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12 or 20 (second series) questions with Sharon King-Campbell
Sharon King-Campbell [photo credit: Ashley Harding Photography] is a freelance theatre artist and storyteller. Her work has appeared in Riddle Fence and Word, and on stages across Newfoundland and Labrador. Sharon grew up in Ottawa and now divides her time between downtown St. John's and a little house in Winterton, NL.
1 - How did your first book change your life? How does your most recent work compare to your previous? How does it feel different?
This is my first book, but I can already feel it changing my life. I've spent the last fifteen-ish years working as a theatre artist (and I don't plan to stop!) but there is something really fun and exciting about getting my work into people's hands in places that are far away. Live performance is magical, but it does require you to be physically in a room with the audience, which limits your reach, logistically.
I had to think about this for a minute. I *did* come to poetry first - as a little kid. I think I was 7 when my first poem was published (in the children's section of the community newspaper). But then I went into theatre and started writing (mostly) plays, so this is a return of sorts.
I think I was drawn by poetry's connection to music. I was a very musical kid, so the rhythm and rhyme of lyrics, and of the kind of poetry that I was exposed to at that age, felt comfortable to me. I liked the problem-solving of it: this word doesn't fit, what can I use instead? What's the best rhyme here? Then, when I started to expand my writing interests and I kept a daily writing practice (which I've been doing off and on since I was fourteen - much more off than on, I must confess), often I would only have 15, 10, 5 minutes, and the automatic thing for me to do is to dive into a poem. I can't write a play - even a very bad first draft of a play - in 5 minutes, but I might scribble out some lines that could later be wrestled into a poem.
Now, I think certain stories want to be told in certain forms. Most poems don't make good plays, and most plays wouldn't make good poems. You can be elaborately detailed and simultaneously say something very large in poetry because it doesn't demand a fixed narrative.
Irritatingly, it depends on the project. I have written full-length plays in three months that changed very little in the editing, and I have taken a decade to wrangle my unmanageable thoughts into a play someone might produce. Poems are similar. There are a couple of pieces in This Is How It Is that came out of me whole and have changed very little between the first draft and the published copy. There are also pieces that I wrote in 2012, that started out as three different bits of writing that I pulled out of myself over the course of several months and eventually found some meaning when I put them together. There are pieces in there that started as a 20+-line poem, got whittled down to a single line or even a few words, and then built up again.
I'm jealous of writers who have their works jump out of them fully-developed like Athena from Zeus' head. What makes that awkward is that sometimes (rarely) I'm one of those writers and I can never predict when that'll happen.
4 - Where does a poem or work of prose usually begin for you? Are you an author of short pieces that end up combining into a larger project, or are you working on a "book" from the very beginning?
Well, I'm a rookie when it comes to poetry, but I wasn't working on a 'book' until very late in the process. I mentioned that some of the poems were written in 2012, and I didn't start thinking about putting together a collection until 2018.
That on-again-off-again writing practice I talked about earlier is the genesis of almost everything I write, in whatever form, so the germ of the idea happens in this kind of terrifying moment when I stare at the blank page in my notebook and try to convince myself that I'm not empty. It's probably not surprising that the vast majority of work I produce this way is absolute garbage, but that's not the point. It's practice, so that you maintain your skills and develop new ones... like if you played the trumpet. Still, those notebooks are where I go when I'm looking for something to turn into a full piece.
This will come as no surprise to anyone who's ever met a theatre performer, but I love doing readings. I'm hoping that I'll be able to do a couple of in-person events once that is safe again. I do like live readings much better than recorded ones.
It's certainly not counter to my process. I always read my stuff out loud while I'm editing, and I love the idea of delivering poetry as a performance.
I spend a lot of time these days thinking about how I can contribute to the social justice and environmental justice projects in a way that's sustainable for me. You won't have to read between too many lines in the collection to see that I think a lot about feminism and climate change. I guess the big questions there are How did we get here? How am I involved? and Where do we go now? There are answers to the first two of those, although there's always more to learn. The last question is the biggie, and I don't think it's one we can answer individually, but that doesn't mean we shouldn't keep it nearby and visit with it regularly.
This giant question deserves a giant answer:
Writers, and all artists, are engaged in a community-building project. We make cultural works that become shared experiences. Think about going to the theatre (I know, this was probably more than a year ago, but try to remember). You sit in a room full of other people, watching a story unfold. Maybe it makes you feel something. Maybe it gives you something to think about. Almost certainly, what you are feeling is something slightly different than what the person next to you is feeling, but it's caused by the same experience. And then the show ends, the lights come back on, and you go out into the world having shared something with a room full of strangers. Later, when you are making small-talk with your fellow commuter on the bus, you might discover that this person saw that show too, or worked on it, and then you have something in common with that person, you have a touchstone for your conversation. By comparing your reactions to the experience, you can get to know this person a little bit. You get off the bus and there is a person in your community who you know a little better than you would've without that play.
Of course this translates to books as well: have you read The Lion, the Witch, and the Wardrobe? Me too. We have something in common. We can learn something about each other through that.
What makes artistic experiences different than the shared experience of sitting in the waiting room at the doctor's office, or grocery shopping, is that artists have the opportunity to deliberately sculpt your experience. We work to elicit specific responses - to make you think about specific things, or to make you feel certain things. Most (but not all!) artistic work strives to elicit empathy, and empathy is one of those muscles that needs to be exercised regularly for the development of healthy communities.
Editors are absolutely essential!
Sincerely, I could never have made a single artistic product without the help of editors and outside readers. The editor of This Is How It Is did an incredible job of finding the connections between all of these poems from almost a decade of my life and shining a light on them for me. When I write I am too close to the work to really know what's going on for the reader, and I love and require outside input.
Djanet Sears once said that if you can steal one minute a day, write one sentence a day, eventually you'll have a whole work. She didn't say that to me but it's in a video and it's awesome.
The best piece of advice that I received directly was from a casting director, and I'm paraphrasing here, but she said "when you get a part, it's because you were perfect for it; when you don't get a part it's because somebody else was perfect for it." Being an artist of any kind involves quite a lot of rejection, and you have to be able to bear it. Receiving rejection as somebody else's success, rather than my own failure, has been invaluable to me.
10 - How easy has it been for you to move between genres (poetry to storytelling to theatre)? What do you see as the appeal?
I've never really thought about it. I didn't stop being a theatre artist to be a poet... I'm all those things at once. I think they're all facets of the same practice. I'm just telling the stories in the medium that they come out of me.
There's certainly some truth in the idea of spending ten thousand hours working on something to become an expert, and it's vital for the world to have neurosurgeons and concert violinists, but that's not who I am. I get bored easily, and I'm always looking for the next project, so it's good for me to shake things up in terms of what I do every day. Like many things, routine is only helpful to me in moderation.
Connecting to a live audience is exciting, and so is working in rehearsal to bring the best performance out of a cast of actors. So is finding that perfect turn of phrase to express that intangible thing. I love all of it. Why would I pick one?
I could never even begin to define a 'typical' day. Life when I'm working full-time in theatre is very different from my current (pandemic-impacted) life as a grad student, which is different again from the long swaths of my life when I'm working on three or four part-time arts contracts and spending the day running from meeting to meeting, sending emails from my phone in between. To be clear, this is how I like to live my life - with a different twist every now and then - but it does make a steady routine pretty impossible.
When I'm 'behaving myself', I will find 5-20 minutes every day to write something down, without any pressure to make it good. I just add it to the checklist of stuff I plan to do in a day and I sit down to do it whenever there's an appropriate window. The periods when I've most successfully maintained that practice have been while travelling or on tour, during the runs of shows I'm working on (not the rehearsal part, the show-once-a-day part), and when I'm desperately underemployed. Early pandemic saw a near-unprecedented run of daily writing until I started coursework for grad school and abruptly stopped having any spare brain cells.
In terms of the 'what if I'm empty??' feeling that precedes a writing practice exercise, if I'm really stuck I'll grab any book nearby and flip through it until I find a phrase I can latch onto, and then I'll copy it down and build off of it. Otherwise, I spend a lot of time just staring out the window.
In the context of having a specific piece that I just can't seem to push forward, I'll generally throw it in a drawer for a few months and come back to it later. It's incredible what you can do with fresh eyes and a bit of distance, and if I stop caring about the project in the interim, that's probably a sign I should abandon it. If I don't care, why should anyone else?
This is a surprisingly complicated question. Where is home?
OK, here is one each for the various places that hold that title: cut grass, ocean, woodsmoke.
Yes, all of the above, and the intangible stuff that connects them together. I'll add theatre to that list, for obvious reasons.
It seems glib, but... William Shakespeare. Without that dude I would probably be a chemist or something. Also, an eclectic bunch of folks: Jane Urquhart, Lawrence Ferlinghetti, Michael Ondaatje, Tanya Huff, Timothy Findley, Norton Juster, Neil Gaiman, Maya Angelou, Emily Dickinson, Jane Austen.
A book tour!
I come from a science family. My mother taught math & science, my father was an engineer, I have two close relatives who have PhDs in physics and chemistry, and I had an aptitude for math as a kid. So it'd probably be something in that area. I could've been evaluating the carbon emissions on worksites or something (this is a real thing that one of those PhDs really does for a living, and is the most specific science-related job I can think of right now... and I'm not even 100% sure that I've described it correctly).
I do lots of other things, as discussed above! If I was exclusively a writer I wouldn't eat very much. I just keep writing though. It never goes away.
I really loved Station Eleven by Emily St. John Mandel. Honorable mention to John Green's Turtles All the Way Down, the audiobook of which made me ugly cry in my garden on a beautiful day last summer.
It's been an eon since I last saw a new film, so I have to reach back a few years, but Hidden Figures gets a couple of viewings a year in this house. It's so good.
A PhD English (har har). I also have a playwriting project in the works - it's a contemporary adaptation of Henrik Ibsen's The Lady from the Sea.
Posted by rob mclennan at 8:31 AM No comments:
Labels: 12 or 20 questions, Breakwater Books, Sharon King-Campbell
Triny Finlay, Myself a Paperclip
First it was for you, this world.
Jangle it like those coins in your front pocket.
Jingle it around. Loose.
Mindless sex in a crumbling clapboard house in the North Side|
while the cat digs at the mattress,
burrowed in the box springs: fey, vagrant rat.
I should have been a librarian of the day's anxieties
– heat rash behind the ears, hair
slipping from knots
across and sinister.
I'm not a sideways glance.
Repeat: I'm not the past.
Just give me your patience with the cat.
At the other end of Queen Street, a Civic flips, spills
its sloshed and sleepless contents. ("You Don't Want What I've Got")
Fredericton poet Triny Finlay's third full-length poetry title, after Splitting Off (Gibsons BC: Nightwood Editions, 2004) and Histories Haunt Us (Nightwood Editions, 2010), is Myself a Paperclip (Fredericton NB: Icehouse/Goose Lane Editions, 2021). Through the narrative lyrics of Myself a Paperclip, Finlay writes the intersperses, articulating a destigmatization of mental illness, simultaneously paired with an acknowledgment, acceptance and moving forward by moving through. Finlay writes of coming apart and reshaping, working through the shifts that medications prompt and allow, writing the light and the dark, and the uncertain journey toward a kind of balance. "When we changed my meds," she writes, as part of "Adjusting the Psychotropics," "I walked off a ledge backwards, / certain, uncertain. When we changed my meds, I fell into a soft / mallow field. // The friends were no longer friends. / The mums said, 'Can you hold the baby while I pour the coffee?' / The family said, 'Never a dull moment.'"
Hers is a book of alternating structures, even from within the space of a longer sequence, composing short bursts of narrative focus in shorter poems, and again at the onset of longer accumulations of fragments before her line and her lyric is stretched out, writing hesitations and bursts, an exclamations amid multiple silences. She writes pauses, halts and bursts, writing a lyric notebook of experiences, of banality and balance. "Call it irrational," she writes, as part of the extended sketchbook sequence "You Don't Want What I've Got," "mercurial. Wild / pink moons. It's like / you're not even trying. // Plucking guitar strings all ticky-tacky / in a high, unlikely room. // Wistful, hysterical. / And through the walls, wisteria." She writes of #MeToo, and attempting to right herself after assaults from without and from within. She writes of lists and keeping score and keeping track. She writes poems that count backwards from ten, documenting progress, losses and frustration. The poems in Myself a Paperclip offer an open and direct account of her experiences through mental illness, one that is sharp, thoughtful and written almost as a notebook of slow return, as she writes:
From the hallway, my room now smells like a breach of trout carcasses frequented by dogs. After the novels, after the mugs of tea, after the johnny-shirts that trail along the floor…after the aftershock.
In the room, the women come and go.
I need to be here.
Labels: Nightwood Editions, Triny Finlay
Douglas Barbour (March 21, 1940-September 25, 2021)
[Doug Barbour during the Edmonton launch of University of Alberta Press poetry titles by myself, Robert Kroetsch and Alice Major, 2010]
I've already spent half the day resisting the writing of this, but Edmonton poet, editor, publisher, critic and general literary enthusiast Douglas Barbour passed away this week, after an extended illness. He was an accomplished and easily underappreciated poet, and one of the finest literary critics that Canada has produced, something that was also less appreciated over the years than it should have been. As part of editing the feature "Douglas Barbour at 70" for Jacket Magazine in 2009, I wrote a bit about Doug's work, and my own frustration with seeing how his work should have garnered far more appreciation than it did. He was well-known, well-loved and well-read in the Canadian prairies, but seemingly not much beyond that (although he had a number of conversations and engagements with New Zealand and Australian poets). His enthusiasm for poetry, jazz, science fiction and speculative fiction, as Andy Weaver suggested over Twitter yesterday, was unwavering over the years, and it took very little to get him talking excitedly about any of those subjects. There was always a kindness, an openness and an enthusiasm with Doug, and an involvement in the literary culture around him, even through his involvement over the past decade or so with Edmonton's Olive Reading Series, or returning to being more involved with NeWest Press a decade or so back, due to some unexpected staffing changes. He showed up to do the work that so many writers and readers tend not to think about, and take for granted. As I understood it, he was instrumental behind-the-scenes in not only advocating for me to be writer-in-residence at the University of Alberta back in 2007, but in subsequently assisting in getting my Edmonton poetry manuscript, wild horses (2010), accepted by the University of Alberta Press. I'm sure there are dozens upon dozens of writers across the country that are able to have careers thanks to the support, encouragement and advocacy of Douglas Barbour, happily and enthusiastically (and slightly distractedly) doing all the invisible work that is required for a healthy and sustained literary culture, all while continuing to teach, and produce his own work. I would fully expect that retirement simply meant he was no less busy, but simply engaged with other kinds of activity.
I first met Doug in in Edmonton in the summer of 1997, during my first cross-Canada reading tour, touring from Ottawa to Vancouver with little to no spending money, but a box of various above/ground press chapbooks I aimed to distribute all across the country. I'd already spent a night or so staying with Edmonton poet Michael Londry and his mother, spending time in conversation with Michael, and meeting Lori Emerson, and was to spend another day or two with Tim Bowling before catching the next train heading west, into Kamloops. Doug and I had arranged to meet for an afternoon, during which he would transport me from the Londry house to the Bowling apartment: myself and my mound of chapbooks. That afternoon, he became one of above/ground press' earliest subscribers, handing me a cheque for $100, even as he expressed frustration that he couldn't get his own work published—I did try to convince him that if he could afford to give me $100, he could afford to start publishing his own chapbooks, to no avail. It would be some time before I discovered that he was one of the founding members of NeWest Press. Even now, I don't really understand why he was having so much difficulty.
Around 2006, I ended up reading in Calgary with Doug, driving down from Edmonton and back again. Given the VIA line lands in Edmonton but not further south, I'd always done reading tours landing in Calgary with someone from Edmonton, offering to land us both a gig if my co-reader could assist with travel. Once Andy Weaver left Edmonton for Toronto (he and I had done at least one if not two jaunts south for readings), to teach at York University, I suggested Doug and I drive down in his car, which he was completely up for. Doug talked non-stop the whole drive in each direction, offering through conversation what felt like two separate three-and-a-half hour lectures on poetry and poetics. His insights and commentary, and enthusiasm for discussion, were both incredible and exhausting. I could barely get a word in (and I think as part of at least one of those jaunts I'd been hoping to get some sleep, worn out from the activities of the night prior). Although my recollections also having him stay overnight in Calgary in someone's basement apartment, possibly kevin mcpherson eckhoff's. My recollection has whomever hosted him that night extremely humbled and excited to be able to host him.
As a writer, he was always game for trying different things, from his ongoing collaborations with Arizona poet Sheila Murphy that resulted in two trade collections, Continuations and Continuations 2 [see my review of such here; see my interview with the two of them on same here at Touch the Donkey] to his own experimentation with form and breath, most recently seen through his poetry collection Listen. If (University of Alberta Press, 2017) [see my review of such here]. I'm not sure what he'd been working on over the past decade or so [although I did manage to interview him earlier this year via Touch the Donkey]. Any conversation of what he may or may not have been working on, at any time, prompted a list of projects, some of which had been ongoing for years. I'd attempted multiple times to get another chapbook manuscript out of him for above/ground press, having produced his chapbook It's over is it over: Love's Fragmented Narrative in 2005, and Wednesdays' in 2008, as part of the online (since disappeared from the internet) "ALBERTA SERIES" from my writer-in-residence year, as well as the first three sections of Doug and Sheila's "Continuations" series as an issue of STANZAS magazine (issue #30, 2002), but nothing else. I checked in with him every few years, but he didn't have anything right now, he was busy with other things, he would think about it, etcetera, and nothing ever came of it. I would suspect he was far too busy engaged with the work of others, whether as reviewer, editor, mentor or publisher. He was always in a thousand different directions at once. Even during my Edmonton year, when I'd hoped to actually be able to spend more time with him in person, I could barely manage to catch him beyond seeing him at a literary event (although he seemed to make it out to every one).
It was Doug who taught me the real value in exchanging books with other writers: the ability to connect with writers outside of Canada. It was far cheaper to get a copy of a book by an American, Australian or New Zealand poet, he suggested, by offering to exchange books through the mail. Apparently he'd been doing this for years, which had, in part, allowed his work to garner more appreciation, one might think, outside of Canada than from within. And consider how it was only through his enthusiastic and communal engagement as a reader that he was able to push any sort of self-promotion. Literature for him was very much the conversation that Robert Kroetsch had offered it, so many years prior. And I, along with many others, I know, am very much going to miss his voice.
Posted by rob mclennan at 8:31 AM 3 comments:
Labels: Douglas Barbour, obituary
12 or 20 (second series) questions with Amorak Huey
Amorak Huey's fourth book of poems is Dad Jokes from Late in the Patriarchy (Sundress Publications, 2021). Co-author with W. Todd Kaneko of the textbook Poetry: A Writer's Guide and Anthology (Bloomsbury, 2018) and the chapbook Slash/Slash (Diode, 2021), Huey teaches writing at Grand Valley State University in Michigan. His previous books are Boom Box (Sundress, 2019), Seducing the Asparagus Queen (Cloudbank, 2018), and Ha Ha Ha Thump (Sundress, 2015), as well as two chapbooks.
I feel like writers are supposed to say that the first book doesn't change anything. Like, that's the pure response. In some respects, certainly, it's true. Having a book doesn't make the next poem any easier to write. It doesn't get rid of impostor syndrome. For me, at least, and for most poets, it didn't come with life-changing money, or, like, any money at all. But still, publishing that first chapbook — The Insomniac Circus from Hyacinth Girl in 2014 — and then the next year my first full-length collection, Ha Ha Ha Thump from Sundress Publications — well, it was a huge personal achievement. The fulfillment of a lifelong dream. I was 44 when that first chapbook came out, and I remain super gratified by its publication. The ability to say yes when someone asks if I've published a book? It means something to me. It matters. My fourth full-length collection — Dad Jokes from Late in the Patriarchy — came out in May. I think it's the best thing I've written, but I don't know that it's hugely different from my first books. It's just the next step.
I went to fiction first. Thought I was going to write the Great American Novel (I kind of still think that). But a poetry workshop in college, and a couple of workshops in my first, failed attempt at grad school changed things. One fiction professor used my piece in class as an example of a story that wasn't actually a story. Another writing professor asked me how serious I was about being a fiction writer instead of a poet; I think maybe she meant to praise my poems, but her tone definitely implied something not so great about my fiction. Anyway, I got more praise for my poems than for my prose, and as an approval-seeking older child, that was probably what did it. I also try to watch my tone with my students, because I know how long they might remember even the most unintended dismissiveness.
I tend to write either rapidly or not at all. Periods of getting nothing done followed by periods of getting lots done. Some drafts come out near their final form; others require numerous and extensive revisions. All of which is to say I'm all over the place. I envy writers who have a regular routine or process.
I'm definitely a one-poem-at-a-time kind of writer, which of course leads to challenges when it's time to assemble a manuscript. Poems start all sorts of places for me: with fragments of language, with images, with experiences I want to make sense of, sometimes with a title. My chapbooks have been projects where I'm circling the same concept or topic, but in general I'm writing only the poem in front of me. How it might fit into a collection is a question for later.
I am very much not a performance poet, but I love reading my work to an audience, and I love hearing other poets read their work. At least, when it's a poet who understands how to read their work and who understands which of their poems work well when read aloud. Reading my poems aloud to myself, over and over, is a huge part of my composing process, so by the time they're done, I think I have a sense of how or whether they work aurally as well as on the page.
My new book explores fatherhood and masculinity and mortality. I think all poetry is about mortality. I don't know if I read this somewhere or if I made it up, but I think one of the defining characteristics of a poem is that it knows it's going to end, while prose is in denial about that. Every poem is an elegy.
Let me quote Jen Benka here: "We know the secret to survival. It is saying. It is naming. It is telling. It is recording. It is singing. To soothe our fears. To fuel our inner fire. To remember all those who came before on whose shoulders we stand. To illuminate and ignite new guiding lights."
That's the role of the writer.
Working with a good editor is an amazing, inspiring experience. The best editors know how to help you unlock what's possible in your writing. I worked with Maggie Smith on both Boom Box and Dad Jokes from Late in the Patriarchy before they were accepted for publication, and her care and thoughtful response made both books better. my experience with the editors at Sundress has been similarly excellent. Erin Elizabeth Smith worked with me on Ha Ha Ha Thump and Boom Box; Jeremy Michael Reed was the editor for Dad Jokes from Late in the Patriarchy. Again, the books are so much better for their attention.
My friend, colleague, and collaborator W. Todd Kaneko talks about the need for writers to keep the "life of art" distinct from the "life of commerce." One is about writing poems, the other about getting them in front of an audience. Both are work. Both are important. But they are not the same.
10 - How easy has it been for you to move between genres (poetry to fiction)? What do you see as the appeal?
I have this kind of half-baked theory. All writing is, at its core, about the human experience: how we live, love, grieve, and die on this planet. But each genre brings different forces to bear on that experience. Poetry centers language: the search for words to describe what cannot be described. Fiction centers narrative: the cause-and-effect relationships between events in a character's life. Essays center memory's flawed relationship to truth: the leaky vessel that holds all of our experiences. There's overlap, of course, and you can't always draw a bright line between genres, but for me, as I approach a piece of writing, the questions that interest me most in relationship to the topic determine what genre I work in.
My days begin by getting teenagers out of bed, fed, off to school. They end with soccer-practice carpools, choir concerts, nagging about homework, laundry, what's for dinner, what's for dinner, what's for dinner. I'm not complaining, it's all good stuff. But as for writing? I have no routine. I fit the words in around the edges of my life the best I can. Some seasons are better than others.
Sometimes I just let it stay stalled. We need breaks. But the answer is reading. I always go back to the page. Find the poems that make me feel something. Those are the ones that make me, like, "I want to make something like that." Reading refills the water trough, even when the season is dry.
Kudzu blossoms in spring.
Music, for sure. I almost always listen to music while I'm writing. Many of the poems in Boom Box, my 2019 book, are explicitly engaged with music, specifically the metal I listened to in high school. Plug here for Jason Isbell, probably my current favorite artist.
Wow, that's a long list. My favorite poet is Traci Brimhall. My favorite book is Layli Long Soldier's Whereas. My favorite poem is Brigit Pegeen Kelly's "Song." And if we're looking at poets who were early, formative influences on my writing, the list includes David Kirby, Bob Hicok, Jorie Graham, Adrienne Rich, Larry Levis, Sharon Olds, Rita Dove, Robert Lowell, and Emily Dickinson. I could go on. More recent influences include Matthew Olzmann, Natalie Diaz, Rebecca Hazelton, Jericho Brown, Catie Rosemurgy, Karyna McGlynn, Franny Choi, Natalie Shapero, Danez Smith, Solmaz Sharif, Jamaal May, and Leila Chatti. There are others. Like I said, it's a long list. Not that I think anyone would necessarily see those poets' work in my own, but still, their poems have arranged my brain, changed how I see the world and the possibilities of poetry. I read a lot, and read like a sponge soaking up pieces of pretty much every poet I read and wringing their language back out into my own.
Visit Paris. Watch a game in Dodger Stadium. Attend the Manchester Derby at Old Trafford. Writing-wise, so many of my ambitions are the usual foolish ones involving fancy kinds of recognition that are beyond my control. Maybe finish and publish my novel. That one is at least partly within my control.
I mean, the honest answer is playing first base for the Dodgers, though I guess the window has closed on that. I was a newspaper journalist for a lot of years, and sadly, the window has kind of closed on that, too.
Writing has just always been there. I can't imagine not doing it.
Presently re-reading the amazing book of poems 1919 by Eve L. Ewing. I read it last year and knew immediately I was assigning it in class someday, and so this spring I put it on the list for my advanced poetry section. I recently finished The Only Good Indians by Stephen Graham Jones and can't stop thinking about it. As for last great film, I'm not sure. I saw Knives Out and Emma right before the pandemic shut everything down, and both were super fun. Does that count?
I'm making my way through a third draft of the novel I mentioned above. It's historical fiction, set in Grand Rapids, Michigan. Writing a novel is a trip. 98,000 words, multiple drafts, and I still don't know if it's going to turn out to be anything worth reading.
12or 20 (second series) questions;
Labels: 12 or 20 questions, Amorak Huey, Bloomsbury, Cloudbank, diode editions, Sundress Publications
Síle Englert, The Lost Time Accidents
My mouth, where you put discarded things:
rust-icicle broken from a car-body,
dark apron, its pocket still heavy with coins,
fingerpainting in purple, black and blue.
I swallowed paper names
your tongue stumbled, forgot
and spat, mispronounced, at the air.
Wore down my teeth chewing cast-off
clothing, hoping saliva would dissolve
your smell, a dusting of cells.
My mouth, your unwilling oubliette:
tonguing broken aquarium glass,
the taste of ink licked from salt palms,
my lips mottled by storm clouds.
I eat your leftovers.
London, Ontario poet and editor Síle Englert's full-length debut is the poetry collection The Lost Time Accidents (Fredericton NB: Icehouse/Goose Lane Editions, 2021), a collection of poems composed via curious dream-like narratives. Writing on the late American actor Buddy Ebsen (The Beverly Hillbillies), elephants, PT Barnam, Nikolas Tesla, lost pennies or Voyager 1, Englert's poems exist as echoes of folk tales or fables, offering her takes that thread a particular truth or deep wisdom through its narrative quilt. Hers is a surrealism that enters the room like smoke, providing a quiet use of space and rhythm. "Shaking / loose infinite tectonic layers of minutes. Everything / that never happened," she writes, as part of "Give Us Our Eleven Days," "pulled with its threads still / dangling like a weed ripped from the ground, roots / and all."
Set in three numbered sections, her short lyrics exist as elegies for lost items and moments, and of vulnerabilities, those that sit just under the skin beyond our control, as well as those ways in which we need to remain open. She writes her lyrics nearly as a museum of antique objects—mannequins, trains and even those lost pennies—attempting to carry forth the lessons and set aside possibilities such objects provide, attentive to their beauty and continued value. As part of the quartet "Requiem for Toys," she offers this to end the first of these poems, "Dummy," writing: "And he knew what it was to disappear, / to be a thing that is a threat because it speaks." Englert's poems articulate the feeling of being adrift, and attempting to, once again, find anchor; attempting to connect, and re-connect what has been untethered. As she writes as part of the poem "Voyager 1 Sings to Her Sister":
What does interstellar mean?
It means the space between stars,
where we are only what we remember.
It means trying to measure darkness
with no dawn coming.
Labels: Goose Lane Editions, Síle Englert
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Alumni Profile Sam Ranaudo
Sam Ranaudo
Accounting, Class of 1972
Sam's Story
For the past five decades Sam Ranaudo has been helping families plan for and enjoy their futures. As a chartered financial consultant, Ranaudo takes pride in knowing that his advice has put generations of families through school; has prepared couples for retirement; and has provided for families in some of their most dismal times.
When he was studying accounting at Saint Francis, Ranaudo didn't know he'd eventually gain such satisfaction from his career. Having a natural interest in business and numbers, he just knew he wanted a profession that would encompass both.
He was determined in his business studies, but also found time to enjoy the other activities college life offered. His interests were varied, and Saint Francis provided him with extracurricular options to explore each outlet. Ranaudo played intramural sports, was a brother and officer of TKE fraternity, and starred in theater productions on campus.
He enjoyed all of his pursuits, but the stage was a place where he particularly shined. He began acting by chance. "I had a class with Kenny Resinski and he suggested I try out for Our Town. I was cast as the narrator. It was my first show and my first acting experience," remarked Ranaudo. He enjoyed the production immensely and continued to star in plays throughout his college career.
Saint Francis opened him up to his love of acting and the stage. Theater stuck with Ranaudo after graduation. He moved to State College after receiving his degree from Saint Francis, and became involved in its community theater. He starred in shows there for decades and was a member of the community's theater board for 15 years.
In addition to acting, his profession is another area where Ranaudo took a chance and reaped gains. The New Jersey native, who came to love the beauty of central Pennsylvania, decided to stay in the region after graduation. Newly armed with a business degree from Saint Francis, he moved to State College where he received the opportunity to work as a financial planner. "I thought I'd give it a shot and have been happily with the same firm [Wienken & Associates] ever since," Ranaudo said.
Part of what Ranaudo loves about his profession is that it provides him the opportunity to interact with people on a daily basis. "I help people identify goals, needs, and objectives. I could retire, but I don't have the desire. I enjoy coming in, talking to people, solving their problems, and setting them up for a bright future," remarked Ranaudo.
A lifetime member of the Million Dollar Round Table (the premier association of financial professionals), Ranaudo has witnessed the financial planning industry comprehensively change since he entered the profession in 1972. "The amount of regulations and compliance to abide by have increased. The biggest change, though, is technology. When I started, there weren't any computers, fax machines, or cell phones. My tools were a presentation book, pad, and pen. I calculated long-hand and worked the old-fashioned way. Technology has been amazing, with most of it being good and allowing me and others to be more productive," Ranaudo shared.
Ranaudo's work has helped three generations of families—in some cases four generations—save and plan for the future. When not busy securing the financial future of his clients, Ranaudo and his wife travel domestically and abroad to visit their children, attend plays and sporting events, and visit the Saint Francis campus. Commented Ranaudo, "As a member of President's Cabinet, I'm at Saint Francis often. I also enjoy attending events there. They're fun and are a great way to reconnect with old friends. I'd advise other alumni to visit and do the same."
What is your favorite SFU memory?
I have a lot of great memories of Saint Francis. Being in the show Our Town and my theater performances were wonderful. Intramurals were big and we played basketball games in Doyle Hall [now the Museum]. Students packed the hall for the intramural games; it was great fun playing and as a fan.
Who was your favorite professor?
Kenny Resinski is at the top of list. He introduced me to theater and to the arts. Dr. Furlong, an English literature professor, was also phenomenal. He was a larger than life person and brought the books we read to life. Dr. Zanzuccki is another favorite. He was an icon even back then and gave the business department a very good reputation. Fr. Bede was also great. He had a simple grading system—one mistake was a B, two mistakes a C, etc. His class taught me to pay attention to details.
How did SFU prepare you for your career today?
The quality education. Also, the people—professors and administrators—were good people and were very important in shaping me. I learned the importance of communicating effectively from them. Communicating effectively has helped me in my career because for the better part of five decades I have gone out, met with people, and talked to folks daily. I was involved in theater and it built my courage. I stepped out of Saint Francis and into my professional career with confidence.


Foreign Affairs Minister Walter Mzembi has told Zambian leader, Edgar Lungu that Zimbabwe will be stable and united ahead of next year's polls.
Mzembi spoke as he delivered a special message to Lungu from President Mugabe. Mzembi said Mugabe's top priority at the moment were peace and stability.
President Lungu said Zambia will continue to support processes for peaceful elections within the framework of the Southern Africa Development Community (SADC) principles of promoting peace and stability for both individual countries and the region as whole. He thanked the minister for the comprehensive overview regarding the political situation in Zimbabwe.
Mzembi also conveyed President Mugabe's sincere gratitude to the Zambian Government for supporting Zimbabwe with affordable maize imports during the last four years of grain shortages in that country.


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FSI Rolls Out New Health Insurance Program for Indie Advisors
Industry Spotlight > RIAs
By Jeff Berman
News April 07, 2021 at 12:06 PM Share & Print
The new program offers health insurance plans to advisors at a fraction of the cost of plans on the open market.
Plans are being offered at three deductible levels: $2,500, $5,000 and $10,000.
Also being offered is a bundled plan of long- and short-term disability and term life.
The Financial Services Institute launched a new national health insurance program that it said Wednesday provides a new way for independent advisors to obtain Affordable Care Act-compliant major medical health insurance plans for themselves, their licensed staff and their families at a fraction of the cost of plans on the open market.
FSI had announced a health care plan for advisors and staff in 16 states, along with separate non-health benefits offerings from Prudential Insurance, early last year at its annual OneVoice conference in San Diego. But FSI is no longer offering such small-group plans, according to Chris Paulitz, FSI head of strategic initiatives.
The new FSI health insurance program provides coverage at up to 50% savings through national PPO plans available in all 50 states that allow covered members to go to just about any doctor and comply with all ACA requirements, according to FSI.
Plans are offered at three deductible levels: $2,500, $5,000 and $10,000. These are also the respective plans' out-of-pocket maximums, FSI said. Two of the plans are health savings account (HSA)-eligible and premiums are usually tax-deductible, it noted.
FSI partner Vault Strategies started a captive insurance company for FSI members as part of the health program rollout, according to Paulitz. "FSI members join the captive and control 51% of it," he said.
Although the plans being offered are ACA-compliant, "they are 100% proprietary to FSI, and cannot be found on the open market at these rates," he noted, adding: "For most advisors, our rates will be dramatically lower and the actual healthcare they receive will be better than what they currently have."
FSI members can choose from one of two options, he explained. "They either utilize the PHCS national PPO network, which is the largest physicians network in the country, or opt to work with AMPS, which pays doctors and hospitals using referenced based pricing, which drives fairness in pricing for our members."
That allows advisors to see "any doctor they want, with nothing being out of network," he said. "And because we are ACA-compliant, we adhere strictly to the ACA guidelines even though our prices are so much lower than typical open market plans."
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While "the beauty of the independent [advisor] model lies in the freedom it gives advisors to open their own business and run it as they choose," health care premiums that are "larger than their mortgages can constrain their ability to reach their full potential," according to Paulitz.
However, "our health insurance plans level the playing field for financial advisors and they no longer have to shoulder their burden alone," he said in the announcement.
Advisors are eligible for the FSI plans as long as they have a federal tax ID, maintain a current FSI membership (which costs $199 for dues annually) and have an active CRD number.
They can learn more at FSI's dedicated website, which includes answers to frequently asked questions, along with enrollment forms that enable them to see what their rates will be instantly and enroll in less than 10 minutes.
The health insurance offering is part of FSI's CoveredAdvisor2.0 program that also provides advisors with access to long-term disability and term life/accidental death and dismemberment at rates unavailable on the open market, FSI said.
Also being offered is long-term disability and term life for advisors and a bundled plan for staff. The CoveredAdvisor Group has covered over 10,000 advisors in the past seven years, FSI noted.
FSI has more than 80 independent firm members with some 130,000 affiliated advisors.
Jeff Berman


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Buenos Aires is the capital and largest city of Argentina. The city is located on the western shore of the estuary of the Río de la Plata, on the South American continent southeastern coast. "Buenos Aires" can be translated as "fair winds" or "good airs", but the former was the meaning intended by the founders in the 16th century, by the use of the original name "Real de Nuestra Señora Santa María del Buen Ayre". The Greater Buenos Aires conurbation, which also includes several Buenos Aires Province districts, constitutes the fourth-most populous metropolitan area in the Americas, with a population of around 15.6 million.
The city of Buenos Aires is neither part of Buenos Aires Province nor the Province's capital; rather, it is an autonomous district. In 1880, after decades of political infighting, Buenos Aires was federalized and removed from Buenos Aires Province. The city limits were enlarged to include the towns of Belgrano and Flores; both are now neighborhoods of the city.
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La Boca is one of the 47 districts of Buenos Aires, located next to the city's port where Riachuelo river meet Rio de la Plata. It is one of the oldest parts of the city, the place where most of the European immigrants started their life in Argentina.
At the end of the 19th century, the district was heavily inhabited, mostly by people of Italian origins (hence Buenos Aires has a really amazing pizza!) who gave the area unique look and European vibe. The houses of La Boca are cute, colorful and somehow kitschy but that's what makes the neighborhood one of the biggest attractions of Buenos Aires!
The Casa Rosada is the executive mansion and office of the President of Argentina. The palatial mansion is known officially as Casa de Gobierno, ("House of Government" or "Government House"). Normally, the President lives at the Quinta de Olivos, the official residence of the President of Argentina, which is located in Olivos, Greater Buenos Aires. The characteristic color of the Casa Rosada is baby pink, and is considered one of the most emblematic buildings in Buenos Aires. The building also houses a museum, which contains objects relating to former presidents of Argentina. It has been declared a National Historic Monument of Argentina.
transparent; font-weight: 400; font-style: normal; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">The Plaza de Mayo is a city square and main foundational site of Buenos Aires, Argentina. It was formed in 1884 after the demolition of the Recova building, unifying the city's Plaza Mayor and Plaza de Armas, by that time known as Plaza de la Victoria and Plaza 25 de Mayo respectively. The city centre of Buenos Aires, Plaza de Mayo has been the scene of the most momentous events in Argentine history, as well as the largest popular demonstrations in the country. On the occasion of the one-year anniversary of the May Revolution in 1811, the Pirámide de Mayo was inaugurated in the square's hub, becoming Buenos Aires' first national monument.
Recoleta Cemetery
This is no ordinary cemetery. It's a place of rest for the rich, famous, and powerful of Argentina. You'll find impressive, ornate mausoleums packed tightly in this little corner of the city where you can wander for hours amidst a maze of the family graves. Perhaps the most popular site here is first lady Eva Perón's tomb, where people still leave flowers and tributes.
After paying your respects to Evita, snapping some haunting photos, and petting a few stray cats, has a peek inside the Basilica de Nuestra Señora del Pilar next door.
The Museum of Fine Arts in Buenos Aires is among the best in the world, with works by South American artists in addition to the big names like Van Gogh, Degas, Monet, and Picasso. And shockingly, it's free! Make sure to hit up this museum as you stroll through Recoleta as it's definitely worth a look around. They have got paintings, tapestries, carvings, and rotating temporary exhibits on display.
San Telmo Market
This colorful, crowded Sunday street fair the Feria de San Telmo draws over 12,000 people each week.
There are tons of antiques, artwork, knick knacks, and other treasures laid out along the pedestrian street of Defensa. It's the perfect place to get an original souvenir that dates back to the golden age of Buenos Aires.
Keep an eye on your belongings as you wander the 270 stalls of this local bazaar, purchase some homemade snacks, and watch the street performers do their thing along the 13 cobblestone blocks.
Visit Tigre
If you feel like getting out of the city for a breath of fresh air, take the train to Tigre to explore the delta for the day. The best day to visit is Sunday when you can check out the city's Puerto de Frutos, a large market with crafts, foods, and handcrafted furniture. There's also an artist's market on the main dock, a park, and a few museums.
It's easy to take a boat tour, rent a kayak, or grab a ferry to some of the waterfront restaurants and clubs while you're there.
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Conisbrough all but ended Tickhill's hopes of a top three finish with a three wicket win at Alderson Drive.
The torrential rain which hit every ground during late afternoon on Saturday created havoc with the fixtures.
The one game to be completed in the Championship, at Tickhill, also virtually ended the home side's hopes of playing in next season's new ECB South Yorkshire Premier League.
Tickhill's innings was in disarray from the outset. A remarkable piece of bowling by Scott Lowe saw him take the first six wickets to leave Tickhill reeling at 18-6.
The hosts were all out for 70 with Lowe finishing with figures of 6-18 and Craig Jackson chipping in with 3-19.
Conisbrough's path to victory, however, was far from plain sailing. Half of their batsmen were back in the pavilion with the score at 28-5.
Man of the match Lowe (17 not out) then took over to steer his side home. Steve Reid took 4-27 and Stewart Groves claimed 3-36.
Defeat leaves Tickhill 14 points adrift of third-placed Whitley Hall with just three games to play. Conisbrough's victory, meanwhile, saw them close to within two points of their Doncaster rivals.
Wath looked to be easing their relegation worries in the key relegation match at Stonelow against Coal Aston.
Coal Aston were all out for 123. Daniel Hemingway scored 26, while Shawn Dyson took 4-38 and Steven Johnson 3-33.
Skipper Rob Barlow opened with 38 and Sam Drury added 30 as Wath reached 100-4 when the rain came.
Promotion-chasing Sprotbrough looked to be in a good position when rain prevented a result at Armroyd Lane in their Division Two clash with Elsecar B.
They bowled Elsecar out for 170, whose score was boosted by 37 from stumper Richard Kirk.
Michael Threapleton took 4-51 and Scott Sennens 3-28.
Sprotbrough were 59-0 at the close, with Sennens unbeaten on 43.
Warmsworth, level on points with Sprotbrough, were in a good position when the elements intervened at Northfield Lane against Wickersley B.
Skipper Chris Hadley anchored Warmsworth's imposing 302-2 with a superb 137 not out, inclding 17 fours and five sixes.
Wickersley had reached 40-1 in reply.
Mexborough wrapped up promotion from Division Four East despite the weather ruining their finely poised game with Adwick-le-Street.
Zac Gayfer (4-31) and Jaan Shanaka (4-14) skittled Adwick for 110.
Opener James Hobson with 35 helped Mexborough to 52-1 but a flurry of wickets saw them decline to 76-5 when the weather took over. Declan Muldowney had taken 3-42.


The Pennsylvania Department of Corrections has shown a blatant disregard for both judicial authority and the thousands of PA prisoners affected by hepatitis C.
In January 2017, Pennsylvania Judge Robert Mariani ordered the Department of Corrections to provide Mumia Abu-Jamal with hepatitis C treatment. Mumia has an active, chronic hepatitis C infection, and is at serious risk of experiencing medical complications. The debilitating symptoms of an active hepatitis C infection include extreme skin irritation, limb numbness, vision problems, and swollen feet. Mumia's organs are extremely vulnerable due to the infection.
Despite Judge Mariani's order, the Pennsylvania DOC has not provided Mumia Abu-Jamal with the hepatitis C treatment. Mumia's lawyers have filed a motion for contempt against the Department of Corrections. The PA-DOC and their private health care provider, Correct Care Solutions, have retaliated by filing an opposition motion to the contempt motion with the 3rd Circuit.
Throughout this petty battle over court orders, Mumia's life and the lives of over 6,000 hep C+ prisoners have been disregarded. It is imperative that Mumia, and all other prisoners who need it, get the hepatitis C treatment they need.
Political prisoners are still human and should receive humane treatment, and not be forgotten... everyone of us who takes a chance & makes a stand to speak out on the right or wrong can become a target. Its only in numbers will injustices be stopped, be seen for what they truly are, and help accountable.
It is criminal and inhumane to deny Mr. Abu-Jamal and other prisoners with hepatitis C the treatment that could cure them and save their lives, and Pennsylvania's DOC has been ordered by the court to give them that treatment. There's no excuse for withholding it.


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Coke is back at Frisch's: Social media reactions
Frisch's announced the return of Coca-Cola products Monday. The internet lost its collective mind.
Coke is back at Frisch's: Social media reactions Frisch's announced the return of Coca-Cola products Monday. The internet lost its collective mind. Check out this story on cincinnati.com: https://cin.ci/2t6YJN3
Taylor Jade Powell, Cincinnati Enquirer Published 10:32 a.m. ET June 18, 2018 | Updated 10:47 a.m. ET June 18, 2018
This is not just another vanilla media announcement. Amanda Rossmann
New Big Boy branding at the new Frisch's Big Boy location at Carew Tower in downtown Cincinnati on Monday, June 4, 2018.(Photo: Sam Greene/The Enquirer)Buy Photo
A lot of you guessed it.
Frisch's Big Boy is bringing back Coke.
The restaurant chain made the announcement on Monday morning and social media was quick to weigh in:
Glory, glory, hallelujah! #vanillacoke
— Billy Anderson (@MrXterra) June 18, 2018
pic.twitter.com/8gjxOT4HCu
— Brett Charles Milam (@brett_milam) June 18, 2018
I just wanna love someone as much as I love the fact that Frisch's is going back to coke products.
— Brooke Maehren (@BrookeMaehren) June 17, 2018
My prayers has been answered! @Frischs is bringing #Coke back. pic.twitter.com/gHoLyaCTcH
— jennmarie (@Jennmarie76) June 18, 2018
Frischs bringing back coke is just what i needed.
— fish (@brittfisch) June 18, 2018
Frisch's merchandise at the new Frisch's Big Boy location at Carew Tower in downtown Cincinnati on Monday, June 4, 2018. (Photo: Sam Greene/The Enquirer)
Frisch's Big Boy unveils museum, remodeled original Mainliner
Frisch's CEO Jason Vaughn cuts the ribbon for the opening of the Frisch's corporate museum, A Tale of Frisch's Big Boy, with Eva McGowan, Dick Mallon, Rosie Red and Big Boy at the Frisch's Mainliner restaurant in Fairfax Wednesday, April 11, 2018. The Enquirer/Meg Vogel
A FrischÕs corporate museum, A Tale of FrischÕs Big Boy, opened Wednesday, April 11, 2018 at the FrischÕs Mainliner Restaurant in Fairfax. The museum is dedicated to sharing the history of the iconic Cincinnati brand. The Enquirer/Meg Vogel
The museum named "A Tale of Frisch's Big Boy" is free for patrons of the restaurant and includes dozens of items. The Enquirer/Meg Vogel
Frisch's Big Boy looks at the different looks of the Big Boy on the wall at the new corporate museum, A Tale of Frisch's Big Boy. The Enquirer/Meg Vogel
Frisch's is encouraging patrons to loan their Big Boy memorabilia for short-term displays. The Enquirer/Meg Vogel
Frisch's Big Boy arrives at the unveiling of the remodeled Frisch's Mainliner restaurant and new corporate museum at the Fairfax Frisch's location Wednesday, April 11, 2018. The Enquirer/Meg Vogel
Frisch's Big Boy arrives at the unveiling of the new corporate museum at the Fairfax Frisch's location with his slingshot in his back pocket Wednesday, April 11, 2018. The Enquirer/Meg Vogel
The museum named "A Tale of Frisch's Big Boy" is free for patrons of the restaurant. The Enquirer/Meg Vogel
Frisch's CEO Jason Vaughn announces the opening of the Frisch's corporate museum, A Tale of FrischÕs Big Boy, at the Frisch's Mainliner restaurant in Fairfax Wednesday, April 11, 2018. The Enquirer/Meg Vogel
Pat Samson and Dick Mallon look at items in a display case at the new corporate museum, A Tale of Frisch's Big Boy, at the newly remodeled Frisch's Mainliner Restaurant in Fairfax Wednesday, April 11, 2018. Mallon is a Frisch's ambassador and has been associated with the restaurant chain for 69 years. The Enquirer/Meg Vogel
Frisch's Big Boy and Rosie Red looks at the wall of history at the new corporate museum, A Tale of FrischÕs Big Boy, at the newly remodeled FrischÕs Mainliner Restaurant in Fairfax Wednesday, April 11, 2018. The Enquirer/Meg Vogel
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Gad's Hill / News / News / Welcome to Gad's Hill School
Welcome to Gad's Hill School
Our new year sevens have been welcomed to Gad's houses in a graduation ceremony to mark their successful completion of an innovative induction programme.
The youngest Seniors have been paired-up with year 11 mentors since the start of term to help them settle and thrive and parents were invited to a special assembly to mark the occasion.
Head of Senior School Mr Savage said: "Starting a new school can be daunting. I have always been impressed with how our children develop and maintain friendships regardless of age and our induction focuses on the older children supporting younger ones."
The pairs have worked together to complete the term-long syllabus which includes personal, social and academic challenges and were presented with their house ties as an acknowledgement and reward for their efforts and achievements.
Mr Savage added: "The induction process is testament to the Gad's community and I'm proud of their commitment and enthusiasm."
Posted on October 13, 2016 Categories News


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Nicholas Edward ("Nick") Radkewich (Royal Oak, 10 januari 1971), bijgenaamd Rad, is een Amerikaans triatleet.

Radkewich deed in 2000 mee aan de eerste triatlon op de Olympische Zomerspelen van Sydney. Daar behaalde hij een 40e plaats met een tijd van 1:53.44,63.

Hij studeerde bedrijfskunde aan de University of Notre Dame.

Palmares

triatlon
 1993: 17e WK olympische afstand in Manchester - 1:55.59
 1994: 66e WK olympische afstand
 1996: 58e WK olympische afstand
 1997: 43e WK olympische afstand
 1997: 6e Goodwill Games in New York
 1998: 5e ITU wereldbekerwedstrijd in Noosa
 1999: 7e ITU wereldbekerwedstrijd in Cancún
 1999: 8e ITU wereldbekerwedstrijd in Gamagori
 1999: 18e ITU wereldbekerwedstrijd in Corner Brook
 1999: 20e ITU wereldbekerwedstrijd in Ishigaki
 1999:  Amerikaans kampioenschap triatlon
 1999: 19e WK olympische afstand in Montreal - 1:46.45
 2000: 30e ITU wereldbekerwedstrijd in Kona
 2000: 40e Olympische Spelen in Sydney - 1:53.44,63
 2001: 9e ITU wereldbekerwedstrijd in Lausanne

Amerikaans triatleet
Amerikaans olympisch deelnemer

redpajama_set_name: RedPajamaWikipedia


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Now reading: Hannah Wants Talks to The Idle Man Ahead of Creamfields 2016
Hannah Wants Talks to The Idle Man Ahead of Creamfields 2016
13 November, 2018Life
In just a few years she's made a huge impact on not just the UK Dance scene but all over Europe and now she's set her sights on the rest of the World. We decided it was time to get to know Hannah Wants a little better.
Read more music features.
With just a few weeks until Creamfields, the mammoth electronic music festival in the heart of Cheshire, taking place over the August bank holiday weekend. One woman performing has carved her own path through the UK scene over the last six years. You'll find her tearing up the MK Area10 stage on the Sunday, it's Hannah Wants.
Rising up from a self taught DJ in the Midlands to a new age Ibiza icon, then becoming one of the UK's best known dance music stars. If you don't know Hannah already then you'd better get to know.
She's got a serious work ethic! Not content with taking over the UK with a sell out 'What Hannah Wants' tour earlier this year, she's heading to the US with gigs all over America. It's obvious over the last few years that what Hannah wants, she gets, so you'd better get out of her way. We took the chance to get to know her a little better and find out how she deals with her hectic schedule.
Stay up to date on Hannah Wants' movements on her Soundcloud | Facebook | Twitter | Website | Buy tickets
First off, how's your year been so far? Any major highlights?
It's been unreal thank you! It's definitely my most crazy year to date with my DJ schedule but I'm loving every minute of it. We Are FSTVL, Parklife, Lost & Found and Hideout have been my first festivals of the year and they've all been incredible. Another highlight would definitely have to be my 'What Hannah Wants' UK Tour. It was a 12 date sell out tour across February and March and it's always a special time of year. Already started planning the 2017 tour and I'm already excited!
You've got a packed summer of shows, where's been your favourite festival so far and what ones are you most looking forward to?
I've just left Croatia where I played Hideout Festival and it's been a yearly highlight of mine for three years now so I'm gonna have to say that. I played a 'What Hannah Wants' boat party and then a gig in the evening and the vibe was just insane.
You're playing out in Ibiza a lot this year, how would you describe the atmosphere on the Island for anyone that hasn't been before?
Basically if you haven't been before then you need to get going! It's probably my favourite place in the world as it holds so many amazing memories and provides some of the best raves yearly. It's a magical island.
You're playing out in the States over the coming months, how do you find the crowd out there? Any major differences?
I've actually just landed in the States for a weekend of gigs in NYC, Chicago and Toronto and I'll also be back a few more times this year for longer tours. It's such a massive country and I love the challenge of growing as an artist over here.
The crowds are different, yeah, but it's hard to explain how. UK v US dance moves certainly differ haha. They're both great vibes for different reasons.
https://soundcloud.com/hannah_wants/mendoza-love-druggie-hannah-wants-remix?in=hannah_wants/sets/tracks-1
What's your favourite thing about playing all these shows?
I love so much about my job! First and foremost DJ'ing is my passion, so being able to travel to different countries and DJ to thousands of people around the world is just a dream come true. I love meeting new people, getting to explore new clubbing cultures, cities, countries; I just love my job and fully appreciate each day.
And the worst thing?
The only thing I can even think of is the exhaustion levels that can sometimes be reached. Hard-core touring with maximum travelling and minimal sleep can sometimes catch up with you but it's something you get used to and when you get a good night off after working hard, it's the most rewarding feeling.
Are there any projects you've got in the pipeline we can know about?
My latest project is a collaboration with the vocalist Detour City has literally just been premiered on BBC Radio 1 by Annie Mac this evening, I've been locked in all the way from New York! It's due out 6th July on Cr2 Records via Beatport.
Found The Ground is another release which I'm hoping will drop next month. I'll be announcing details ASAP.
I'm also working on an original track with a girl I actually went to high school with. She's an incredible vocalist and I hit her up to work on a project. It's sounding real exciting at the moment so I can't wait to see what the end result is gonna be!
You're playing Creamfields this year, what can we expect from your set?
Another big set I hope. Creamfields has been a yearly highlight of mine for the past few years and I'm always so excited to get back. I'm gonna be playing in MK's Area 10 tent and I'm aiming for a full capacity tent and mega vibey atmosphere. Roll on August!
3 songs everyone needs in their playlist right now?
Marco Faraone - Boost
Jacob B - The Substance [unreleased]
Josh Butler - Need Me
To catch Hannah at the MK Area 10 Arena over the August bank holiday weekend at this year's Creamfields, head over to their Website.
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James Buchanan's involvement with Franklin & Marshall College predates its formation. In 1842 Buchanan received an honorary law degree from Marshall College in Mercersburg, Pennsylvania. From 1837-1852, he served as a trustee of Franklin College in Lancaster. Instrumental in the merger of Franklin and Marshall Colleges, Buchanan encouraged the purchase of land on the west side of Lancaster for the future Franklin & Marshall College. In 1853 he became the first President of the Board of Trustees of the new institution, serving until 1865. In addition, Buchanan donated money for the construction of Old Main and for the two literary society halls (Diagnothian and Goethean).
John Cessna, an active politician, served as speaker of the House of Representatives in 1851 and 1863 as well as attending the Forty-first and Forty-third Congresses. Cessna joined Franklin & Marshall College's Board of Trustees in 1857. A few years later he was elected vice-president; and, after James Buchanan retired from his position as President of the board, John Cessna was elected to replace him.
George F. Baer entered the sophomore class of Franklin & Marshall College in 1860 but left his junior year to enlist as a Captain in the Union Army. He later became a lawyer and industrialist (in 1901 he was elected President of the Philadelphia and Reading Railway Company) but returned to Franklin & Marshall College as a benefactor. A member of the Board of Trustees for forty-two years, Baer served as President from 1894-1914. Baer showed much interest in the college curriculum and in raising the standards of the school.
William U. Hensel, a Franklin & Marshall alumni, was active as both a student and trustee. He founded a college periodical, served on the Phi Kappa Sigma fraternity executive board, and was one of the first men elected from Franklin & Marshall to the Phi Beta Kappa society. Hensel made many contributions to the college later in life as a trustee. He donated time and money for the completion of the gymnasium in 1891 and was instrumental in developing the library. During his twenty-five years on the board, he served as vice-president and as President (1914-1915). His career interests included journalism, law, and politics.
A member of the board from 1899-1941, Benjamin F. Fackenthal served as President from 1915 until his death in 1941. The successes he achieved as an iron industrialist made if possible for him to donate over $700,000 to the college in forty-two years. His greatest gifts included endowing a biology professorship and funding the construction of Fackenthal Laboratories (1929), Fackenthal Pool (1931) and Fackenthal Library (1938).
Paul Kieffer, one of the original Rhodes scholars, graduated from Franklin & Marshall College in 1901. He went on to become a prominent New York attorney, and later returned to the college to serve as President of the Board of Trustees from 1941-1956.
A member of Franklin & Marshall College's class of 1908, William A. Schnader served as class president, editor of the F&M Weekly, manager of the football team, and President of Goethean Literary Society. He graduated salutatorian of his class and was a member of the Phi Beta Kappa Society. After attaining his law degree from the University of Pennsylvania, Schnader was later appointed Attorney General of Pennsylvania. In 1926, he was elected a trustee of Franklin & Marshall College and served as chairman from 1956-1967. Notably, Schnader Hall was dedicated to him in 1959.
Robert W. Sarnoff served as a member of the Board of Trustees from 1960 until 1972. In 1967, he was elected Chairman of the Board. Sarnoff, former president of the Radio Corporation of American (RCA), opened Franklin & Marshall's radio station. Later, he was granted the honorary title of First Chancellor of the College.
A 1930 graduate of Franklin & Marshall College, Charles A. Siegfried went on to become chairman of the executive committee of the Metropolitan Life Insurance Company, New York. He was elected Chairman of the Board of Trustees in 1972.
L. James Huegel graduated from Franklin & Marshall College in 1938, where he belonged to the Kappa Sigma Fraternity. He then earned a law degree from the University of Pennsylvania School of Law, after which he went on to a distinguished career as solicitor and counsel for several major railroad companies. He became the executive vice president of the Consolidation Coal Company Inc. in Pittsburgh, Pennsylvania. Huegel served as a member of the Board from 1966 to 1985 and was elected Chairman in 1977. He made the initial motion for the college to become a coeducational institution and was responsible for the renovation of the Alumni House, (formerly the president's residence) which was renamed the Huegel Alumni House in 1985. The same year, Huegel was honored for his service to the college with the Alumni Medal. In 2002, Huegel was given an honorary doctor of laws degree.
Aaron J. Martin, class of 1950, is a Lancaster native. Upon graduation from Franklin & Marshall, Martin studied chemistry at the Pennsylvania State University, where he received a masters in 1952 and a Ph.D. in 1953. Martin extended his interest in chemistry research to E.I. du Pont de Nemours and Co. in the 1950s. Later, he created the F&M Scientific Corp., a manufacturer of gas chromatographs. The company merged with Hewlett Packard in 1965; and, in 1999, Martin was inducted into the Instrumentation Hall of Fame. Martin served as a member of the Board of Trustees from 1973 to 1998. In 1985, he was elected Chairman of the Board. Martin was largely responsible for the opening of the Martin Library of the Sciences in 1991. In 2002, he received an honorary doctor of science degree.
After growing up in Lancaster and graduating from Franklin & Marshall in 1948, William G. Simeral received his Ph.D. from the University of Michigan in 1953. After which, Simeral joined E.I. Du Pont de Nemours and Co. as a research physicist, conducting plastics research, and is now an internationally recognized leader in the chemical industry. Du Pont elected him as a director, senior vice president and member of the Executive Committee in 1977, and he became executive vice president in 1981. Before his retirement in 1987, Simeral served as vice chairman of the board and chief operating officer for Conoco, Inc., the Du Pont energy subsidiary. Though Simeral chaired the Board of Trustees from 1991-1994, he served as a member since 1972 where he chaired the finance committee. During this time, he helped to oversee the transition from internal to external management for the college's endowment. In 2002, Simeral received an honorary doctor of science degree from Franklin & Marshall College.
William E. Seachrist, Franklin & Marshall class of 1952, was elected in 1994 as chair of the Board of Trustees. He served as a member since 1972. An entrepreneur, private investor, and public administrator, Seachrist has held positions as president of Kent Industries, president and chairman of the board of Adven Tek Corp., and chair/CEO of Prodex Inc.


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14 Electromagnetics jobs at Lawrence Livermore National Laboratory
Browse for Electromagnetics Jobs for Lawrence Livermore National Laboratory. Find the job of your dreams on IEEE today!
Electrical Engineer/Applied Physicist - Pulse Power and Applied Electromagnetics
Join us and make YOUR mark on the World!Come join Lawrence Livermore National Laboratory (LLNL) where we apply science and technology to make the world a safer place; now one of 2020Best Places to Work by Glassdoor! We have multiple openings for exceptional engineers to work on projects in pulsed p...
Engineer - Pulsed Power and Applied Electromagnetics
Lead Electrical Engineer/Applied Physicist
Join us and make YOUR mark on the World!Come join Lawrence Livermore National Laboratory (LLNL) where we apply science and technology to make the world a safer place; now one of 2020 Best Places to Work by Glassdoor! We have multiple openings for experienced and accomplished Engineers and Applied P...
Post College Appointee
Join us and make YOUR mark on the World!Come join Lawrence Livermore National Laboratory (LLNL) where we apply science and technology to make the world a safer place; now one of 2020 Best Places to Work by Glassdoor! We have an opening for a Post College Appointee to support research in diagnostic ...
Electrical Engineer-EMP/RF
Join us and make YOUR mark on the World!Come join Lawrence Livermore National Laboratory (LLNL) where we apply science and technology to make the world a safer place; now one of 2020 Best Places to Work by Glassdoor! We have multiple openings for an Electrical Engineer capable of applying commercia...
Electrical Detector System Engineer
Join us and make YOUR mark on the World!Come join Lawrence Livermore National Laboratory (LLNL) where we apply science and technology to make the world a safer place; now one of 2020 Best Places to Work by Glassdoor! We have an opening for an Electrical Engineer. You will be responsible for the des...
Pulsed Power Engineer - Laser and Experimental Systems
Join us and make YOUR mark on the World!Come join Lawrence Livermore National Laboratory (LLNL) where we apply science and technology to make the world a safer place; now one of 2020 Best Places to Work by Glassdoor! We have an opening for an experienced Pulsed Power Engineer to support the Nationa...
Nanomaterials - Postdoctoral Researcher
Join us and make YOUR mark on the World!Come join Lawrence Livermore National Laboratory (LLNL) where we apply science and technology to make the world a safer place; now one of 2020 Best Places to Work by Glassdoor! We have openings for Postdoctoral Researchers to conduct research in the developme...
Nondestructive Evaluation - Postdoctoral Researcher
Science and Technology on a Mission!For more than 60 years, the Lawrence Livermore National Laboratory (LLNL) has applied science and technology to make the world a safer place. Join us and make YOUR mark on the World!Come join Lawrence Livermore National Laboratory (LLNL) where we apply science an...
Science and Technology on a Mission!For more than 60 years, the Lawrence Livermore National Laboratory (LLNL) has applied science and technology...
Join us and make YOUR mark on the World!Come join Lawrence Livermore National Laboratory (LLNL) where we apply science and technology to make the world a safer place; now one of 2020 Best Places to Work by Glassdoor! We have multiple openings for a Senior Electrical Engineer. You will participate i...
Join us and make YOUR mark on the World!Come join Lawrence Livermore National Laboratory (LLNL) where we apply science and technology to make the world a safer place; now one of 2020 Best Places to Work by Glassdoor! We have multiple openings for Electrical Engineers to participate in new and ongoi...


We've been shopping at REDEMPTION for a few years now. I remember strolling into their store after being in the sun all day at the Campbell downtown Farmer's Market. They carried all these unique items from skincare products to jewelry, to stationery, to baby needs, and clothing. REDEMPTION also makes sure all of the products they sell are made in California ensuring that local artists can also make a sustainable wage.
It's exciting to see them expand into a second shop in downtown Los Gatos as the desire to to seek sustainable and ethical products is on the rise.
I always walk out out of the store with a shopping bag in my hand. Whether it's for the home, jewelry, or jeans for my husband, REDEMPTION has all my needs in one place.
That's why we think you should make a stop over to the either REDEMPTION store for your holiday shopping needs. Check out a few of our favorites below. Our goal was to also find products that are under $50.
REDEMPTION is a great shop to check out for all of your gift giving needs. If you're unable to make your way over, below are links to where you can find some of the products we featured. You can also DM REDEMPTION over on Instagram if you find something you love.


No affiliation means no insurance means no competition.
For schools wishing to pay their affiliation fee by electronic transfer the following bank details are provided. It is most important that any payment by electronic transfer CLEARLY IDENTIFIES YOUR SCHOOL UNIQUELY on the payee reference. The onus is on your school to ensure that your payment is readily identifiable. For example: LCETB is NOT ADEQUATE, nor is St Josephs SS. NMSAA will not follow up ambiguous payments. The list of currently affiliated schools will be updated on a regular basis. If your school does not appear on this list then your affiliation has not been received, which means that your athletes could be denied the opportunity to compete. Payment by electronic transfer should be done well in advance of any competition entry deadline.


A Landlord's Dream v1.2 Update: Spanish and Italian translations and more!
After a long while, here's an update for A Landlord's Dream!
Thanks to Maximiliano Vaccaro (LinkedIn, Twitter) the game is now available in Spanish!
The game is now also available in Italian. You know, being Italian myself, it was about time!
You can now choose the game's language both in the Title Screen and in the winsetup.exe file.
Over the years, players have often notified us of being unable to read parts of the dialogue because they would disappear too quickly.
Now you can read conversations at your own pace, skipping them by hitting a key or a mouse button, which also makes the game a little more accessible!
At last, the game now has proper Save, Load and Quit GUIs that replace the Default ones provided with Adventure Game Studio.
Thanks to all of you who enjoyed and supported this game so far. I personally can't believe it has been 3 and a half years already!


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classic rock artists
classic rock classic rock songs
Posted on June 17, 2017 by Jessie Leonard
"classic rock stations raleigh nc +classic rock hits from the 70's"
Queen is no question the best band ever. They have the greatest singer ever, Freddie Mercury, also a amazing piano player. For example, Bohemian Rhapsody, Killer Queen, Seven Seas of Rhye, and The March of the Black Queen. One of the best guitarists ever. For example, Bohemian Rhapsody, Killer Queen, The Song, Hammer To Fall. One of the best bassists. For example, Another One Bites The Dust, Killer Queen. Queen is my favorite band ever! I am in a queen cover band! – CalebMusic
Top 10 Best Sports Moments in 2017Top 10 Disney Cartoons Based on Disney Movies Top 10 Video Games of 2017 Best Songs of 2017 Best Online Tax Providers Best Cell Phone Services Best Digital Camera Brands Best Home Workout Programs Best Mountain Bike Brands Best Car Tire Brands
What's the recipe for becoming one of the Top 100 classic rock artists? It takes sweeping influence, longevity, groundbreaking importance and a certain indelible quality. But being a huge presence doesn't necessarily mean that all of these qualities must be present at once.
If you missed it, no problem! Catch where all your favorite Classic Rock tunes fell on our countdown with the full Top 500 playlist below. We'd love to hear from you in the Facebook comments at the bottom of each list segment.
Native American Flute, Deep Sleep, Serenity Spa Music Relaxation, Walter Klien, Francois-Joel Thiollier, Natural White Noise: Music for Meditation, Relaxation, Sleep, Massage Therapy, Classical Lullabies, Massage Tribe, Sleep Tribe, Samuel Barber, Ludwig van Beethoven, Relaxing Music Orchestra, Sleeping Music, The London Philharmonic, Serenity Relaxation Music Spa, Chakra Balancing Sound Therapy, Calm Music Guru, Max Richter, All Night Sleeping Songs to Help You Relax, The Melachrino Strings and Orchestra with Trio Musette de Paris, Healing Music, Erik Satie, Spa, Yann Tiersen, Ready Baby Music!
This year Brothers Osborne return under their own steam. Their new album is scheduled for release in the spring via Snakefarm Records, and they undertake a headline UK tour in May. "The UK has become one of our favourite places to play," enthuses John Osborne. "We're thrilled to be doing our first ever headline tour there in May. Can't wait!"
^ "Kill Your Stereo – Reviews: Shai Hulud – Misanthropy Pure". Retrieved February 17, 2012. Shai Hulud, a name that is synonymous (in heavy music circles at least) with intelligent, provocative and most importantly unique metallic hardcore. The band's earliest release is widely credited with influencing an entire generation of musicians
"Classic Rock is, quite simply, one of the finest pops offerings available today. The music of epic bands like Kansas, Journey, and Boston is now coming into its own, as a hallmark of nostalgia for multiple generations of pops goers. This concert experience celebrates that nostalgia perfectly.
Kidsongs, Bert & Ernie & The Kid Chorus, The Hit Crew Kids, Songs For Children, The Kiboomers, Barney, Various artists, Bob McGrath, Go Fish, The Little Kids Band, Big Blue Dog Players, The Little Sunshine Kids, Big Bird & Kids, Kids – Children, Toddler Time & The Kiwi Kids, Susie Tallman, Sing n Play, Cooltime Kids, The Tiny Boppers, Lisa Loeb, Children's Music, Cedarmont Kids, Caspar Babypants
The impetus for this song is that Paul McCartney wrote it for Julian, John Lennon's son, after John had filed for divorce from Cynthia and struck up a romance with Yoko Ono. Paul felt sorry for kids in broken homes, ya know? Funny thing is, John thought the song was about him! Anyway, the single lasts seven minutes, long for the time, and who can forget the four-minute, orchestral coda? By the way, "Hey Jude" was the first single produced by Apple Records; it also stayed at number one on the US charts for nine weeks, topping all other Beatles' singles; and in 2013 Billboard named it the tenth best song ever.
The Beatles changed the whole landscape of pop and rock as we know it during their short but monumentally remarkable era. Each one of their albums — from their first LP Please Please Me in 1963 to their last album Let It Be in 1970 — is considered a classic. Every Beatles fan knows that. And even if you're not much of a fan, you otherwise recognize their enduring influence that extends beyond music, even several decades past their prime.
The Party of Five classic rock band has one of the most extensive songs lists of any band around. This ensures that you'll hear nothing but hit after hit, all party long. Get ready to dance the night away to all your classic rock favorites.
Billboard magazine's Kim Freeman posits that "while classic rock's origin's can be traced back earlier, 1986 is generally cited as the year of its birth".[12] By 1986, the success of the format resulted in oldies accounting for 60–80% of the music played on album rock stations.[13] Although it began as a niche format spun off from AOR, by 2001 classic rock had surpassed album rock in market share nationally.[14]
Traditional power metal bands like Sweden's HammerFall, England's DragonForce, and Florida's Iced Earth have a sound clearly indebted to the classic NWOBHM style.[238] Many power metal bands such as Florida's Kamelot, Finnish groups Nightwish, Stratovarius and Sonata Arctica, Italy's Rhapsody of Fire, and Russia's Catharsis feature a keyboard-based "symphonic" sound, sometimes employing orchestras and opera singers. Power metal has built a strong fanbase in Japan and South America, where bands like Brazil's Angra and Argentina's Rata Blanca are popular.[239]
4 Guns N Roses Guns N' Roses is an American hard rock band from Los Angeles formed in 1985. The classic lineup, as signed to Geffen Records in 1986, consisted of vocalist Axl Rose, lead guitarist Slash, rhythm guitarist Izzy Stradlin, bassist Duff McKagan, and drummer Steven Adler. Apart from hard rock they are also …read more.
Are you a fan of rock music? Ever since the dawn of rock and roll in the earlier part of the 20th century, there have been thousands of rock bands and musicians entering the scene over the past decades. Yet only the greatest have endured, whose music has stood the test of time even long after they are gone and continues to inspire today's generation.
The term "retro-metal" has been used to describe bands such as Texas-based The Sword, California's High on Fire, Sweden's Witchcraft,[285] and Australia's Wolfmother.[285][286] The Sword's Age of Winters (2006) drew heavily on the work of Black Sabbath and Pentagram,[287] Witchcraft added elements of folk rock and psychedelic rock,[288] and Wolfmother's self-titled 2005 debut album had "Deep Purple-ish organs" and "Jimmy Page-worthy chordal riffing". Mastodon, which plays in a progressive/sludge style, has inspired claims of a metal revival in the United States, dubbed by some critics the "New Wave of American Heavy Metal".[289]
Marillion release video footage of their performance of Seasons End track The Space – taken from upcoming live package All One Tonight: http://teamrock.com/news/2018-03-22/watch-marillion-perform-the-space-at-the-royal-albert-hall …pic.twitter.com/DhqZSe18mh
Now the LA punkoid rockers' self-titled debut album is set for release on January 19 via Rough Trade Records. Also, keep an eye out for details of gigs, at which there will likely be more blood-spattering and straitjacket antics.
They broke new records in record sales as well as in concert tours. The band is also legendary when it comes to indulgence in their lifestyle. However, every rock fan knows that behind the personal excess, Led Zeppelin was earnest in their own craft and pushed themselves to the limit musically. From the blues rock of their eponymous debut album in 1969 to the seamless energy of Led Zeppelin IV in 1971 to the mind-blowing double-album Physical Graffiti in 1975, it seems that Led Zeppelin knew that their records would stand the test of time. Their golden era ended when drummer Bonham died in 1980 due to excessive alcohol consumption, but their legend lives on.
LINCOLN, NEB. – Bryce Neidig, the second longest serving president of Nebraska Farm Bureau, was remembered for being an articulate and popular president who was enthusiastic about the future of Farm Bureau and agriculture. He died March 22 at the age of 86. "Bryce Neidig was a tremendous advocate for agriculture and Nebraska Farm Bureau. You…
I belonged in the green and blue column This is a ranked list of the 100 best artists in "Classic Rock." The term "classic rock" is mostly used as a radio format to describe popular rock music of the mid 1960's through the early 1980's. I also refer to that era in music as the "Classic Rock" era. To me it begins with the Beatles' arrival in America in early 1964 and goes up til about the debut of MTV in 1981. Although some artists emerged after 1981 that defined the classic rock sound like John Mellencamp, Billy Squier, Loverboy, the Georgia Satellites, and the Black Crowes. With that said, this list will mostly highlight artists you hear on Classic Rock stations. I'm pretty strict on what I consider to be classic rock, so artists such as the Police, the Pretenders, and Talking Heads whom are occasionally played on classic rock radio will not be on the list as I consider them to be apart of the next era in music (new wave). So here are the 100 greatest artists of classic rock.
Smoke on the Water is the most well known song world. You know most Americans are light weight rockers. Deep Purple ruled in most corners of the world. They were the most influential with the most history and the other great bands that came from the Purple tree with the best guitarist in the business. Ritchie s peers will tell you he was the best and influenced more guitarist world wide. And a much longer career than all those other guys. This is a insult to the most known Riff ever.
Even in terms of fan base, the two fan bases are close in a way, although the general public has held a stereotype of heavy metal fans being suicidal, depressed and a danger to themselves and society in general. However, Adrian North, a Heriot-Watt University professor who studies genre listeners found that metal listeners were above all else creative, at ease with themselves and introverted — qualities he also found in classical listeners.[53][54]
In 2010, Classic Rock partnered with Road Runner Record UK to publish the Classic Rock Presents: Slash. Believed to be the first magazine publisher to top an online album chart, the pioneering "Fan Pack" release gives fans in Europe Slash's debut solo album, one month before it receives a standard release with a full 132 page magazine about Slash. The partnership marks the first-time a major album has been released exclusively with a magazine publisher, ahead of general release.
Thank you for making it possible for Superglide to be awarded the "GigMasters Best of 2017" award and Superglide is looking forward to spreading more joy in the coming years! Superglide is a four-piece vintage rock cover band based in Dallas, Texas. Superglide is a high energy rock n' roll band that takes great pleasure in providing music that people can get up and sing along with and dance to. Please check out Superglide's gig calendar on the GigMaster's site and come out and hear them… (more)
Brief, abrupt, and detached rhythmic cells are joined into rhythmic phrases with a distinctive, often jerky texture. These phrases are used to create rhythmic accompaniment and melodic figures called riffs, which help to establish thematic hooks. Heavy metal songs also use longer rhythmic figures such as whole note- or dotted quarter note-length chords in slow-tempo power ballads. The tempos in early heavy metal music tended to be "slow, even ponderous".[21] By the late 1970s, however, metal bands were employing a wide variety of tempos. In the 2000s decade, metal tempos range from slow ballad tempos (quarter note = 60 beats per minute) to extremely fast blast beat tempos (quarter note = 350 beats per minute).[26]
The Eagle's song about the demise and decadence Hollywood show business went triple-platinum in the US alone, as well as selling well around the world. The success of the single helped its album Hotel California lift over 16 million copies. Needless to say, it has also become one of classic rock's most memorable songs.
Yes deserves to be on this list because, like Queen, they were totally unique and very talented musically. Hard to believe bands like Motley Crue are above them. Any decent cover band can play a Motley Crue song as well as the original, but no one even attempts Yes songs because you have to be great musically.
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