text:
There are a couple of things that have been on my mind of late, and this always seems like a decent forum to vent my musings, particularly since I'm not in therapy. First of all, what exactly constitutes medical attention for an erection lasting more than four hours? Does a stereotypically sexy nurse, um, give you a hand? Or does a mummified doctor from the bygone era of bone saws that could drop an oak tree and hand-cranked skull drills apply leeches to the affected area and then show you pictures of Yogi Berra and golf videos to bring down the swelling, so to speak?
While we wait for an answer to arrive, let's move on to the other, perhaps more salient issue that I've been pondering. As everyone knows, the end of the year brings the Cincinnati Entertainment Awards nominations, which then inspires a good deal of grumbling speculation about who has gotten nominated and, more importantly, who has not.
Look, no one understands better than I the elation that accompanies being recognized for your work. Six years ago I nabbed second place in the Non-Daily Newspapers Feature Personality Profile category of the Ohio Excellence in Journalism awards. I know, right? At the same time, I can count on fingers and toes the number of letters I've received over the years about things I've written, and many of those have been from the subjects I've written about just to say thanks.
My prized correspondence was from now-deceased Rolling Stone/Billboard editor Timothy White for getting the title of his Beach Boys biography wrong in a piece I wrote about Dick Dale. I had cited White's book as The Nearest Faraway Beach, largely due to my love of the Brian Eno song, "On Some Faraway Beach," and partially because I jotted down my notes in Joseph-Beth Booksellers when I was in the throes of a flu that would have eaten a vaccine for an appetizer. White's book was, in fact, The Nearest Faraway Place, and in it, he mentioned that Dale had been born in Beirut, Lebanon, among other interesting tidbits about the legendary guitarist. When I asked Dale about some of the entries in White's book, he countered with, "Does it say Dick Dale was born in Lebanon?" (he referred to himself in the third person, a lot). I said that it did, and he responded, "Then throw that book in the garbage."
It was a great quote so I used it in the story, which prompted White's letter, where he first corrected my idiot error and then clarified that he had interviewed Dale personally at a time when White speculated that Dale thought being born in Lebanon would make him seem more exotic (he was of Lebanese extraction), but when Beirut became synonymous with terrorism, he claimed Boston as his birthplace. All in all, though, he was very complimentary about the article.
As usual, I digress. As much as people love being hailed for their accomplishments, they are stung when they feel they've been passed over, for whatever reason, and that's completely understandable. It becomes slightly problematic when people demonize the process in an effort to explain their absence from the end result.
Here's the thing; those of us who comprise the nominating committee try not to take ourselves too seriously, but we are very serious about the task of establishing these nominations on an annual basis, for a variety of reasons. First and foremost, we love music and we respect the people who make it. We also feel it is extremely important to recognize great work and to share that recognition with the entire music community.
And that's pretty much it. We don't have an agenda to push. We don't nominate our friends (although our friends sometimes get nominated). Speaking for myself, I really try to set personal feelings aside when the time comes to look at the past year and determine who has done work worthy of CEA recognition.
Of course, that determination is open to a certain amount of subjectivity. We are human beings, after all. That's why we cast our nets as far as we can, to make sure the nominating process is as fair as humanly possible. Is it a perfect system? Not hardly. But I think we've gotten it pretty close to right. This year we involved the public in the process and that helped widen the focus even further, but there still seems to be a certain amount of dissatisfaction about the nominees and conjecture about how they got there. In the final analysis, it boils down to a few simple facts. If you're nominated, congratulations; you've distinguished yourself in a music community that I honestly feel is one of the best in the entire country. If you win, huzzah and holy shit, you've further distinguished yourself within a formidable slate of your musical peers.
And if you're just a spectator, keep working. Keep doing what you do. The accolades are nice, but put things in perspective; at the end of the day, the CEAs are a party with door prizes. Prestigious door prizes, but door prizes nonetheless. And whether you're a winner, a nominee or neither of the above, don't allow your recognition or lack thereof to overinflate or devalue your sense of what you do. What matters is the work. Your work. Whether it garners you a nomination or not.
It's the same in any field of endeavor. How many painters wind up in museums in their lifetimes? How many athletes give their lives over to the sports they love for an almost microscopic chance to get a plaque in their respective halls of fame? Celebrity, wealth and notoriety are all fairly illusory. What matters is the work.
The immortal and forever great Frank Zappa may have put it best: "Information is not knowledge. Knowledge is not wisdom. Wisdom is not truth. Truth is not beauty. Beauty is not love. Love is not music. Music is the best."
And there it is, in it's simplest and most potent form. If you are out there, turning words and melodies in your head into real music with your hands, heart and soul, you are contributing to one of the best things in life. Awards are the icing on a cake that doesn't necessarily need to be iced. When you make great music, we are the winners. And we'd like to thank you. And God and our families and friends and our eighth grade English teacher who said we'd never amount to anything, because he was sort of right. Thank you.
The 18th annual CINCINNATI ENTERTAINMENT AWARDS ceremony is Sunday at Covington's Madison Theater. Tickets are available at cea.cincyticket.com. Click here for more show details.
If you can't make it to the event, ICRCTV will once again be streaming it live here. You can check out the 2013 and 2014's ceremonies here and here, respectively.
Over the Rhine is releasing its third Christmas album, Blood Oranges in the Snow, on Nov. 4, but The New York Times' website is offering an early listen through its "Press Play" website. Click here to listen.
The album, which follows previous "reality Christmas" efforts Snow Angels and The Darkest Night of the Year, is available now for pre-order here. Pre-orders of the CD will instantly receive a digital version of the album.
OTR's Linford Detweiler and Karin Bergquist will do some acoustic dates after Blood Oranges' release, beginning next week in Washington state. The duo's "Acoustic Christmas" tour officially begins Dec. 5 in Virginia and culminates with OTR's annual hometown holiday show at the Taft Theatre on Dec. 20.
Tickets for the all-ages show can be purchased here or here.
Sideways rain and swamp-ass, but it wasn't so bad. The storms were intermittent, the day was clearly not a total washout and, out of the nine days of Bunbury over the past three years, this one might just have ended on the highest note of them all.
Upon arrival, I was greeted by above-and-beyond volunteer Jacob Heintz, who advised serious attention to hydration, as several people had already passed out from the heat. In order to accommodate more fluids, I needed to make a deposit at the Yeatman's Cove First National Bank of Evacuation.
You know what's great about the Porta-Kleens in the summer? Heated seats. You know what's not great about Porta-Kleens in the summer? Heated everything else. I felt like I was microwaved to about medium rare by the time I was done with business. But I was treated to a bit of pithy wisdom in the form of a neatly scrawled line of graffiti in the unit — "No one is free. Even the birds are chained to the sky." Of course, the trade-off is that birds can shit anywhere they like, which somehow seems to involve my windshield an inordinate number of times a week.
At any rate, a spotty rain began within minutes of my arrival, so I headed down to the Main Stage to see if things were continuing on schedule. On the way, I passed Daniel in Stereo on the Acoustic Stage, where he seemed to be offering an evocative Jeff Buckley vibe. Very nice. When I got to the Main Stage, the Brick + Mortar set had just begun. The politically conscious World Rock guitar/drum duo from Toms River, N.J., was cooking along nicely, but about three songs in, the lightning flashed, the thunder cracked and the staff shut them down.
"That sucks," noted guitarist/vocalist Brandon Asraf. "I had just tricked you into liking me for a minute." Then he launched into a stand-up comedy bit, quoting Half Baked and bemoaning his lack of life compared to his engaged drummer, John Tacon. "I'm single and chubby. What's up?" he said, canvassing the crowd.
The crew finally had to shut off the power so that was the end of Brick + Mortar. (The band will return to Cincy on Aug. 15 for a free show on Fountain Square.)
Shortly after that, the flaming finger of God erupted from multiple clouds and the rain, gentle at first, ultimately came pissing down from the heavens. I had taken refuge in the Yeatman's Cove tunnels and thought I'd gotten way lucky to avoid the torrential downpour, but that proved ineffective as well when a tornadic wind blew the rain horizontally straight through the passageway. Everyone was drenched from cowlick to ass-crack and beyond.
Luckily, the storm didn't last long and the only issue at that point was how long the clean up and reset would take. I wandered down to the Main Stage to see if Red Wanting Blue was going to happen, but it appeared as though it would take a considerable amount of time, so I motored back down to the Warsteiner Stage to see what progress had been made there.
To my unending delight, Kim Taylor was just getting started about the time she should have been wrapping up. I've been completely smitten with Kim's work since a friend at my long since defunct graphic design day job lived in the same apartment building with her. She had just begun her music career and had given my friend a copy of her self-released EP, which he passed along to me. Her gently compelling voice, her introspective and intelligent lyrics and her melancholic mastery of melody certainly gave me a chill similar to the one I felt after my first experience with Suzanne Vega, but Kim was most assuredly following a unique path, and so it has remained for the past decade and a half.
I've seen Kim numerous times over the years and written at least three features and a few MidPoint previews ahead of her releases and appearances, and she never disappoints, as an interview or as an artist. The power of her presentation at Bunbury was obvious; with no more than her acoustic guitar and drummer Devon Ashley, Kim Taylor turned the vast expanse in front of the Warsteiner Stage into an intimate performance space that crackled with a quiet intensity. It is powerful testimony to Kim's ability to hold an audience that, with dark clouds roiling overhead and thunder rumbling ominously in the distance, there was even greater drama brewing on the Warsteiner Stage.
After a quick stop to use the Big Mac Bridge as an umbrella, it was down to the Lawn Stage to witness the mind-bending energy of The Yugos. The relatively new and insanely young four-piece channel the absolute best elements of '70s Punk and New Wave with a dash of Surf and a couple hundred thousand volts of charisma. Spend any appreciable time with The Yugos and you'll detect distinct flashes of the jerky time signatures of XTC and Talking Heads, the Pop verve of Flock of Seagulls and the dark intensity of Echo and the Bunnymen. Drummer Jordin Gough jumps around the stage as though fire ants have been ceremonially sewn into his black jeans; he stands on his drum stool and beats on his kit from above, he takes the floor tom into the audience and thumps on it like a brave calling his tribe to action, while bassist Jeremy Graham provides an equally schizophrenic bottom and guitarists Christian Gough and Jackson Deal are peeling off punky New Wave riffs and licks that are as nerve-rattlingly appealing as The Cure on speed or Devo on hallucinogenics laced with antipsychotics.
At their Lawn Stage set, The Yugos rolled out their latest track, "Follow You," did the song about a dream where a robot chased Christian down a hill, constantly called out a guy in the audience that looked like James Franco, dedicated a song to Seth Rogen and implored the assembled multitude to shake their asses. Comedy, Surf/Punk and a heart needle full of adrenaline combine to make the perpetual motion music machine known as The Yugos; with five years under their belts already, they're bound to last a hell of a lot longer than their namesakes.
After a delicious burger from Dutch's in the Craft Beer Village and an equally delicious Puma Pilsner, courtesy of Black Owls hammer Brian Kitzmiller, it was a stroll over to the Main Stage to see ZZ Ward crank up her last couple of songs for a large and enthusiastic crowd and then down to the River Stage to catch a few songs from hot DJ/multi-instrumentalist Robert Delong, who filled the Serpentine Wall with Electronic music devotees who were digging his live-looped vibe with an almost religious fervor. Back on the Main Stage, Young the Giant blasted the swelling multitudes with the sticky/sweet Indie Rock hard candy that put them on a lot of attendees' must-see lists.
I took my leave of the growing crowd in front of the Main Stage — a combination of devoted Young the Giant fans and Flaming Lips aficionados staking out their space for the imminent start time — to catch The Orwells at the Warsteiner Stage. The Orwells made my personal don't-miss list after a little due diligence in checking out their history and sound online for a preview in last week's CityBeat and they didn't disappoint.
The quartet's central Illinois lineage is pretty much all the Pop cred they require and they use it to sweeten their rough-edged Garage/Punk love, as evidenced on last year's Disgraceland and the subsequent Other Voices and Who Needs YouEPs. Given the band's ramshackle nature (they'd pair up nicely with Cincy bands Mad Anthony or The Harlequins for a local show), it seemed like The Orwells might come a little unglued in the live presentation, but they were perhaps a little more restrained than I would have imagined. That could have been the post-storm vibe. They did toss out a raw chunk of the Foundations' "Build Me Up Buttercup," so that was pretty cool. Here's hoping we can get them back for a full show in better circumstances in the very near future so we can see what happens when The Orwells really put the pedal to the floor.
I reluctantly ducked out of The Orwells a bit early to establish position for The Flaming Lips' show, given the crush of rabid fans that were in all likelihood packing the front of the stage. For the sake of full disclosure, it should be noted at this juncture that I was looking forward to this show because I am a Flaming Lips virgin. I drank the Kool-Aid with Oh My Gawd!!! way back in 1987, but missed the local show on that tour because of my freelance production schedule.
Since then, I've totally dug the studio Lips but somehow have never found my way to experiencing the live Lips; the closest I've ever gotten was nine years ago when I was in Austin for SXSW and Wayne Coyne came rolling down Sixth Street in the bubble with some sort of boombox entourage trailing behind, offering a soundtrack to the proceedings. And I suppose I could claim a certain amount of Lips cred for my two band interviews, the first with Steven Drozd in 2003 after the release of Yoshimi Battles the Pink Robots and the second with Wayne in 2008 to talk about the DVD release ofChristmas on Mars.
But the Bunbury show represented the taking of my live Flaming Lips cherry; after a quarter century of studio foreplay, I was more than ready. And what a glorious deflowering it was.
After taking to the stage, which was appointed like a Peter Max flashback of Leary-esque proportions, the Lips launched into "The Abandoned Hospital Ship," with Wayne outfitted in a tinsel hairsuit that gave him the appearance of a glammed up Sasquatch. When it was over, he greeted the crowd warmly and promised that, should the rain begin again to the extent that the show had to be stopped, the Lips would be staying and they would finish the show, no matter what. The vast expanse of Lips fans roared their relief and the band shot headlong into "Yoshimi Battles the Pink Robots, Pt. 1," and the crowd's bliss was palpable.
After a set that was filled with brilliant Lippage ("Look...The Sun is Rising" and "A Spoonful Weighs a Ton" among them), dancing rainbows, magic mushrooms big enough to give Mario a coke boner, a gyrating sun and a video/LED presentation splashy enough to trigger a mild epileptic seizure, the clouds cried just slightly at the prospect of the end of the evening. The Lips took a short breather and then returned with the biggest one-two pay-off in Bunbury's short but potent history; the gorgeously contemplative "Do You Realize??" from Yoshimi and an absolutely epic version of the Beatles' "Lucy in the Sky with Diamonds," punctuated by several blasts from the four giant confetti cannons on stage. If I smoked cigarettes, I surely would have sparked one up after that conclusion.
And thus marked the end of Bunbury's third installment. The last day's weather difficulties notwithstanding, it was another flawlessly presented and managed music festival put on by one of the city's most knowledgeable and Zen-like business heads, Bill Donabedian, and his amazing staff, who all handle every detail from gravely major to almost subatomically minor with a combination of ninja professionalism and weaponized OCD. And, as Bill would be the first to tell you, it couldn't be done without the walking live army of volunteers who make this thing run with the precision of God's pocketwatch.
Plans are already afoot for Bunbury 4; they get harder to surpass with each subsequent summer, and somehow Bill and his festival all-stars manage to do just that. See you at the gate next July.
• A lot of notable absences in the crowd this year, particularly my brother-from-another-mother Matthew Fenton. Either he just couldn't make it down this year, or he's actually perfected his cloak of invisibility and skillfully avoided me for the entire weekend. I hope it's the former.
• Even with Sunday's threatened inclement weather, or as departing WCPO meterologist Larry Handley would characterize it, the blow job that nobody wants (no, Larry wouldn't say that, but I would and, in fact, just did), there was still a great turnout for the day's lineup. There was the inevitable run-in with Brent and Kat, and that makes every day worthwhile; they headed down to Brick + Mortar and after a swing around the grounds, I headed that way myself.
• With the advent of lightning and the first shutdowns of the day, I headed for the Yeatman's Cove tunnels before things got too crazy. Moments after entering, the sky opened up and the rain pissed down, so I thought luck was on my side. I stopped to talk with a group of photographers, one of whom I've seen numerous times at Bunbury and MidPoint, which has made us sort of nodding acquaintances. We chatted for a bit, then he introduced himself as Steve Ziegelmeyer and asked if I had attended a wedding last year for someone from Jungle Jim's. In fact, my wife and daughter and I have gotten to know one of the guys from the dairy department at the Route 4 store who goes by Squidd, and when he announced that he was engaged, he insisted that we come to the wedding, which we were honored to do. Turns out Steve's wife works with Squidd's wife at Jungle Jim's Eastgate store, and he was at the wedding. And when he said it, I totally remembered seeing him there and completely blanking on where I knew him from. He gave me his card and an idea for a feature; I'll be remembering him now.
• While I was waiting to see what would come of Kim Taylor's set, up strolled Eddy Mullet and his daughter Jess, looking none too worse the wear from Saturday's festivities. (Well, Eddy doesn't drink and Jess is 17, so the beating I take is typically incrementally worse than theirs, but I digress.) When the storm cranked up again, we headed for the shelter of the bridge and told ghost stories (they've got really good ones) until the sound of The Yugos drew us to the Lawn Stage.
• We were headed to Robert Delong's set when I was waylaid by Mr. Brian Kitzmiller, a drum beater of epic reputation and a beer buyer worthy of sainthood, or at least knighthood. When I steered over to Dutch's food booth for a burger, Brian introduced me to Jerry and Pam who run Dutch's (Brian knows at least 60% of every group of people that he finds himself in), as well as a couple of guys from the band The Easthills, who were playing the part of the Black Owls this year (their early afternoon set was rained out, like the Owls' were in Year 1.) Over by the Delong set, the ubiquitous and always welcome King Slice appeared, as did Owls bassist Kip Roe and his sons, Kip Jr. and Ben, and we had ourselves a Rock & Roll convoy.
• Just before the Lips' extravaganza got underway, I ran into 500 Miles to Memphis frontman Ryan Malott, another prince of the local music realm, who was on his way down to the Warsteiner Stage to catch The Orwells. We had talked about the show when Ryan came into Class X to do Eddy's Kindred Sanction program for a Bunbury preview and a chat about the new 500MTM album, Stand There and Bleed, and I'm glad he reminded me. As I hit the Craft Beer Village on my way to The Orwells, I was absolutely floored to see my old friend Ric Hickey, one of the best guitarists this scene has ever produced, escorting his ladyfriend Michelle down to the Lips show. We caught up for a hot minute, then went our ways. Once at the Warsteiner Stage, as The Orwells were winding up, I spotted Mark Messerly near the back of the crowd, clearly contemplating how he would approach his Messerly & Ewing gig at next week's Buckle Up. No he was not; he was drinking a beer and imploring The Orwells to ramp it up. You know Mark. Venomous Valdez was right behind him, a vision in yellow on her birthday eve. Many happy returns, double V. And I finally caught up with Ryan, who introduced me to his lovely and relatively new wife Gina (I had to ask for her name twice because I'm old, I've got 40+ years of Rock & Roll ears and The Orwells had, in fact, ramped it up). As NRBQ once noted, you're good people, you are.
• We all wound up hanging together for a good portion of the Lips' set, but one of my favorite moments was the Roe boys' faces when I confessed that this was my first live Lips lock. They couldn't have looked more astonished if I'd told them I'd just eaten a half pound of heroin-soaked grapes. Kip and his boys have seen the Lips on numerous occasions and, as a result, once we got camped near the stage, Kip Jr. tapped me on the shoulder and very politely began pointing out the elements of the Lips' set design and what everything was for. It was a very good tutorial, a sweet gesture for a teenager to connect with an old duffer such as myself, and proof positive that childrearing is a high art and Kip Roe should teach the whole bloody world exactly how to do it.
• Finally, for the third consecutive year, the unofficial and extremely subjective results of my annual "Best T-Shirts at Bunbury" competition, selected and judged by me alone. This year was interesting for a couple of reasons, primarily because of Saturday's headliners, Paramore and Fall Out Boy. Their numerous fans were displaying their band love loud and proud, but I was struck by a rather odd observation; I'm fairly certain I didn't see two Fall Out Boy T-shirts featuring the same design (at least until the day after the show, when people who didn't have shirts likely bought them at the merch booths). Someone is accruing Donald Trump-like wealth from marketing an almost endless variety of FOB tees, that's for bloody sure. The other constant on Saturday was a steady parade of people in Ramones tees, in honor of Tommy Erdelyi, the last surviving original member of the legendary Punk band who succumbed to cancer on Friday. Bogart's owner Al Porkolab used to say that the best seat for a Ramones show was across the street at Dollar Bill's, where you could hear every note perfectly. I got his point, but I preferred my Ramones straight from the pipe. At any rate, R.I.P., Tommy.
And so, as always, in no particular order, until the winner at the end:
Hydrate Responsibly
Abraham Drinkin
I (graphic of Kurt Russell as Snake Pliskin) NY
Soul Punk
Bad Decisions Make Great Stories
I Had Fun Once. It Was Awful.
Y'All (in the Yale typeface)
G-Dub (with George Washington in Raybans)
Nope (with Shepard Faireyesque cat illustration); followed by
Dope (with Shepard Faireyesque Questlove illustration)
There were many Foxy Shazam tees as well, including a vintage Flamingo Trigger design but my favorite was "Foxy Shazam. White Music for Black People"
Got B3? (I'm assuming they mean the keyboard and not the vitamin)
I Eat Glitter for Breakfast
Rock is Dead. Long Live Paper.
I May Be Your Best Option
I Ain't Even Mad
And my favorite T-shirt from this year's Bunbury crowd:
T-Rex hates push-ups (with a silhouette graphic depicting exactly why)
Local faves Buffalo Killers are gearing up for the May 13 release of Heavy Reverie, the trio's first record for Warner Music Group subsidiary Sun Pedal Recordings. Today the band revealed the new album track "Poisonberry Tide," a delicious slice of Pop Rock that is reminiscent of Guided By Voices and Superdrag and is one of the catchiest songs the band has ever released.
The label still has a few limited edition "bundles" of the new album available for pre-order. The bundle includes Heavy Reverie on CD and vinyl, as well as a digital download that includes the unreleased song "Don't Cry to Me." The package also includes a vinyl test pressing (with hand-drawn artwork by the band members), a T-shirt and a poster. Click here for more info.
Buffalo Killers will do some regional dates in April (including a Cincinnati album release show April 12 at MOTR Pub) before heading out on a wider tour in May and June. Dates so far include a performance at Pioneertown, California's Freaks for the Festival II. At the fest, the band will perform right before the solo project of Chris Robinson of The Black Crowes (Chris Robinson Brotherhood); Robinson has been a longtime, vocal supporter of the trio.
Last Sunday's Cincinnati Entertainment Awards show — which featured 19 awards for local musicians and nine top-notch performances — is available to watch now courtesy of the fine folks at ICRCTV. Now's your chance to watch, in the comfort of your home, the show about which people have said was "fun," "blerg," "entertaining," "disappointing," "amateurish," "too noisy" and "lacking in chairs"!
Click here for CityBeat's wrap-up of the show (plus the winners in each category), here for Jac Kern's observations as a first time host and here for oodles of photos from the event.
With its first three releases and about a decade worth of live shows across the region, The Frankl Project has honed a sound that has earned notice for its crafty blend of Rock, Pop, Punk and Ska. But the Cincinnati trio's recent album, Standards, showcases the sound of a band finding its own unique voice and running with it.
While those aforementioned influences are still evident, the group skillfully and more subtly integrates them into something they can completely call its own. What hasn't changed is that The Frankls (drummer/singer Joseph Frankl, guitarist/singer Jacob Tippey and bassist/singer Paul Schroder) still write excellent songs featuring hooks a plenty and often anthem-ready, spine-tingling choruses. But the variety of the album and the way the trio presents the songs is what makes Standards so magnetic.
Unlike most Pop Rock bands (especially ones that have a "Punk" element or pedigree), The Frankl Project doesn't try to overload its tracks with giant-sounding guitars that fill every nook and cranny, opting instead to leave lots of space to create a distinctly airy aura. Allowing the tracks to breathe and rise and fall without resorting to predictable dynamics recalls the less-is-more approach that Indie Rock stars Spoon do so well and makes Standards a gripping listening experience. With that sonic elbowroom, the musicians' intriguing individual parts are more perceptible (Frankl, in particular, is an incredibly musical drummer and his parts — like Tippey's guitar work — are often captivating) and add to The Frankls' uniqueness. But the stellar songwriting is still the primary focus.
The album kicks off with "Alive on the Road," a swaying rocker that soars on the three musicians' airtight harmonies, while "My Hands" has a rootsy sway that would make Jay Farrar nod along approvingly. After a string of heart-swelling, evocative Pop songs, the band throws in a few curves, like the jazzy but intense "Heart Shapes & Hand Grenades," the quirky but still resonant Indie Pop gem "Find Your Way," the ghostly, slow-burning "Chai Bones" and the album's most rocking track, "The Ottoman."
If Weezer, Bad Veins, Ben Folds Five, Sunny Day Real Estate and Band of Horses every decided to make an album together and hired a producer with expert knowledge on how to utilize atmosphere as another instrument (like Joe Henry, Brian Eno or Daniel Lanois), it might sound like an unfocused patchwork of lazy, hazy Pop. But, if they (and you) were lucky, it would sound more like The Frankl Project's impressively creative Standards.
Visit thefranklproject.com for more about Standards and The Frankl Project.
Peter Frampton is a true guitar legend, revered by every single one of his peers. As his Guitar Circus tour rolls into town this week, crowds will be amazed by the beautiful music from his catalog of 40 years of music, as well as performances by Blues legend B.B. King and special guests Sonny Landreth and Dave Hidalgo (Los Lobos).
CityBeat caught up with Frampton in advance of Wednesday's tour stop at Riverbend's PNC Pavilion and discussed how this tour concept came together and what it has been like working with one of his heroes on a nightly basis.
CityBeat: What has been the highlight of Frampton's Guitar Circus so far?
Peter Frampton: It is hard to say because we have had so many incredible guitar players play with us already. The list is growing every day. From the other night, Vinnie Moore to Vince Gill to Don Felder to Roger McGuinn. It is like every night is so different. Every night is a highlight with all of these amazing players. Sometimes we only have someone for one night because of scheduling, like Vinnie Moore was only one night. John Jorgenson was only one night from Elton John's band, who is also a wonderful Jazz artist (and) was with me on my Fingerprints CD. Some nights we get one, some nights we get three and sometimes we are lucky enough and we get Don Felder for six (shows) and Roger McGuinn for six (shows). They are all split up and don't happen at the same time. I can't really pick one.
CB: When did you come up with the idea and how did you bring it all together for the tour this year?
PF: It was last year after my little sabbatical, my year off after the Comes Alive (anniversary) tour. I was going, "What can I follow this with?" because it was a very successful tour and probably one of the most successful tours I have done in years.
It was one of those things where I said I have got to do something with other artists. We had been doing shows for quite a few years now with just me, "An Evening with," as it were. It was something I wanted to do with as many guitarists as I could, to have an opening act with a great guitar player and then have some guests. The idea was there. I sat down with my manager Ken Levitan and I said what I wanted to do. He said, "Why don't we call it something like a 'guitar circus'?" I said that was great. It was fantastic. I have to give him credit. He came up with the idea and then we have as many guests as we can along the way.
At that point, we decided we would try to have a three-act show, which is what it is in Cincinnati, where it is Sonny Landreth opening it up. He is not an opening act, he just starts the evening because he is a headliner himself. He is a phenomenal player and has such a great history. We have him starting the evening off for us with his amazing band and himself.
The person that when we first put our feelers out (for) who might be interested in coming along with us on the Guitar Circus and said yes was B.B. King, which blew me away. That set the whole tone for the whole Guitar Circus because everyone said, "If B.B. King is doing it, I've got to do it." It gave us great credibility right from the start. So B.B. King will come on. We played for the first time with him the other night. I got to sit in and jam with him, which was a dream come true.
After B.B. goes off we come on and do our hour and a half. During that period, David Hidalgo will come on, he is our guest in Cincy, from Los Lobos. He has played a couple dates with us already and it is incredible. We become Los Lobos and it is phenomenal. It is just great. It is very exciting every night. It is a challenge to be that person's band when they come on. I've got an excellent band so we do a really good job.
CB: You mentioned B.B. King, who is an all-time legend. What do you talk to B.B. King about backstage?
PF: Well, I went back and saw him when he arrived in his own bus. I thanked him for being the reason why this whole tour is being successful, because he was the first person to say yes. I said, "Not only is it an honor that you are on one date, but you are on nearly four weeks of dates with me, every night." I just couldn't thank him enough. He said he was thrilled to be a part of it. I think there is a mutual respect as guitarists, definitely my way. To be able to sit and play with him the night before last was incredible. He is going to be 88 and he is still doing it. It is absolutely incredible that he is, and we are all thrilled that he is. He is just the sweetest guy. You wouldn't think that someone as legendary as him is that nice but he is. He is a sweet, sweet man. You can't believe it. It is how you wish everybody could be when you meet them. He takes the cake that is for sure.
CB: I can hear you smiling through the phone just talking about playing with him.
PF: It doesn't get any better. It is one of those moments I won't ever forget. I am not sure I will be doing it every night. I hope so. He said I can tell him what I want to do and walk out and play. He means what he says. I am just getting to know him. It is unbelievable that we had never met before until the other night. Now it feels like we have known each other for years.
CB: I saw you recently perform this Spring on The Voice. You went on with Terry McDermott during the finals. A lot of artists are coming out and speaking negatively about shows like this that try to make people stars overnight because they don't have to pay their dues over years. Do you have any feelings about that?
PF: I am not a big fan of those shows in general. The part that I don't like is that it is this nationwide talent show. These people come on, and it's their fault, they put themselves in that position to have someone ream them on national TV. I sort of cringe every time I see that, (no matter how) rightly or wrongly how the judge is.
I have been asked to be a judge on those things. You will never see me as a judge. I would be saying everybody stays. That's not me. I know what I like and everything, and I will say it in private, but I am not going to say, "You suck and get out of here," which is basically what happens.
They asked me over a weekend, like two days before the show, if I would do The Voice. I asked them to fill me in and tell me what it was about. Then I listened to Terry and liked him a lot, all his clips and everything. I thought it was just excellent. It was a wonderful opportunity for me to go on there and do a duet. For me it was just a performance within one of those types of shows. I wasn't part of voting anybody on or off. It was something I enjoyed doing and I think it came off really well. We got such a demand for the song, we mixed it and released it as a single. So it is on iTunes as well.
CB: What is your favorite guitar to play?
PF: I just got my Phoenix back, that is what it has been called. It is the guitar that was supposedly lost and burnt up in the plane crash in South America in Venezuela. After having that back for a year and a bit now, it is definitely my favorite. I have other favorites, but there is something about that one and the history, you know of me getting it in time to play on Humble Pie's live record, Rockin' the Fillmore, and everything I did in the 70s, all my solo records. It was one of only two electric guitars that I had. To have that back, it has become my favorite again overnight.
CB: I own a few Jim Marshall photographs and one is of you at Oakland Stadium in 1975. Do you remember that day? Obviously that photograph is iconic itself, but is there anything special about that day in California? Did that photo change you in any way?
PF: In San Francisco and Detroit and New York, we were already pulling huge crowds just from word of mouth and the solo albums I had out, and obviously my time with Humble Pie. I think that was the very first time we did it at a stadium. There is nothing quite like looking out to 65,000 people … I think the biggest place we had played was Madison Square Garden. There is a huge energy-level discrepancy between an arena and a stadium. There is nothing quite like the adrenaline it gives you to see 65,000 people with their hands in the air shouting at you. You never forget that first time. There were many after that in stadiums, but that first one was pretty incredible.
CB: I speak to a lot of guitar players. I spoke to one the other day that said a guitar broke up his relationship. Have you ever had a guitar break up a relationship?
PF: No, but it has come really close. The guitar, she is the other woman, always. The passion you have for music is very strong and it does come with jealousy sometimes when you prefer to play the guitar than be with the woman.
Heart introduced a fresh, rebellious sound in the early 1970s when a particular voice was truly needed. That timeless voice belonged to singer Ann Wilson. In a time when the female frontwoman was just gaining steam, Heart found their identity in theirs. To this day Wilson embodies the band's sound and message. She helped make it possible for generations of others to find their voice in Rock & Roll.
The band's legacy was celebrated on a grand scale this year when Ann, her sister, guitarist Nancy Wilson, and the rest of the Heart family were inducted into the 2013 class of the Rock and Roll Hall of Fame with the likes of fellow legendary groups Rush and Public Enemy.
CityBeat had the privilege of speaking with the legendary vocalist in advance of Heart's performance Saturday at Riverbend Music Center. Audiences can anticipate hearing classics like "Barracuda" and "Crazy on You," as well as fresh music off of the 2012 album Fanatic, which nicely continues the Heart legacy. Don't miss the finale with Jason Bonham (opening the show with his Led Zeppelin tribute) joining them on stage.
CityBeat: What was the highlight of your Rock and Roll Hall of Fame Induction this year?
Ann Wilson: The highlight of my (RRHOF) induction this year was standing beside Nancy at the podium. That was a feeling of great pride I will never forget.
CB: What is the most number of days you have gone without playing music?
AW: I have gone months sometimes without playing a guitar, but never a day goes by where I don't sing.
CB: What does your ideal day look like these days?
AW: Sleep in late, have a great pilates/yoga workout, hang out with my kids and their kids, cook dinner, meditate, sleep with my dog nearby.
CB: If you could trade places with someone for a month who would it be and why?
AW: I guess I couldn't do that. I don't envy anyone else that much!
CB: You have seen music recording formats change from vinyl and 8-track to cassette, CD and MP3 through the years. Do you feel like music sounds better or worse with the use of technology?
AW: Music definitely sounds worse to my ears because of digital technology. There is a hard, brittle sound to it. Analog music sounded warmer and deeper, though maybe not as " perfect." Auto-Tune makes me crazy because it removes all individuality from a person's voice. Everyone ends up sounding anonymous. The imperfections are where the soul is, I say leave them in. Leave in the humanity.
CB: How did the latest tour come about with Jason Bonham? Any favorite tour stories from the current tour?
AW: Many people saw the Kennedy Center Honors show on TV or YouTube and loved the tribute to Led Zeppelin. The management was listening and everyone agreed it would be a beautiful idea. We've only done two weeks so far, and it's been amazing. No train wrecks yet!
CB: Do you journal or take photos over the years with special tour memories. How do you document your stories and memories?
AW: We record every night and have photographers on sight. Occasionally I will blog, but I am usually pretty wound up after a show. Maybe this will be the year I take up a journal. A person can't count on their memory forever!!
CB: Does it ever get tough being on the road with family? How have you handled it for so many years?
AW: Yes, the road is rough. Traveling and performing together takes a lot out of you and sometimes things do get emotional. We are lucky to have each other for support. I don't know how I would have made it all these years without Nancy's love, strength and sense of humor!
CB: Are you working on new music while on the road?
AW: My head is full of new songs at the moment.
CB: What can fans looks forward to when the tour hits Cincinnati?
AW: The show in Cincinnati will open with Jason Bonham's Led Zeppelin Experience, Next will be the heart show, after which there will be a finale consisting of about 30 minutes of Zeppelin songs with Jason Bonham and (Bonham's guitarist) Tony Catania joining in.
Locals Formerly Ghosts will cap off a string of East Coast tour dates this Sunday with a show at Northside club Mayday with Bear (the Ghost) and The Never Setting Suns. The show starts at 6 p.m.
The band, which was formed in 2011 by Sebastien Hue and Pyn Wayne (and is currently a five-piece), has been touring to not only promote their forthcoming album, Dead in Ohio, but also finish it. Hue says the band has been collaborating with artists in places like Philly and New York City in order to complete the recording.
A good example of the band's collaborative and creative openness (and truly unique sound and songwriting, which mixes Orchestral Pop, Indie Rock, Post Rock and whatever else suits the song) can be heard in the freshly-released single, "Predisposed." The seven-and-a-half minute tune — featuring strings, percussion, piano and backing vocals provided by local guests — has electronic, Chamber music and orchestral elements, twinkling Indie Rock guitar flourishes and low-sung melodies that sound like a mix of Arcade Fire and Bauhaus, all spliced together and floated over hypnotic, unpredictable structuring.
On their old Facebook page, the band's bio says the Formerly
Ghosts sound "cannot be contained in dead words and demonstrative
narratives attempting to describe something like a sound, a person, or a
band." A lot of artists say similar things and are usually full of
shit. Formerly Ghosts are not. (Here is the band's current/active FB page.)
Here is "Predisposed." Click here to hear more from Formerly Ghosts.
Impressive Cincinnati AltRock trio Public is all set to performing at Cincinnati's huge Bunbury Music Festival this weekend, essentially opening the fest Friday at 2 p.m. with a performance on the Bud Light Stage.
The band — nominated at the most recent Cincinnati Entertainment Awards for "Best New Artist" — released its four-track EP, Red, last summer and is now offering fans a brand-new recording, just in time to learn all the words and sing along at tomorrow's fest appearance.
The new track is "Honeybee," a spacious, groove-driven Indie Pop gem which is slated for Public's forthcoming second EP.
If you're download phobic, you can also grab
a physical copy of the single. Fifty are being pressed, featuring
hand-drawn artwork and a bonus acoustic B-side, "I Need You," and made
available at Bunbury.
Both songs will be available for download on July 16. The stream and eventual download will be available at publictheband.com.


text:
quote: midnight in Paris
quote:Field of Dreams. I hate it, hate it, hate it.
quote:Any Tarantino movie
quote:Any godfather movie Any Tarantino movie
quote:I love Sideways Didn't like Moonrise Kingdom Dont like any Will Farrell movies Don't like Taken Don't like any Austin Powers movies Don't like Wedding Crashers or The 40-year Old Virgin
quote:As for Tom Cruise, he has done some good movies. Collateral Mission Impossible Risky Business Jerry McGuire Tropic Thunder Days of Thunder Top Gun

subset: commoncrawl


text:
A fluffy and heavenly soft synthetic yarn. Great for quick knitting projects for babies and kids.
Yes, 100% angora from Italy. Soft and cuddly, perfect for full garments or trims or really anything.
You will find the simple pleasurable results of our 100% angora with the added bonus of glitz. Can't go wrong.
100% perfection, soft and elegant. Specificallly chosen for laceweight projects.
This yarn is admired by all the Baby Alpaca Grande fans. The Baby Alpaca Ultimo is quick to prove it is ready to become the MVP of the Baby Alpaca team of yarns. Soft hand, quick knits, and natural fiber.
Soft and warming, 100% baby alpaca in a worsted weight yarn.
Awaken your creative talents with the Dye For Me Collection that can be knit as is or be a blank canvas for adding your own special colors and dying techniques.
Bazinga is whimsical and bold, with colors that will excite your senses. When you knit with this yarn, you will feel like a kid again, when you wear a project made in this yarn, you will want to yell, BAZINGA!
The best DK weight cotton to hit the market in decades. Excellent color choices for all project possibilities. A true classic.
The newest member of the Encore family is a full bodied 100 gram ball in adult colors. Based on our popular Jelli Beenz, this robust version with a neutral wrap of black, grays, and tans offers a perfectly balanced yarn for "tweens" on up. Great for home decor projects as well as apparel.


text:
Ten Best Stripper Dance Moves of Exxxotica 2013 in Animated GIFs (NSFW)
Exxxotica 2013 seduced Fort Lauderdale like a stripper doing handstands; and the business of the art of sex washed over Broward County in a veritable table shower of adult entertainment. Ian Witlen
Indeed, the porn convention shook, bounced, and twirled around the pole till every last dollar in our pocket was stuffed in the collective g-string of the industry.
And we saw more half naked acrobats than a backroom at the circus. Here are the top 10 stripper moves of Exxxotica in animated GIFs.
See also:
- Photos: Exxxotica 2013 at Broward County Convention Center (NSFW)
- EXXXotica 2013: A Germaphobe's First Porn Expo
10. The Booty Bounce
Round of applause for this talented lady, folks! She has mastered the art of clapping without using hands.
Location Info
Sponsor Content


text:
Undergraduate Engineering at Lancaster University
Here at Lancaster, we like to think we're a bit different to other engineering departments.
We're one of only a handful of general engineering departments in the country, housing all the individual disciplines that we teach in one building. We find this reflects the multi-disciplined approach you will find in industry, where a growing demand for a new breed of engineer has emerged, and employers now require engineers who can integrate their knowledge within multidisciplinary project teams.
Friendly and collaborative
Our friendly, informal and collaborative atmosphere helps those who work and study here achieve success. Class sizes are small - no lectures with 250 people - meaning you are a name and not a number here! You'll get to know your lecturers and support staff personally and our 'open door' policy means you can call in for help and advice at any time. You'll have support from lab technicians to assist with your practical and project work and because we keep our student numbers small there's no overcrowding of facilities or queuing to use the labs.
Flexible Learning
We offer our students real flexibility and choice during their degree. Our common first year means that all students - no matter what discipline - follow a similar timetable based on a firm grounding of the fundamental principles of modern engineering before choosing their specialisation in their second year. Students can also upgrade from the three-year BEng degree to the four-year MEng after their second year (dependent on performance), choose to study for a year abroad at one of our partner institutions, or spend a year working in industry earning valuable experience (and cash!).
Innovative teaching and research
We have world-leading academics, who are involved in state-of-the-art research which influences the material that we teach. We adopt innovative teaching methods including the pioneering use of creative project work and a design-build-test approach to learning, helping our students learn interactively and gain hands-on experience. We are an International Partner in the CDIO initiative, which seeks to revolutionise engineering education.
Common First Year
All our degree courses are based upon a firm grounding of the fundamental principles underpinning modern engineering, before concentrating more closely on your chosen area of specialisation. -
Undergraduate Courses
See a full list of our undergraduate engineering courses, including chemical, systems, electronic, mechanical, nuclear and sustainable engineering. -
International Partners
Engineering at Lancaster is working in partnership with the GD Goenka World Institute to provide Indian students with the opportunity to study for a Lancaster Engineering degree in their home country.
Contact Us
Please get in touch with engineering admissions if you have any questions:
+44 (0)1524 592275
For the latest from Engineering at Lancaster University, have a look at our facebook page


text:
Why only allow showing two badges ?
Seems that we can only display two badges within the forum. Why need this control? Any tips of breaking this restrictions?
9 replies
The idea is that we should prevent the situation that the information around a post becomes too long in comparison to the actual content of the message. The stuff under the name will end up looking like a christmas tree if you allow all badges to show there. IMHO, the space for the poster name is already a bit big in comparison to the length of your post, Chuck :-)
What might work is a situation where the list of badges is scrolled upwards one badge every second or so, in a nicely animated way, of course :-)
As Andre writes, it's to prevent the forum threads to look like myspace or geocities pages of old ;) Also having to decide on two badges to show gives it a personal touch. If you want to see someones full set of badges just have a look at their profile.
We went with text on the badges (and not just icons) because they have instant meaning to anyone, regardless of their icon deciphering skills or mouse hover actions.
You must log in to post a reply. Not a member yet? Register here!


text:
Blog Post: Panda 4.1: The Devil Is in the Aggregate
Great stuff!
Another factor that would be interesting to test: Is this website updated frequently? or Is this website up-to-date?
We believe that timeliness and frequent updating also positively impacts SEO, but it would be interesting to see whether users' perception of frequency or timeliness correlates.


text:
Blackhawk • Bulldog Cases • BULLSBAG • Champion Targets • DRAGO GEAR • Eagle Tactical Systems • J&H Quality Products • Leaper's • Nite-Lite • Outdoor Connection • Rothco • Shooters Ridge • Smart Reloader
Sort By: Default Price (Low to High) Price (High to Low) Popularity Manufacturer
I'm sorry, I was not able to find any records to match your request. Please try again.
Click here to view
Click here to login.
There are no items in your cart.
2014 E-Catalog On-Line Version


text:
City Clerk / Human Resource Manager
Appointed as the City Clerk/Human Resource Manager in April of 2001, Kathy Weber brings over 12 years of experience in the municipal clerks profession to North Pole, Alaska.
Weber is an active member of the Alaska Association of Municipal Clerks and served as President of the Association in 2011. She has served on numerous committees with AAMC and is dedicated to helping other clerks receive continuing education in their field. She is also a member of the International Institute of Municipal Clerks and serves on the Public Relations and Marketing Committee. Weber received her Master Municipal Clerk (MMC) designation in March of 2011.
Kathy Weber
City Clerk / HR Manager
125 Snowman Lane
North Pole, AK 99705
Phone: 907-488-8583
Fax: 907-488-3002
email: firstname.lastname@example.com
Welcome to the Office of the City Clerk
The Office of the City Clerk provides a direct link between the resident of the City of North Pole, their elected officials, and agencies of government at all levels. The City Clerk works directly for the City Council and is committed to conducting the duties of the office in an ethical, friendly, and efficient manner to ensure an effective link between citizens, local governing officials, and other government agencies.
As an Elections Official, the City Clerk administers local procedures through which local government representatives are selected. The City Clerk assists candidates in meeting their legal responsibilities before, during and after an election. From Election pre-planning to certification of election results and filing of final campaign disclosure documents, the City Clerk manages the process which forms the foundation of our democratic system of government. Additionally, the City Clerk assists the state in the conduct of their elections as they involve the local precincts, including the conduct of absentee in-person voting and preparation of equipment.
As a Legislative Administrator, the City Clerk plays a critical role in the decision-making process of the local governing body.. the city council. As the key staff for city council meetings, the Clerk prepares the meeting agenda, verifies legal notices have been posted or published, and completes the necessary arrangements to ensure an effective meeting. The Clerk is entrusted with the responsibility of recording the decisions which constitute the building blocks of our representative government. The Clerk also functions as the meeting parliamentarian.
As a Record Manager, the City Clerk oversees yet another legislative process; the preservation and protection of the public record. By statute, the clerk is required to maintain and index the Minutes, Ordinances and Resolutions adopted by the city council. The City Clerk also ensures that other municipal records are readily accessible to the public. The public records under the conservatorship of the City Clerk provides fundamental integrity to the structure of our democracy.
Records and Public Disclosure
The City Clerk is the Records Manager for the City of North Pole. The books and records of the city are kept by the clerk, except that other officers and departments heads may keep such records as are necessary for the performance of their duties. Records are defined as "When such records are no long needed in the possession of others herein authorized, the same are to be delivered to the clerk for safekeeping." Books and records are to be kept according to a retention schedule decided by the clerk or as required by code, regulation or policy.
Duties & Responsibilities
The City Clerk is the head of the Office of the Clerk and is appointed by the City Council. The clerk is an Officer of the City and works closely with the mayor, city council, and other department heads, committees, and the public. The position is responsible for carrying out the statutory and professional duties of a municipal clerk. The city clerk…
1. The city clerk serves as the Human Resource Manager for the city. As such, an reference in code to the Human Resource Manager is synonymous with the city clerk, unless amended by council;
2. The city clerk is the election supervisor and administers all city elections in accordance with the provisions of the code;
3. The city clerk administers all oaths, affirmations, and acknowledgements as necessary;
4. Gives notice of the time and place of all city council meetings to the city council and the public;
5. Attends meetings of the city council and committees as required and keeps the journal;
6. Assures that notices and other requirements for pubic meetings are complied with and assures that public records are available for public inspection as required by law;
7. Maintains and makes available for public inspection an indexed file of all permanent city records, including the ordinances and resolutions. Provides for codification of city ordinances, and authenticates or certifies records as necessary;
8. Manages city records and develops retention schedules and procedures for inventory, storage, and destruction of records as necessary;
9. Maintains custody of the official city seal:
10. Is responsible for the conduct of elections, assuring that the city complies with 42 U.S.C 1971-1974 (Voting Rights Act of 1965, as amended);
11. Is responsible for the proper preparation of all ordinances and resolutions as directed by the mayor;
12. Attests deeds and other documents;
13. Acts as parliamentary adviser to the city council;
14; Performs other duties as required by state statute, the city code, or as prescribed by the city council.


text:
- Member since 14 Jan 2013
- wLocation: Blurton
- rFeedback score: 4 jobs 100% positive
Top trades
- >Tiler
- >Bathroom Fitter
- >Landscape Gardener
- >Kitchen Fitter
Hogama is a small recently established Home and garden maintenance company.Set up as a result of redundancy from a similar work based company. Due to extensive knowledge in the industry,we can meet the requirements of your needs.
Recent Feedback
Ongoing garden work Landscape Gardening
Brilliant job and fortnightly on going maintenance plan at a very good price. I would highly recommend!
mcooper3000 - 8th Jun, 2014 Positive feedback
Work History
12 years experience in Home and Garden maintenance. From working on domestic
properties to large refurbishment contracts for councils and Housing associations.
Qualifications & Accreditations
SMSTS qualified.
cscs card
How MyBuilder Works
- Post a job
- Describe what needs to be done
- Get Quotes
- Tradesmen respond quickly online
- Hire Tradesman
- Compare profiles & feedback reviews
- Leave Feedback
- Your review matters!


text:
Visit our other Wisconsin Historical Society websites!
Refine or narrow your results by clicking any term in the gray boxes below.
Expand your results by removing any breadcrumb in a gray outlined box above. Click on the blue "X" to remove the term.
Narrow your results by entering a keyword into the search box above. Then click the "Search Within" checkbox, then click on the orange "Search" button.
If you did not find what you are looking for or you did not get any results, try changing your search term(s). See our Search Help page for more tips.
Date: 1956-07
Description: Women make fry bread at the dedication of the Winnebago Indian Village.
Date: 1926
Description: Schofield Cottage Hotel and driveway with an automobile parked near the porte-cochere. There are striped awnings over the windows on both the first and sec...
Date: 1929
Description: Exterior view of a log cabin between two other cabins at Mirror Lake Bathing Beach. There are dandelions in the lawn.
Date: 1931
Description: View of a beach with a group of sunbathers posing around a large billboard that reads: "The only safe clean sandy beach in the Dells."
Date: 1927
Description: View of the camp sites under the trees at Oak Grove Campground. Two men stand near a tent on the left.
Date: 1920 ca.
Description: A hand tinted photograph of a scene from the Wisconsin Dells is mounted on beige paper upon which is printed a poem written by Alice Kent Trimpey, the wife...
Date: date unknown
Description: The filling station and main office at Drew's Tourist Home. There are flags on the gas pumps. A man and his dog are standing next to the building.
Description: A man stands to the right holding the newly built and planted roadside park sign (only right arm visible). There is a building in the far background. Rocky...
Description: View across road towards the office, filling station and cabin at Brady's Lodge. Two men stand near the gas pumps in front of a porch of an open counter se...
Description: View of the annex with more guest rooms and a porch, with part of the main building on the left. Plants and bushes are in the lawn.
Description: View across lawn of a group of women and one man. The guests of the hotel are relaxing under the trees on the lawn of the resort. A man and a woman are hol...
Description: Postcard featuring eight images of Schofield Hotel, its cottages and grounds.
Description: The entrance archway to Riverview Free Campground, with signs advertising amenities and boat trips. The information and ticket desk are on the right of the...
Description: Four people, two men and two women, stand on a pier near an excursion boat on Lake Delton. A sign with flags is on top of the boat and reads: "Lake and Riv...
Description: Five men posed on a firetruck in the middle of a street in a business district. Storefronts are in the background on the left and right.
Description: A woman in an Indian dress and headband sits at High Rock in the Upper Dells looking over the Wisconsin River at a tour boat.
Description: View of the grounds with trees and flowers, and on right a drive leads up to the porte-cochere of the Schofield Hotel in the background. Benches are on the...
Description: Henry Hamilton Bennett poling his boat close along a rock formation in the Wisconsin Dells.
Description: Exterior view of the "Milwaukee" guest cottage at Oshawa Cottages. There is a screened-in porch with steps to the door. Young trees are planted in the yard...
Description: View up steep stone stairway with stone walls on the sides at the Ravenswood Hotel.
If you didn't find the material you searched for, our Library Reference Staff can help.
Call our reference desk at 608-264-6535 or email us at:


text: The Department of History is a vibrant community of scholars committed to studying the past and teaching students about the past and how to study it. History faculty members are publishing scholars and award-winning teachers with a keen interest in working with students, other scholars, and diverse public audiences. History students learn about the past and its relevance to the present, how to ask and answer complex questions, and how to communicate research results in oral and written forms. Department alumni are successfully engaged in a wide range of careers, prepared by their education to excel in an ever-changing world with a foundational knowledge of the past and the skills to interrogate past and present alike.


text:
Convention CenterSubmitted by jj on Sun, 12/07/2008 - 9:53pm.
With the down turn of the economy, I am sure the city will find people lined up to have their convention at the Convention Center. We will be able to make a lot of money for the City. With all the unemployed people coming in for the Convention I am sure it will help use locally.
The Convention center should have never been approved, but the few in command wanted it and so it was approve. It is time that the people of started to make the counsel listen to the people and not to the special interest groups. Things like the Convention center should be put to the people to vote on. Wait, I believe it did and the people said "NO".
Reply |


text:
This is journal tutorial where I described some Photoshop basics for all newbies who try to learn to use Photoshop (and people who are not newbies). So in this article you'll find tutorials: Document settings, Changing view, Changing thumb size on layers, Using Smart Object and Blur, Using Pen Tool, Outer Glow and Transform.This tutorial you can read HERE. It's journal tutorial.
I hope you'll be able to learn something new...enjoy 1st part you can find below.
+Other tutorials+
Painting anime hair...tutorial
Painting anime eyes... video tutorial
How to paint digital 2
How to paint digital
How to make next and previous button
Photoshop tutorial- PS basics for newbies (journal tutorial)
Photoshop tutorial- PS basics for newbies 2 (journal tutorial)
Tutorials by Valentina Remenar


text:
Visit our other Wisconsin Historical Society websites!
Refine or narrow your results by clicking any term in the gray boxes below.
Expand your results by removing any breadcrumb in a gray outlined box above. Click on the blue "X" to remove the term.
Narrow your results by entering a keyword into the search box above. Then click the "Search Within" checkbox, then click on the orange "Search" button.
If you did not find what you are looking for or you did not get any results, try changing your search term(s). See our Search Help page for more tips.
Date: 1908-03-15
Description: Cover of the National Vehicle magazine with the slogan "Everything on Wheels".
Description: A brief article about Claire and Jim Kentzler, the couple who owned and managed the Green Ram Theater.
Date: 1947-01
Description: Cover of International Harvester World magazine showing a woman standing next to an International Harvester freezer. International Harvester also ma...
Date: 1950
Description: Cover of the February-March issue of "Harvester World" magazine featuring a color photograph of a man operating a white Farmall Super A demonstrator tracto...
Date: 1942-07-20 ca.
Description: Red, white and blue cover of Volume 3, Number 2 of the "Wisconsin Horseman" magazine advertising the horse show at the Wisconsin State Fair.
Date: 1910-01
Description: Back cover of "Harvester World" magazine. Features the International Harvester logo composed of wheat and corn stalks.
Date: 1954-04
Description: Cover of "McCarthy: A Documented Record", a special issue of the Progressive magazine. The cover features a drawing of a bird'seye view of Washingto...
Date: 1849
Description: Masthead of Racine, Wisconsin temperance publication The Old Oaken Bucket and Sons of Temperance Organ. The masthead features a bucolic scene at the...
Date: 1942
Description: Magazine advertisement celebrating the centennial of J. I. Case Co. of Racine, Wisconsin. Features a photograph of a farmer cultivating using a contemporar...
Date: 1864-07-02
Description: First edition of the July 2, 1864 edition of The Daily Citizen as set by James M. Swords.
Date: 1883
Description: Christmas issue of "St. Nicholas" magazine, the most studied children's periodical of the 19th century, which was published by Mary Mapes Dodge. This cove...
Date: 1892-08
Description: Engraving, probably after a photograph, showing Frank Lenz posing with his safety bicycle near the stone arch entrance of a canal tunnel cut through a moun...
Date: 1948-04
Description: International Harvester "Dealer News" edition cover featuring images showing the contruction of several bases of operations ("prototype" dealerships) aroun...
Description: Magazine advertisement celebrating the centennial of J.I. Case Co. of Racine, Wisconsin. The advertisement features a photograph of a contemporary tractor...
Date: 1869 ca.
Description: Cover of Billed-Magazin. featuring an engraved view of The Jefferson Liberal Institute.
Date: 1938 ca.
Description: A colorful pictorial map of Australia, featured on the front and back cover of a special Australian edition of International Trail.
Description: Copy of Time Magazine cover with Daniel Hoan. Used for political campaign purposes.
Date: 1969-10
Description: Cover design on the magazine "Wisconsin Engineer". The image illustrates the story "The Population Explosion" by depicting a mass of starving people trying...
Description: Woman with an International Harvester freezer on the cover of Harvester World magazine.
Date: date unknown
Description: Advertisement for the Italian Bee Company. Dealers in Queens, Bees, Hives, Honey Extractors, &c. "Queens Imported by every Steamer." Des Moines, Iowa. From...
If you didn't find the material you searched for, our Library Reference Staff can help.
Call our reference desk at 608-264-6535 or email us at:


text:
Looking for Christmas plates? Here are Christmas Dinnerware Sets, Dinner Plates, Dishes, Serving Sets, Bowls, and here are some great looking Christmas plates:
This Winterberry 32 Piece Dinnerware Set is a holiday classic that brings a timeless motif to life in elegantly sculpted stoneware with scalloped edges. A pattern of Winterberry sprigs adds a touch of the season to any table.
This is a 32 piece set, service for 8, includes 8 each of: 10-1/2 inch dinner plate, 8 inch salad plate, 12 ounce soup/cereal bowl, and 13 ounce mug. Microwave and dishwasher safe.
Great looking Christmas plates.
Holiday Heritage captures the joy a child feels upon first seeing all the gifts under the tree on Christmas morning. This delightful pattern celebrates the most iconic symbol of the season, framing the image of a fully trimmed tree with Christmas stars and evergreen branches.
This is a 32 piece set, service for 8, includes 8 each of: 10-1/4 inch dinner plate, 7 inch salad plate, 20 ounce soup/cereal bowl, and 12 ounce mug. Microwave and dishwasher safe.
Snow Flurry brings a winter wonderland to your table. Big bold snowflakes fall in a flurry over a deep blue background, celebrating the unique, delicate patterns of each individual flake. The design is perfect for the holidays and the entire winter season.
32 piece set, service for 8, includes 8 each of: 11 inch dinner plate, 8 inch salad plate, 20 ounce soup/cereal bowl, and 14 ounce mug. Microwave and dishwasher safe.
Christmas Blossom captures the essence of traditional holiday warmth and brings it to a festive table with a modern geometric twist. A simple poinsettia and holly pattern of gentle red and green is complemented by a soft beige back of varying hues. Due to the nature of reactive glaze, each piece of this handcrafted collection will exhibit unique variations in color and pattern.
32 piece set, service for eight, includes (8) each: 10-3/4 inch square dinner plate, 7-1/2 inch square salad plate, 32 ounce soup bowl and 12 ounce coffee mug. Microwave and dishwasher safe.
Square Christmas Dinner Plates
Great looking Christmas dinner plates. This square set is a nice departure from conventional round dinnerware, or you can mix and match the two. The square pieces have rounded corners, so the two different shapes actually complement each other. So be hip and set a square table.
48 piece square dinnerware set, service for twelve includes (12) each of: 10 inch square dinner plate, 8-1/2 inch square salad plate, 24 ounce square bowl and 13 ounce coffee mug. Microwave and dishwasher safe.
More dinnerware: Red Dishes, Dinnerware Sets, Dinner Plates, Bowls, Mugs, White Dinnerware, Dishes Dinnerware