model Canvas in the company of students with no real business experience or with the group of coworkers at your company, as it was the case in our workshop. This second experience with Marko was better.
Expectations prior to the workshop… I've seen as an opportunity that we as a team move away from a daily routine, and that we have a useful team building, look at things from a fresh perspective, get to know the method that would benefit us in the work of the future.
At the workshop I felt good. It was a 100 % offset of the daily work routine. Time limit to nine minutes to design each business model is otherwise stressful, but I understand the point of it. And I do plan to attend similar workshops. After this workshop, I was clearer about the potential application of the method. I believe I'm going to use it again.
At the workshop I enjoyed the most the dynamic teamwork of the entire company and external partners. I was the least satisfied with the nine minute time restrictions and lack of focus in the design of business models, especially the second day, when we were designing concrete examples. But, to name the most useful matters: + teamwork; + business models design methodology training; + a significant deviation from the everyday routine of public relations management.


BEIRUT, LEBANON (8:00 P.M.) – U.S. President Donald Trump said on Wednesday that some of his nation's armed forces would remain in Syria after the defeat of the Islamic State (ISIS/ISIL/IS/Daesh).
In his statement, Trump said a total of 400 troops would remain in Syria, with 200 of them placed closer to the border of Israel.
"In Syria we're leaving 200 people there and 200 people in another place in Syria closer to Israel for a period of time," Trump said on Wednesday.
Despite Trump's claim, the U.S. military is positioned nowhere near the Syrian-Israeli border.
In fact, their closest point to the Syrian-Israeli border is in the Al-Tanf region, which is still incredibly far from the occupied Golan Heights.
Trump would not specify where these troops would be deployed, as he switched to the topic of the Islamic State's territorial defeat.
"This is a map of everything in red; this was on election night in 2016. Everything red is ISIS [Daesh]. When I took it over it was a mess," Trump said demonstrating the map of the Islamic State-held territory.
"Now, on the bottom, that's the exact same [map], there is no red. The fact is actually a tiny spot, which will be gone by tonight," he added.
He can leave his troops in the occupied Golan. So they'll still be in Syria according to international law and even according to current US doctrine. But he probably means Al-Tanf.
And in the end, he has been much less toxic than Obongo or Chenney and shows much better understanding of international politics than them.
He fakes being a madman and being dumb, he's neither mad nor dumb, he's extremely clever instead.
It will be interesting when the Turks will prevent the Great Israel.
Assad's Shiites were fairly diluted. Soon, Syria will come into the hands of Emperor Erdogan. US Army and Israelis will die in an old classic way.Remember the Sultan of the magnificent.
Shiites are traitors and traitors will killed.


text:
The Black Museum — "The Mandolin String"
Saturday, 14 December 2019 4:00 pm December 14, 2019 Posted byDave Truesdale
"The Black Museum. A Repository of Death. Here in the grim stone structure on the Thames which houses Scotland Yard is a warehouse of homicide, where everyday objects . . . all are touched by murder."
The Black Museum (1952) aired (in the United States and as near as historians can reasonably ascertain) "The Mandolin String" on June 17, 1952. The name The Black Museum was coined in 1877 by a reporter for London's The Observer newspaper, though the museum had opened in 1875 with the official name of simply the Crime Museum. It is the oldest museum in the world to display only artifacts of crime and is still known today by its official name of the Crime Museum despite the more colorful name given it by The Observer. The museum is not open to the public and is used primarily for instructional purposes for police training, but has had special visitors the likes of Sir Arthur Conan Doyle.
The Black Museum was one of four similar shows produced by Harry Alan Towers (1920-2009) under his Towers of London label in the late 1940s and early 1950s. Towers, a native born Britisher, would also produce popular radio fare like Secrets of Scotland Yard, Fabian of the Yard, and WHItehall 1212. All four shows centered around stories from the files of Scotland Yard, and New Scotland Yard's famous Crime Museum, which was popularized in crime novels as the Black Museum. While all but Fabian of the Yard are verified as being produced and syndicated in Britain for future syndication, it is interesting to note that, according to the Digital Deli Too website entry, "WHItehall 1212 was a National Broadcasting Corporation production written by Lights Out's famous scriptwriter Wyllis Cooper…." Three of the four shows, The Black Museum among them, would wrap their stories around an artifact from the museum, recounting in dramatic form the infamous crime associated with said artifact. Secrets of Scotland Yard kept to historical facts quite closely, and while a fascinating listen and quite popular, didn't have the flair or melodramatic effect the likes of Orson Welles (1915-1985) would bring to The Black Museum as the host and narrator of each of its 52 episodes. And while The Black Museum also kept to the historical record surrounding each case, it would play a little fast and loose with them (or perhaps embellish them is the proper word) for dramatic effect, and it didn't hurt that the show–unlike the others–drew its material solely from murders, thus guaranteeing the audience a chilling half hour. Overlay the grim stories with the somber, virtually hypnotic tones of Orson Welles and you've got a winner.
Speaking of Orson Welles, one might be given to wonder how he came to write some of, and host and narrate all of the episodes of The Black Museum, which were produced in the UK. It seems that Welles decided to take an extended "vacation" in England due to several professional and personal problems, including some "requests" from the Internal Revenue Service. So the American loss turned into Harry Alan Towers's gain (Towers's photo at left 1948, at right circa 1984), and he set Welles to work, a profitable solution for both parties. Welles would also work on two other Towers productions, perhaps the most well known to the American radio audience being The Lives of Harry Lime (or The Third Man.) The Third Man was a 1949 film noir British production set in post-World War II Vienna, with Welles playing the Lime character. Written by Graham Greene, it has attained classic status for its stylish portrayal of a decaying and corrupt Vienna, so Towers was striking while the iron was hot and rode the coattails of the film with Welles starring in the radio adaptation.
The airing of The Black Museum episodes presents problems for historians. Produced in 1950, it was first aired as a "pirate broadcast" by Radio Luxembourg, and then throughout Europe. It was eventually licensed by MGM Radio Attractions and ran in the United States under the Mutual Broadcasting System (MBS). MGM hand-picked what it considered to be the best 39 of the original 52 episodes and ran them from January 1, 1952 through December 30, 1952 (with a three month hiatus while a summer replacement filled the gap). There's more to the odd packaging and eventual airing of select episodes of The Black Museum (Canada's CBC radio would also purchase some 38-39 episodes and air them at different times than the American run, for but one example), but all of that is neither here nor there for our current purposes.
"The Mandolin String" is, like all the other tales from this radio program, about murder and how the title object figures in, or plays a part in the foul deed. Not wishing to risk revealing too much, all I can offer is that several unfortunate victims find themselves wondering what a long, strange trip it's been for them.
Play Time: 23:50
{A certain Saturday in June of 1952 found the neighborhood Louisville sluggers at the corner newsstand instead of the nearby park, for the rain had called off their much anticipated baseball game. Plan B was a good one, find some otherworldly adventurous escape via the pages of their favorite pulp magazines. fantastic Adventures (1939-53) never failed to spark the imagination with its action-filled covers including very often a scantily clad female in imminent distress. It was a monthly in 1952. Imagination (1950-58) was the brainchild of Raymond Palmer, who quickly turned around and sold it after two issues to William Hamling and his Greenleaf Publishing Company. Not generally recognized for the quality of its fiction, Hamling nevertheless published stories by Robert Sheckley, Philip K. Dick, Robert A. Heinlein, and John Wyndham. The magazine managed 7 issues in 1952. The venerable Weird Tales (1923-54), the "unique magazine," was a bi-monthly in 1952, though it would last but a few more years after a long and distinguished run as the first pulp magazine devoted to occult and supernatural fiction.]
[Left: fantastic Adventures, June 1952 – Center: Imagination, July 1952 – Right: Weird Tales, July 1952]
To view the entire list of weekly Old Time Radio episodes at Tangent Online, click here.


A trio of trailblazing female diplomats dished out sage career advice during an International Women's Day Breakfast Reception hosted Thursday by Mayor Jim Watson at Ottawa City Hall.
British High Commissioner Susan le Jeune d'Allegeershecque, French Ambassador Kareen Rispal and German Ambassador Sabine Sparwasser each took turns speaking to a crowd of more than 350 and answering questions. Most of the invited guests were women, with the exception of a strong showing of male elected officials.
Their presence in Ottawa marks the first time Britain, France and Germany have sent female ambassadors to Canada. Also invited to participate was U.S. Ambassador Kelly Craft, but she had to send her regrets due to work travel, said the mayor.
The room heard how le Jeune d'Allegeershecque joined the foreign service after graduating from university with a degree in French literature. It's important to get an education because it opens so many doors, she said.
Her 32-year-long career has taken her to Singapore, Venezuela, Colombia, the United States and Austria.
The high commissioner's tips included: Don't have rigid career plans because great opportunities might come along; shrug off feelings of female guilt ("I learned earlier not to feel so guilty and my kids have turned out quite well"); and don't worry about trying to be a perfectionist.
"We can do everything that men can do, and we can quite often do it a lot better than they can"
– Susan le Jeune d'Allegeershecque, British High Commissioner to Canada.
She also reminded women to be vocal about their ambitions and to believe in themselves.
When the French ambassador arrived in Ottawa last year, there were 27 ambassadors who had come before her. All men.
She reflected back to a period in her career when she felt pressured at work to downplay her role as a mother of four.
"One of my regrets is that for my entire career I was acting like, pretending like I had no children," said Rispal, who was, in fact, a good, caring mother.
It's understandable, particularly when she was asked during job interviews how she would manage with four kids.
She expressed support for gender quotas, or mandatory targets, to increase female leadership.
"Otherwise, things won't change," said Rispal, who joined the French Ministry of Foreign Affairs in 1986.
The German ambassador used to live and work in Ottawa 15 years ago, and was in charge of the embassy for about a year, while it was between ambassadors. The embassy has a portrait gallery of former ambassadors – mostly serious-looking men in dark suits.
"I had to come back to get my picture up," Sparwasser joked of her return to Ottawa as head of mission.
The career diplomat talked about the wonderful support and encouragement that she's had from her Canadian husband and their kids.
A key to success, she said, is resilience.
She drew on the example of Christine Lagarde – the current managing director of the International Monetary Fund – twice failed the exams to get into the French civil service.
"Look where she is," Sparwasser said.
The discussion wrapped up with some brief thank-you remarks by the mayor, who recalled the advice that his own mother used to give him and his sister, Jayne: Always aim high, there's plenty of room.


text:
As COVID-19 cases spike, nurse aides work to reduce unnecessary hospital admissions
Gwendolyn Wu Dec. 31, 2020 Updated: Jan. 4, 2021 6:33 p.m.
Medical staff members perform an intubation procedure on a patient in the COVID-19 intensive care unit (ICU) at the United Memorial Medical Center on December 11, 2020 in Houston, Texas. According to reports, Texas has reached over 1,400,000 cases, including over 23,950 deaths.
Photo: Go Nakamura, Stringer / Getty Images
The key to keeping patients who are recovering from serious medical events from returning to the emergency room during the COVID-19 pandemic as hospitalization rates soar again could lie in a Houston medical program.
Grand-Aides is an organization of 1,500 nurse aides and medical assistants who check on patients after they're discharged from the hospital to ensure that they're taking medications, adhering to special diets and managing side effects at home.
The program was conceptualized in 2012 by Arthur "Tim" Garson, a health policy expert and former dean of academic operations at Baylor College of Medicine, but has gained renewed interest as fears of catching COVID-19 lead people to avoid seeking medical care.
"We don't want to keep sick people out of the hospital," Garson said. "What we would hope is that we would keep people from getting very ill after they're discharged."
ADMISSIONS UP: Despite COVID-19 surge, Houston hospitalizations still manageable
Grand-Aides' services, funded by hospitals or insurers, are free to patients. Within 48 hours of discharge, a grand aide contacts the patient. Aides usually pay a house visit three times the first week, tapering visits to once every four to six weeks as the patients adjust to diets and medication changes.
Patients receive 25 to 30 days of home visits. Grand-Aides ask patients to report any medical problems and take the report back to primary care doctors and specialists to determine whether they need to return to the hospital.
While the program's aides have reduced in-person visits during the pandemic, the aides are using telemedicine to confirm that their patients are recovering safely.
After patients have been discharged from the hospital, they could experience minor symptoms such as that could snowball into a serious emergency if left untreated, but could be easily prevented or managed with the advice of a medical professional, said Garson. In some cases, programs such as Grand-Aides have reduced readmissions by more than 80 percent.
A program like Grand-Aides could be especially important for low and moderate-income patients who might not be able to afford additional follow-up care after they leave the hospital, said Ge Bai, a professor of health policy and accounting at Johns Hopkins University.
The programs also benefit hospitals. Medical centers need to reduce repeat hospitalizations or face federal penalties and downgrades to quality ratings if they have excessive readmission rates. Many conditions that send patients to hospitals are treatable at home or in a doctor's office if caught early.
It's part of the shift from fee-for-service models, where hospitals are paid based on how many services are rendered, to value-based care, where medical providers are paid according to their patients' health outcomes.
"If their readmission rates are high, that becomes public record, and there is a shaming effect," Bai said. "If they're billed as being low quality, then their profit margin is affected."
At the University of Virginia Health System, Grand-Aides have been instrumental in reducing hospital admissions in the eight years since its implementation, said Craig Thomas, a nurse practitioner who oversees the medical center's aides.
Thomas has two aides, who handle as many as 70 patients at a time. Since launching Grand-Aides, hospital readmissions are down an average of 82 percent within 30 days at the University of Virginia Health System after starting Grand-Aides, he said.
"Our patients were extremely worried about contracting coronavirus, and they were doing what others were doing, not going places," Thomas said. "What it meant was that some of these chronic medical needs weren't met because they're not accessing care like they need to do."
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Home visits, even by telemedicine, can provide more meaningful information and care than hospitalization, he said. It's easier to see social and environmental factors, such as the type of caregiver network and support system, that might slow a patient's recovery or discuss day-to-day issues that may be forgotten by the next doctor's appointment.
If a grand aide spots something in a home environment that could prohibit them from returning to full health, such as a lack of access to healthy food options or unstable housing, they report back to primary care doctors and nurses to determine if there's something they can do to remedy that.
Grand-Aides' Garson said the program is working with several national insurance companies to develop long-term strategies for caring for patients. Grand-Aides also is collaborating with researchers at the University of Texas and University of Houston to study what type of interventions work best and how often they would need such care in the year following a major surgery or emergency.
"Hospital readmissions are often caused not by the treatment a patient received in the hospital, but by the social and environmental factors after the patient is discharged from the hospital," said Bai, the Johns Hopkins researcher.
Providing the care that keeps people from returning to hospitals particularly crucial now as coronavirus infection rates climb and patients fill hospital wards, experts said.
"Hospitals do not want to constrain their capacity because of patients unrelated to COVID," Bai said.
gwendolyn.wu@chron.com
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Gwendolyn Wu
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Gwendolyn Wu is a business reporter at the Houston Chronicle, focusing on the healthcare and biotech sectors. Prior to moving to Texas, she was a metro reporter for the San Francisco Chronicle, where she was part of the award-winning breaking news team that covered the deadly Camp Fire.
Originally from the San Fernando Valley in Los Angeles, Gwendolyn graduated from the University of California, Santa Barbara with degrees in history and sociology. She's an active member of the Asian American Journalists Association. In her spare time, she likes testing new recipes, exploring used bookstores and eating her way through new cities.
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