text:
Archive for the 'photo shoots' tag
The Future is Now… or at least a couple of weeks ago: preparing Hemmings 2016 Model A Ford calendar
Photos by the author.
I've just returned from the Pacific Northwest–Puyallup, Washington, specifically–and the annual MAFCA convention. Despite only the briefest of stays (I was on-site just Monday and Tuesday of the week-long event), I was able to get nearly an entire calendar's worth of shots … for 2016.
As far as I'm concerned, 2015 is in the distant past. Sounds crazy, but it's true: the Hemmings Motor News Model A calendar for 2015 has only just gone to press–watch for ordering information in late August, with on-sale availability starting in October, along with a future blog with my thoughts about it and a proverbial peek behind the curtain–and I remain hopeful that the bulk of the 2016 Model A calendar will be from this trip.
It's never a guarantee, of course: Greater minds than mine select a mix of years, body styles and colors, and our army of terrific shooters could well capture the right cars themselves between now and the next deadline. (Or they could say, "Phew, Koch shot 'em all this year; now we don't have to worry about it." I dare not guess which.) Unlike most of our calendars, which use photos from story files in our monthly glossy titles, we don't run enough Model A material in Hemmings Classic Car to have a calendar's worth of images on hand. So we have to go out and shoot Model As special.
The Model A Ford Club of America (MAFCA) Nationals were at the Puyallup Fairgrounds, half an hour south of the Seattle-Tacoma airport, starting the week of July 14. Despite semi-occasional trips to the Pacific Northwest, I had never been to the fairgrounds and had no idea what to expect. Fairgrounds, in my experience, are really hit and miss, and are either whimsical and scenic or a collection of dishwater-dull buildings. I was delighted to discover that Puyallup (pronounced Pew-wallop) was the former: Structures at every turn served as delightful backdrops, and I never had to leave the facility to do everything I wanted and needed to do, bar eating lunch. Everything was paved where I wanted it to be paved–no driving in dirt, thank heavens–and the grounds are well-maintained. It had exactly what I needed to generate a calendar's worth of material. Did I say that fairgrounds were hit and miss affairs? This one was at least a standing triple, very possibly a home run. My cup runneth over.
The process, sad to say, is not terribly interesting: Walk the show, find a mix of really clean Model As, contact the owners, hope like hell that they are interested, and make appointments. In a perfect world, you find a great mix of years, body styles and colors, but the toughest part about it is this: There is so much to do at the MAFCA convention–seminars, local tours, driving tours–that catching owners with their car is nigh on impossible. The most you can hope for is leaving a business card with a note on the back (stuck in the steering wheel if the window is open, between the side-window and the felt if it's not) and hope that they get in touch. For whatever reason, I seem to find '30s and '31s more readily than I do '28s and '29s, and so beyond trying to find a few more early models, and maybe not shooting three of the same year and body style at the same event, I'm really just open to whatever looks lovely, clean, fresh and original. I started hearing back from owners at lunchtime, and scheduled shoots starting at 6 p.m.
Early mornings and late afternoons are the best times to shoot; this is when the sun is the most cooperative, casting long shadows and giving a warm, slightly hazy light upon my subjects. Initially, I thought I was shooting four cars on Monday evening, but a mixed-up communication with one owner meant that I was actually doing five. That's one more than I'm usually comfortable doing, but terrific locations and indulgent, patient owners meant that I shot till almost 8:30 with nary a complaint from anyone. (Partly this was my fault, as I somehow managed to lose a location that I thought was inside the grounds, but was instead accessible only from the parking lot area. I got so turned around so many times, I was practically falling down dizzy by the end of the day.) The clouds had burned off, and the Seattle area was experiencing some unexpectedly warm temps (well, 90s, anyway; coming from Phoenix, where it's 110 on a regular basis, I thought it felt kinda nice out there.)
I had four cars scheduled for 6 a.m. Tuesday morning–three for the calendar, and another aimed at the pages of Hemmings Classic Car. Beyond the generally healthy attitude of the car owners, the sky saved me. An overcast morning meant diffused light, which meant no weird shadows and lots of potential to get things done. I try not to shoot much past 8 if I can, but with a cooperative environment, all things are possible.
Once I wrapped those four up, just before 9 a.m., things went a little haywire. First, I met an owner whose car was being worked on–just some carb tweaking–and which appeared to be a fresh restoration. Imagine my surprise when he said that it was a father-and-son project completed nearly 30 years ago! It wasn't an uncommon body style, but it was uncommonly lovely. While shooting this, quite by chance I saw a previous calendar-car victim (whose machines appear in the 2014 calendar) as she was debuting a freshly-completed restoration of a particularly rare and striking A. Part of the MAFCA judging process involves a short drive, and after that drive she indulged me in taking the debuting machine's close-ups. It was well after 10 a.m. as I was shooting this freshly-restored machine. I figure, I shoot this one, and I'm done.
Then, while I'm shooting that one, a fella comes walking up. The conversation is basically this: "Hi, I have the oldest (fill-in-the-blank model) in existence. It won 494 out of 500 points at the French Lick, Indiana, Model A event a few weeks back. Want to take a look at it?" Well, duh, of course I do! The problem was one of timing. It was due to be judged, and had to be at the building where the show cars are judged at 11 a.m. sharp. We talked at about 10:15, which is kinda late for shooting anything, much less a car that's near enough to black for my camera's tastes. I wrapped my current project 10 minutes later, which meant I had 35 minutes to do what I needed to do. Also, how much longer could the cloud cover last? The answer: 32 minutes. I wrapped just as the sun was coming out for the day (and in the wrong place for shadows and such), and he made it in the judging building with minutes to spare. Well, maybe a minute.
So I walked in with nothing, and within 30 hours, I had nearly enough for an entire year's calendar of Model A Fords. Here's the kicker. None of these are guaranteed to make it in the 2016 edition. We don't run two of the same year and body style in the same calendar, so duplicates are automatically bumped to the next year. (I managed to shoot two 400As and two '31 Deluxe Roadsters in the last year, for example, so each of them is a shoe-in for 2016.) We do tell owners that there is no guarantee, but I haven't seen someone back out yet because I couldn't promise that it would make it. I only ever promise that I'll do my damnedest to make their car look their best. So that's 13 cars currently awaiting 12 slots, and I will almost certainly have some other As to shoot between now and May '15. Which means that, even now, we're shooting things that will end up running in the 2017 Model A Ford calendar …
The 2015 Model A Ford calendar will begin shipping on October 1, but you can reserve your copy now at the Hemmings online store.
De ja vroom: Where have I seen that 1966 Mustang before?
1966 Ford Mustang. Photography by the author.
We occasionally tell the owners whose cars we shoot that Hemmings is a gift that keeps on giving. What we mean is this: We usually shoot photos for one of our monthly glossy titles (Hemmings Classic Car, Hemmings Muscle Machines or Hemmings Sports & Exotic Car), and those photos end up, unexpectedly but regularly, in the pages of Hemmings Motor News. With monthly stories on dashboards, grilles, engines, and any of a dozen other sections from which we can extract images from our mandated array of detail images, it's inevitable that someone is going to choose a particular car for discussion, and when we do, we reach into our considerable-and-growing files and (re)use photos. That being the case, even we get surprised sometimes.
Back in 2010, owner Vern Pfannenstiel contacted Hemmings Classic Car editor Richard Lentinello with word that he had an original-ish early Mustang coupe. Richard was tickled by both its cleanliness and the idea that it wasn't a V-8; he passed it on to me to make contact. Time conflicts, work travel, and a winter in Flagstaff that resembles winter in many other parts of the country – i.e. snow – meant that it wasn't until the summer of 2012 that I made my way from Phoenix to Flagstaff to photograph it. Part of the issue was economy: To help justify the trip, a second car from Flagstaff would be needed to shoot. (This would come later, once I heard about Suzanne Edmonds's original-family-owner Rambler up in that same neck of the woods.)
I wouldn't know Flagstaff from Fairfield, New Jersey (though I suspect one is more mountainous than the other), so I relied upon Suzanne and her family to organize a meet-up, so that we could investigate locations and take some shots. A spot near Bonito Meadow worked for our detail, engine, and interior shots, and then I set off to figure out what to do about the exterior shots.
There was a bit of a panic as I drove with Suzanne's husband around the nearby Sunset Crater park loop; it took about 45 minutes to traverse, and offered beautiful vista after beautiful vista, none of which I could take advantage of without blocking a road and raising the ire of traffic, park rangers, or both. So much lovely around me, so inaccessible. (Sounds like my social life at college, come to think of it.) And so we settled upon a spot just a couple of miles in from the State Road 89 entrance; it was one of the first spots we'd seen.
While waiting for the sun to drop on this July day, I did some car-to-car action photos on Vern's Mustang; the freshly-paved arrow-straight road went on for more than half a mile, which, when driving 15 MPH and shooting at 1/30 of a second or slower, is more than enough time to get a hundred shots or more. Once the sun was low enough, we returned to our chosen spot and got going. I shot Suzanne's Rambler first – it was a sort of dusky rose metallic, and because Vern's white Mustang was brighter I shot the darker color while I had more light. The two were in the same spot, at the same angle, same everything (a move I usually explain away by claiming "it ain't clever, but it works") – I may have adjusted the car's angle slightly because Vern's pony was smaller than Suzanne's wagon – and away I snapped until it was nearly black out. Such is the joy of a tripod and a camera shutter that will stay open for 30 seconds or more when you ask it to.
And in the moment, I must confess, I felt that there was nothing overly remarkable about the shoot itself; nothing to do with the cars or people involved, mind, but in the moment, I felt as if the shots had a corner-cutting hallmark about them. There are times when I can sniff out perfect locations in five minutes, and other times when I can search for an hour or more, and come up with almost nothing. This one fell somewhere in between. We were at the entrance to a parking lot adjacent to some native American ruins – and I had to position the cars just-so in order to avoid painted street lines and the inevitable end-of-parking-lot tree trunk that makes it impossible to drive headlong into the desert. The sun was off to the side, rather than directly behind. What little grass was visible was dead and brown. The wispy clouds above failed to reflect low-sun light onto the top of my photo, and the sky was a yellowish gray. And in a place full of gorgeous mountains and breathtaking topography, not a single one of them was in my viewfinder. All those mountains around me, and my background was dead grass and a low hill. The photo read "hot" to me – not sexy-hot, but I-could-use-a-cold-drink-because-I'm-parched-hot. I put a brave face on it, but in the moment I thought the result was, as they say, "good enough for government work." I managed to remember the parking lights, but not to line up the logo on the hubcap on the front wheel, such was my panic.
So you'll forgive my surprise, then, when Vern's Mustang popped up on the cover of the June 2013 issue of Hemmings Classic Car. It scarcely looked like what I remember shooting; the Mustang really popped! The shot looked very desert-y, a look that I know is of interest to at least one editor who would be very happy if he never saw another green tree in a car photo again, and far less dodgy than I had remembered it in the moment. And once again, the indefatigable Hemmings art department nipped and tucked and tweaked and made it look good.
That issue had barely gone off sale when I saw that Vern's Mustang would be on the cover of the 2014 Hemmings Cars of the '60s calendar (still available!); I knew that an early Mustang coupe would speak to vast swaths of our readership, but seeing it front the calendar so soon after the issue was out (though now with a bluer sky added in) was a surprise. And the Edmondses are also to thank: I never would have found this location without them. (Suzanne's wagon ran in the December 2012 issue of Hemmings Classic Car. Doubtless we will use images – many taken and unused in the restoration profile story, eagerly awaiting the light of day – of her Ambassador Wagon again.)
Now I see that Vern's Mustang once again graces a Hemmings cover – this time the May 2014 issue of Hemmings Motor News, on newsstands now – in a montage with another early Mustang or two, to celebrate the 50th anniversary of the vaunted ponycar, now just weeks away as this is written. I haven't seen a final copy as I write this, but I'm pretty sure the background has been stripped away – thus removing my largest initial reservation about the photo in the first place. Even so, that makes a trifecta for Vern: the cover of a calendar and two Hemmings magazines inside of a year. A record of sorts; he made the cover three times in less than the time that it took for us to get our act together and meet to shoot his car in the first place. And it seems likely that, even after this, you'll be seeing Vern's Mustang again at some point.
Just probably not on a cover.
Just your average shot of a freshly restored, original-owner, four-speed 1972 Malibu getting pulled over by one of Phoenix's finest
Photography by the author.
I have a road.
Well, it's not mine – I'm hardly in a position to own my own street – but it remains so infrequently traveled that it certainly feels like mine. It's in the open desert, a road that was meant to connect to a freeway but has not been; as a result, the only traffic goes to and from a couple of communities built out in the hinterlands. It's been open for about a year, and the pavement still looks and feels fresh; it's not rutted with tire marks. It also gets spectacular morning light, rendering the car in delicate color while the mountains and sky are varying shades of purple and blue out in the distance. (As much as I dislike getting up for morning shoots, I find it hard to argue with the results, and this spot gets terrific morning sun; it's also hard to location-scout in the dark, before the sun comes up on a morning shoot, so I have a handful of places I know that work. I'm lucky enough that car owners are usually willing to join me at the crack of dawn.) And lastly, portions have a median that's wide enough to park a car lengthwise inside its parameters.
All of these are important factors to me, because the one thing I try hard not to do on a photo shoot is cause trouble. (Or, I suppose more correctly, get caught causing something resembling trouble.) I just want to stay out of the way and get on with what I need to do. But somehow, it occasionally finds me. I got a fix-it ticket for moving a couple of traffic cones on a newly paved, as-yet-unlined portion of a Garden State Parkway rest area. I've been chased out of more public parks and off more Indian reservations than I can name. (Helpful hint for all of you California-based photogs out there: In California, you can use a nice camera to shoot an old car in a park, but as soon as a tripod comes out, the rangers will be on you like flies on dung, demanding permits.) I once got a speeding ticket in one of those parks when the sun was going down fast and I was scrambling to get something – anything – at the end of a fraught day of having a ranger step in front of me and say "move along." (And picture me explaining what I was doing to the officer when he caught me lying on the floor across the width of a Dodge Grand Caravan, sliding side door open, photographing a car as it and I both moved (at the speed limit!) down the road. He was so freaked out that after yelling at me for five minutes about how dangerous my positioning was, I was downgraded to simply not wearing a seatbelt. It probably saved some paperwork that way.) All because I wanted to take a picture of a car.
I learned early on that if I was approached – by security, by the police, by whoever – and said that I was with a magazine, that person wanted permits, money, or proof that one or both of these were secured; having none, they were far more likely to kick me off whatever patch of land they were guarding. Permits? Money? What are they? If I'm a professional, I "should know better," according to more than one who has strong-armed me into leaving the premises. So, if I'm "caught" (in quotes because I don't take any precautions to hide myself; I'm not Hans Lehmann or Jim Dunne), the rap has always been that I'm just taking pictures. No mention of a publication or calendar; I'm just taking a picture. (I usually give this rap to the car owners, so that they have plausible deniability too… but because we were so far out in the middle of nowhere, I didn't bother this morning. 'Cause who would bother us?) If I'm lucky, a judicious car owner will intercept the head muckity-muck in charge (that would be the one with the car with the flashing lights on the roof, not me) long enough to get in the shots I need so we can bail without losing anything. Years back, one particularly aggressive box-store security goon would not be put off by the car owners trying to engage him as I continued to work, and after asking me three times to stop what I was doing, finally asked the car owner, quite seriously, "Is he deaf?" I got the shots I needed, so I stopped, smiled, and said "No, I'm just ignoring you." And we left.
That said, I've never had an issue here in Arizona, which I've called home for the last four years. (Not on public roads, anyway. The reservation is another story.) I've shot cars on the shoulder of, let's call it an active morning-commuter road, and the only time an officer has stopped is when the hood is up as I photograph the engine; from 300 yards at dawn, an open hood is surely a signal that something has gone wrong. Invariably, the first question after he inquires and we tell him that all is well, is, "What year is that?" And then he roars off. Hell, I once blocked a high-end residential street once just so that I could get a mountain in the background, and the two women cops who visited hung out for 15 minutes just watching, making sure that no one was going to plow into us, until they got a radio call and had to split. It's magnificent – the feeling of being able to do your job and continue doing it after only a brief conversation. Rarely, if ever, does the idea of me shooting for Hemmings come into the picture; I've learned to keep conversation friendly, but brief – short answers, nothing leading if possible. After four years of not getting hassled, you'd think I'd relax a little, but the previous dozen and a half years in New Jersey, Indiana and California have produced an involuntary tensing of the muscles, and have surely contributed to my Kenny Rogers-quality gray hair and beard.
And so this morning, when a patrolman rolled up, nestled all snug in his Tahoe, his wigwags flashing all of the colors of the American flag, I shouldn't have worried. But I did. I always do. It's a reflex. I keep shooting, keep my head down, and my concentration is split between shooting the engine, and figuring out where else I can go at this time of morning. The owner and the restorer approach the Tahoe, undaunted, to explain what we're up to. Turns out, he saw the hood up on the Chevelle, and a couple of other cars on the side of the road, and assumed there had been an accident. And then someone, I couldn't tell who, said those fateful words:
"These photos are going to end up in Hemmings Muscle Machines magazine."
My heart sunk. Jig's up; game over. Two more gray hairs in the beard blanched themselves white at the root. Better get those detail shots over and done with and head somewhere else; apologize to the officer and move on while the sun was still good. Then the officer called me over. I was crestfallen, certain that I was going to be asked to fork over ID, or a business card, or some such. But then, something magnificent happened. The officer had a glint in his eye, and asked:
"Can we do a picture where it looks like I'm pulling him over?"
Holy cats, the man with the badge wants a gag shot. Mind you, I'm now fully mid-panic about the sun coming up at the wrong time and not getting the shots I need while monkeying around with a shot that there's little hope (probably) of turning up in the magazine. My head is abuzz with getting the shots I need done now, now, now. But, something in my primordial lizard brain recognizes that I'm not in trouble, and my man in the Tahoe is being cool about us being here. Despite living in the desert, I can occasionally see the forest for the trees. I figured, for once in my life, I should be cool right back.
And so, the picture you see here: The (original) owner of the freshly restored 1972 Chevelle 400 four-speed behind the wheel with his head in his hands (it's hard to see with the pillars there), the police Tahoe dazzling my Canon 50D's light meter with its blinking strobes; everything shot into the morning light rapidly climbing its way up the mountain. The timing, the positioning, the hot spot from the Tahoe's lights on the Chevelle's rear quarter, everything here is all wrong. There is nothing in this photo that went as I wanted it to. Everything in this photo is as it should be.
Best of all? I still have a road.
Look for a full story on the Malibu in an upcoming issue of Hemmings Muscle Machines. In the meantime, Happy New Year, everyone.
Maserati vs Citroen on the cover. What could possibly go wrong, besides everything?
Note: For the 100th issue of Hemmings Sports & Exotic Car, editor David LaChance asked the magazine's writers and shooters to recall a memorable shoot or story. Deemed too long for print, this peek behind the scenes is now a Hemmings.com exclusive.
It was the one where nothing turned out the way I had meant it to. It was the one where things ended up better than they had a right to.
Comparison drives, I feel, are the truest measure of a car – take two machines that are aimed at the same market and pit them against each other, so that you can really feel the differences between them. (Plus, on an incredibly selfish note, I suspect that comparisons are more likely to make the cover, as the odds of getting someone to like the car on the cover roughly double when you slap a second car on there.) For years, I've been nursing a list of comparison pieces I'd wanted to do – the list runs two single-spaced pages long and hinges entirely on finding cars that I, admittedly, don't see that often. (Hence the reason why so few of my orchestrated comparisons appear in the magazine these days.)
One comparison idea that had been hovering near the top of my list was comparing a Maserati Merak to a Citroën SM. I thought that it would be fascinating to look closely at two completely different cars, that nevertheless share many similar components, and see whether they could feel really different. I had driven neither, ever, and so had formed no impressions ahead of time.
The idea was kickstarted one afternoon in September 2010 on my way back from lunch. As I'm waiting to turn left at a light, a dark blue SM glides by in front of me. It looks clean, and by God, it's running. It's not the sort of thing you often see in Phoenix; I take it as a sign. Once my light goes green, I cane my Dodge Grand Caravan into pursuit and track it to a local high school, where I meet the teenage student owner, William Titus, and learn more about his family's collection of SMs and DSs. I make the appropriate noises and we keep in touch.
My next stroke of luck came when looking for the Maserati. We've covered cars from Californian Doug Magnon's extensive Maserati collection in our pages, and because Maseratis are a little thin on the ground here in Phoenix, I shot him an email. He didn't know of any Meraks in the Phoenix area, but quickly offered up his own freshly restored deep blue Euro-bumpered Merak, the first Merak on American shores in 1973, as well as suggested a meeting at Chuckwalla Valley Raceway in Desert Center, California, a spot that was roughly halfway between the Citroën crew in Phoenix and Magnon's own digs in Riverside, California. It didn't hurt, either, that Gagnon has a membership at the Chuckwalla track. The idea was that we'd have our run of the place on an off-day, and I'd be able to drive both cars at something approaching their limits without fear of freaking out other people on the highway. Things coalesced brilliantly. We scheduled a time late in a week when William, now in college, had a couple of days free in his schedule.
Almost immediately upon this happening, things went awry. William's blue SM, an automatic, went away to college with him and ended up getting keyed in a parking lot. That left his father's two SMs, a gold one and a brown one. The gold car was automatic and immaculate, with a fresh engine rebuild; the brown one was a five-speed that was still lovely, but wasn't quite as factory-fresh looking. Also, it was brown.
Both went with us as we caravanned out to Chuckwalla that day, and while I had been planning on shooting the gold one, because gold and blue would have looked great together, having like-for-like with the Merak was more important for the story, so the brown five-speed got the photo nod. At the same time, the blue Merak was misbehaving just before the shoot, and so the reliable white one came out. So in the space of a week, I went from shooting fresh gold and blue cars to clean-enough brown and white ones. As a bonus, the November morning offered thick cloud cover that helped ensure that the brown SM was going to die, visually. My heart sank.
I also had the opportunity to drive the better part of an hour on Interstate 10 in an SM; generally, my driving impressions are gathered over a space of about 10 minutes at the end of a shoot. Photos come first. So spending the better part of an hour driving and getting to know the SM was unprecedented for me. (I had a photo assistant with me that day – someone who had fetishized the SM since he had a Matchbox version as a child – and the elder Titus was generous enough to give him a spin behind the wheel as well. Words could not convey his joy as a life-long dream was realized, and my assistant for the day silently figured whether he could refinance his home mortgage to buy one.) My experience behind the wheel, chronicled in the story itself, was tempered only by my low-level panic at how everything was going to look through the lens.
The desert sun broke through the clouds at around noontime, nearly burning them clean off. Helpful? Not necessarily so: We shoot details in even light to prevent hotspots and high contrast areas, and waiting for the sun to arc around so that we had enough shadow to do what we needed to do was taking rather longer than we'd hoped. One more hour of clouds could have made my life much easier. Another hilarious bonus: There was some track activity running clear through to dusk the day we were there, and the actual racetrack itself was off-limits to us – but we could have this rutted light-aircraft runway instead. Sigh.
Atop all of this, we had an unexpected guest: the cleanest unrestored Citroën DS Safari I'd ever seen. The owner, a friend of SM owner John Titus, was coming from his home in LA to watch the fun, and had met Magnon and his Merak at a gas station en route quite by accident. They followed each other in. I made an executive decision: I needed to shoot the Safari that day. It was too perfect not to, and when would the opportunity come again? The Safari hasn't run yet in our pages, so we won't say much about it here except to say that timing gets tricky when you have to shoot three cars in an afternoon instead of two. When everything demands just the right lighting conditions, there's only so much you can shoot and make it look good; two cars is generally my limit.
I had been tasked with getting action on the SM and Merak together, which would only happen with me up high. Could be a cover, I was told. In the late afternoon, as the sun was sinking, I balanced on the corner of the roof of my Grand Caravan, rolling along at 15 MPH. John and Doug kept pace. I fiddle-farted around with this setup for the better part of 45 minutes. All for naught: not a single shot was deemed worthy of even including in the body copy. Mercifully, the individual action shots (one shot out the back of my van, one out the back of the Safari) were deemed usable. If the Maserati shot seems speedier somehow, it's because the back of the Safari was vastly smoother than my own van, allowing me to slow down the camera that extra fraction of a second to allow more blur.
So, to sum the day up to this point: I drove almost 200 miles to shoot and drive two cars, in dull-ish colors I hadn't planned for, under murky skies that weren't going to put either car in its best light, to a track that wouldn't let us run. The hour I spent shooting action for the cover didn't coalesce. And on top of that, I decided to shoot a third car, when shooting only two would have allowed me to comfortably work within my limits. Good times.
In truth, it could have been worse. I've halted things mid-shoot when cars have stopped working for no apparent reason, or the weather turned to rain in a flash, or when I popped the hood and found that the engine isn't nearly as clean as the body. Both cars were clean and ran impeccably all day, and the owners didn't utter a grumble (within my earshot, anyway) when asked to stand around and do nothing for long periods of time. Their patience and perseverance greatly helped things turn out as well as they eventually did.
Late in the afternoon, a couple of things clicked. First was just in my own head: It occurred to me that the streaky gray airplane runway we were allowed to use in lieu of the track, disappearing into the distance and ending at a distant mountain range, made for a compelling background. That meant that visually, we wouldn't need the track – I just needed to come far enough down the runway that we couldn't see it, or the Skittles-esque race-prepped machines that circulated it. Second, a couple of wispy clouds floated overhead at sunset. Rather than block or diffuse my light, the clouds reflected it; the sunset bounced off their undersides to cast a warm, pinkish-orange glow over the runway for half an hour while I set the two cars up and shot like mad. The white Maserati became warm and creamy, while the brown on the SM became far less murky than it had at any point during the day, with just a hint of purple straining to break through. Throwing the parking lights on for a spot of color (as is my habit) was one thing, but I will leave it a secret as to how we got the SM and its notoriously self-centering DIRAVI steering to pose with its wheel cranked hard right. (Hint: unlike the Maserati's disappearing front license plate, it wasn't PhotoShop.)
And it worked. Or did it? "Seventies Supercars" blared the February 2012 coverline. My concept, my struggle, my execution. And, once secret and now public, my heartbreak. In a market where we do pretty well with cars people recognize (MGs, Porsche 911s, Datsun Zs and the like) a Maserati and a Citroën didn't exactly light our newsstand sales on fire; below average, I'm told, a full two percentage points below the February 2013 cover. And the story? The two cars shared parentage and mechanicals, but their personalities offered no other commonalities. I took eight pages to explain how two cars, designed to be so very different, were so very different. I remain proud of the result, but shall always wonder how things might have been different had any one element been altered.
The story behind the Hemmings 2014 Model A Ford calendar
Just wrapped up the 2014 Hemmings Model A Ford calendar; for the first time ever, a Hemmings calendar was photographed and written by one person – me. I'd love to say that it was because I had the full faith and trust of everyone back in Vermont, but the truth is rather more pedestrian: It was a late winter in New England, and I'm in Arizona, where February and March are prime-time car-driving months. So I won the prize.
But I could never have done this alone. The ringleader here is Joop Plaggenborg, local snowbird owner of January's (and the cover's) 400A, as well as a highly-original A coupe in Massachusetts. (He also runs the registry at A400Group.com.) I met him quite by chance: He was selling some car books online, and when I went to pick them up, I saw the A in his garage. Long story short, we exchanged business cards, and he put word out to his friends across all of the local-to-Phoenix Model A clubs, he coordinated photos for my perusal and eventual acceptance, and he was on hand for most of the shoots. Eleven out of the 12 cars in this year's calendar were found through Joop's good efforts. This year, all were in Arizona, though I traveled from Payson to Tucson to photograph them.
Almost everything worked out as we wanted. Well, except for the one day where we, after a couple of hours of alternating sun and showers and cooling our jets at Joop's house, were bombarded by a mud storm; a dust cloud mixed with proper clouds that were pregnant with moisture, and served to throw little mud bombs at us as we were shooting. This was a three-car shoot that day; one needed to be reshot, and one has been postponed until 2015, but one of the mud-bomb specials made it through, and I defy you to figure out which one it is. And there was the one car that was vomiting coolant the mile and a half to our location. And the ones where I had to visually hide a variety of modifications that made their cars more drivable and less correct. Hey, things happen. You have to roll with it.
Then there were days when the sun wouldn't stop giving me terrific light: One A was shot in Tucson in the cul-de-sac where the owner lived, with houses behind me, and the other location was a few miles away, on a rise, with nothing behind me. I essentially had two sunsets that day, thanks to about seven minutes of scrambling. I had others in the month of April. Good cars, easy-to-work-with owners, lovely scenery, and excellent light make my job a snap. But none of it would have happened without Joop's kind coordination efforts.
The Model A Ford calendar, one of several calendars available from the Hemmings store, goes on sale in early September.
Worth the wait: A long journey to print with a 427-powered Fairlane
Sometimes things fall into place. Sometimes they drag on and on, for very boring reasons. The June 2013 issue of Hemmings Muscle Machines managed to be one of the latter.
We had known this car was coming together for a while, and had heard tale of it in the mid-to-late 2000s; it one of those "friend of a friend of a guy who knows someone who could make an introduction to his neighbor" deals. When it showed up at the annual Knotts' Berry Farm Ford show in Southern California a couple of seasons back, and we saw how complete and perfect it was in person, down to that choker of a transverse muffler, we couldn't say no.
Arrangements were made, and the owner trucked it the hundred or so miles from his SoCal home up to the El Mirage dry lake bed, allegedly. (I say allegedly because you're not supposed to take pictures on public lands for a for-profit publication in California, as we may or may not have done, and I could be lying about my choice of venue.)
Out in the middle of nowhere, the lighting was perfect: twilight glow in the side of the car, distant purple mountains, a cloudless if quickly-darkening sky. It was everything I wanted. The sun had been out of the sky for 10 minutes already, judging by the fading warmth of the shadow on the driver's side, when this shot was taken. Our able-bodied art directors did some color tweaking: The red color here is a little punchier than the maroon you'll see inside, the sky is bluer and brighter, and I suspect they made the greying earth a little tanner, a little warmer, than I saw it through the lens. All considerations for popping on the newsstand. (That telltale band of tan smog on the horizon is pure Los Angeles, however.) Only the emblem on the front wheel, which isn't straight as it should be, draws my eye as something I should have sorted out before I snapped the shutter.
It gets dark fast in the desert; twilight lingers until suddenly it doesn't, like someone turned out the lights. This, plus struggling to get this machine onto its trailer, tied down, then off a dry lake bed via an unlit path out of a place that may or may not have been El Mirage, meant that our test drive would have to wait another day. No point in unloading the trailer again, and with local roads arranged in a grid, we'd want to go somewhere a little more varied to get a sense of things. No problem, right? Or so you'd think.
Then I moved.
A relocation from the greater Los Angeles area to the greater Phoenix area meant I had new desertscape vistas open to me, but it also meant that my visits to Los Angeles would be curtailed. Driving the Fairlane would have to wait, and editor Terry McGean sat on the story until I was able to get action shots or drive it myself; rightly so, I think, because whether visually or in words, action is a HMM trademark from Issue #1 nearly a decade ago. A couple of visits to Los Angeles went without owner and tester connecting; luckily, a trip west last spring meant that I'd finally get to pilot this remarkable machine, completely unchanged from the last time I'd seen it, though the timing of my visit (and a lack of a third body to drive a photo vehicle) made our traditional action shots impossible. A driving impression only, then. You'll have to read the issue itself for that.
However long it took to get this particular machine into print, I'd like to think that its appearance on the June 2013 cover of Hemmings Muscle Machines will have made it worth everyone's wait.
I've been shot: How this month's Hemmings Muscle Machines cover was photographed
Photos by Ed Montini.
Every shoot brings with it a special set of circumstances. For the March 2013 issue of Hemmings Muscle Machines, I was shooting not one but two cars, owned by a single owner who was reluctant to drive 'em. This is not a criticism; the money he sunk into each of his Camaros is more than just about any house I've ever lived in, and if I were in his shoes, I wouldn't risk a chip or a scratch either. But this meant that my dream shot of the two cars in motion together would be an impossibility, and my default backdrop of some wide-open desert at sunset wasn't gonna happen either.
Shooting the Camaros individually would have been simple, but apart they didn't tell the story; these two needed to be shot together, one a Yenko and the other not a Yenko (strictly speaking, one of the two remaining known unconverted 1968 big-blocks that ran through the Canonsburg, Pennsylvania, facility in the summer of 1968). Their coloring dictated their placement: Putting the green one in front was a no-brainer. A darker-colored car in the background would just about disappear behind the Hugger Orange extrovert in the foreground; the green '68 had to be in the foreground.
The cars' owner lives in a nice place; his driveway is paved with grayish-red stone that, when slicked down with a garden hose, gets nicely reflective, and not a small amount redder. So I took a gamble. Sun behind me, lawn to the left of me, concrete wall to the right of me, garage door at the top of the frame in the background, gates in the foreground. All with the camera vertical, mind you, with room at the top of the frame for the HMM logo and room at the bottom for blurbs (and two cars in the middle), thanks to a 16-35mm lens. Two cars, confined space, GO. I tried to minimize the backdrop by getting up high and making the ground the background; this also gives the viewer a new (and, I hope, more eye-catching) angle on two often-seen cars. (I'll blather on about taking photos at eye-level another time.) With the sun going down, the parking lights on, the camera open long enough that the parking lights burst, the deep red of the ground against the poppin' orange and green paint … should be a winner. I hoped.
The big challenge for me was the property's automatically opening gate. Framed wrong, it could artificially limit the width of my pictures, and either zooming in or coming closer would slice the ends off the 3/4 views of the cars. I thought maybe shooting over the gate would work (as seen in some of the shots here), but no. Opening the gate got me closer, but no cigar: The doors opened inward, toward the garage, but didn't open at a 90-degree angle, and were all too visible in the shot. The door on the left was pointing more toward one o'clock, with the door on the right pointed toward eleven. Luckily, mercifully, the gates unhooked from their electric openers, and swung out wider than 90 degrees; they disappeared off the edges, and I now had the room I needed to squeeze both cars into a single shot. I toyed with the idea of opening the garage – a couple more first-gen Camaros lay in waiting inside – but it would have wreaked havoc on my light meter and distracted from the subjects at hand.
Oh, and these were shot on December 22 – one day removed from the shortest day of the year. The sun disappears fast in the desert around the winter solstice, so there were only so many long exposures I could wrangle.
And so, with limited time, manpower and space, garden hose at the ready to slick down the bricks, here's a look at how the sausage is made: a photographer, on a ladder, in the back of the Camaro owner's parts-runner El Camino, peering through a vertically mounted Canon upon a tripod and holding his breath. Plenty of shots had to be chucked out for being soft (the result of me breathing or shifting my weight and bouncing the Elky's coils and whitewalls ever so slightly over the course of a 20-to-30-second exposure); I must have kept my shpilkis in check long enough for a couple of decent shots to go through. (I should have a remote shutter release for long exposures like this – and I do now – but I was without one at the time of the shoot. Even pressing the shutter button moves the camera body just enough to make the shot soft on a long exposure.)
I must say, the owner and his pal who came by to help out were both extraordinarily accommodating for my increasingly ridiculous requests. They made these shots happen as much as I did, and their willingness to clear obstacles so that I could get the right shot is greatly appreciated.
The Accidental Apache: How this month's Hemmings Motor News cover baby came to be photographed
The cover of Hemmings Motor News's February 2013 issue features a 1959 Chevrolet Apache pickup with NAPCO 4×4 conversion; a buyer's guide story on the 1955-1959 Task Force generation Chevy pickup is inside. This is the story of how we came to shoot it.
In a word: accidentally. This past February, I was in Palm Springs to photograph a number of cars in a collection, most of them for Hemmings Sports & Exotic Car, and none of them intended to be a 1959 Chevy pickup. I'd talked with the owner over the Internet, seen pictures, and had a schedule sorted out. I visited the owner's warehouse, and one of the vehicles we'd talked about wasn't picture-ready, shall we say; a hole opened up in the schedule.
Nature abhors a vacuum, so what to fill it with? Along with shooting features for the magazines, I'm always looking for vehicles to put in our annual calendars. The pickup truck calendar, like the Model A calendar, is one that we have to shoot specifically for – not that many truck features show up in Hemmings Classic Car or in HMN – so I'm always looking for fantastic, clean, stock pickups to shoot for the calendar.
And there it was; it presented itself to me as if Venus herself rode in from the sea on her shell in Botticelli's Birth of Venus painting. A 1959 Apache – with the rare NAPCO 4×4 conversion. If it had been mentioned to me, I'd forgotten; if we'd discussed it, its existence was downplayed somehow. Tan and ivory and a straight six under the hood – no carpet, no V-8 conversion, no "tribute" nonsense, no added filigree. Immaculate, and it must be said, recently purchased. Normally we don't like to shoot cars that are recently purchased; generally Hemmings stories about a vehicle are about the vehicle as well as the experiences the owner has had with that car. New purchase, little experience, not so much story. But because this was for a calendar, I left that particular bugaboo aside. It was perfect, and my time slot was filled.
The location was a building site that was abandoned in late 2009 or early 2010; a half-finished structure gave the look of an active construction site, even though nothing had apparently moved there in at least two years. It was down the road from a spot where I'd shot the other owner's cars, so everyone knew where it was. What better place to park a pickup truck, I thought – a work truck in a work environment. The hard part was convincing everyone that we needed to be there at 5:30 a.m.; no one likes getting up early, least of all me, but the hills surrounding the site gave me an extra half-hour of diffused light to play with, and the visual warmth of the surroundings helped bring a glow to the Apache's flanks. We were done by 7:30, at which point I had another car to shoot just up the hill, and the trucks owner had to go to work.
Nothing about the morning was tricky except for the engine shot. A 1959 Chevy truck is fairly tall to begin with; jack up the suspension, as was required with the NAPCO conversion, and you can barely see the engine over the fenders, much less photograph it. I stood in one of the unfinished windows of the house to look down on the engine as the owner got the rechromed front bumper perilously close to the structure. I couldn't fit a tripod up there in the narrow space, so I braced myself to the side of the window, held my breath and hoped for the best.
Of the six vehicles I shot in this particular collection, the pickup was the only one that wasn't part of my initial shooting plan nearly a year ago. Of the six, the pickup is the only one that has, at this writing, seen print – twice! – although a couple of the other cars will be showing up in Hemmings Sports & Exotic Car soon enough.
I expected it to go in the 2013 pickup calendar, and it did; this is Mr. July 2013. I did not expect it to turn up on the cover of Motor News, but I'm glad it did.
High-quality prints of this vehicle are available in our store
Rained Out: Sanjay's Cyclone
We really go to great lengths to get a photo shoot in, but every now and then it just can't happen. That was the case this spring, when I had to call off a shoot on a modified 1970 Mercury Cyclone in Houston. We were trying to cram in one more car before the rain that day, but after about 15 minutes both the camera owner and the car owner didn't want their equipment getting wetter.
The owner is Dr. Sanjay "Dr. V8″ Mehta, whose Buick vs. Ford and Ferrari features you may have seen in one of our magazines. He and his brother Sajeev have an oddball little sideline in performance Seventies and Eighties Fords, although this Cyclone is a bit of an outlier for them. It's a restomod equipped with a Roush-built EFI 427, T56 six-speed transmission, Heidt's coilover suspension and Wilwood brakes.
You can see raindrops on the car, and we didn't even have time to vacuum the carpet. There certainly wasn't any action photography or driving impressions (40-series Nittos and on a wet road were contraindicated), and I hope to get back there sometime to do real photography on this car. Unless Koch gets there first–this car has been on his to-shoot list for years.
For now, this will have to be a teaser.
Ron Jensen, 1933-2012
We've just learned that Ron Jensen of Phoenix, Arizona, who owns the 1941 Ford pickup that resides on the cover of the just-released 2013 Hemmings Motor News Vintage Pickups Calendar, died last week. He was 79.
In 2010, Ron sent some pics of his completed pickup to my bosses in Vermont, and in April of 2011, Ron and I got together at oh-dark-thirty in the morning to take sunrise snaps in Phoenix. I never would have guessed that he was 79 – judging by our morning together, I would have guessed at least a decade younger. When we did the shoot, the truck wasn't running right – it arrived via enclosed trailer – and frankly I panicked when I popped the hood and saw a scurfy-looking engine that didn't match the degree of care lavished upon the outside. This is why I took no engine shots – any engine shot that appeared in print wasn't taken by me. But, with the idea that I would be shooting it for one of our calendars, the engine shot mattered less: a pretty front three-quarter shot, two or three details, and that's all we really needed. I was done in about an hour, maybe 90 minutes.
In early February of this year, a Restoration Profile-size hole appeared in the run sheet for the May 2012 issue of Hemmings Classic Car, and a series of panicky emails and visits to Casa Jensen provided a CD full of the restoration photos that appeared in the piece. Ron got our bacon out of the pan that time.
The annual calendars are planned at Hemmings HQ in Bennington, so other than the one calendar I need to write captions for, I have no idea what's coming. I learn what's in the other calendars like the rest of the world does: when it shows up on the Hemmings website. Once I learned, in late August, that his truck was going to be not just in the calendar, but on the cover of the calendar, I shot Ron an email. Needless to say, he was enthusiastic, and he updated me on the truck's progress:
Thanks for getting it on the cover. I very much appreciate all you have done with the magazine article and the cover shot.
I just got back from the 2012 Central National Meet of the Early Ford V-8 Club in Branson, Missouri. I took my pickup there in my enclosed car hauler. I had the engine rebuilt since we last met and had made some additional improvements. I was anxious to have it go through national judging to get a list of corrections that were needed.
The judging of vehicles by the club is based on a 1,000 point system. Everything that is not original is a deduction in points from the 1,000. My pickup went through extensive judging and scored 959 points. The top vehicles judged receive the Dearborn award if they receive more than 950 points. As a result, I got the Dearborn Award plaque at the awards banquet.
Thanks again for all your help.
Our experience with Ron was not atypical. To his credit, he was always straightforward and enthusiastic – not everyone I deal with is nearly so easygoing – and was happy to do whatever we needed to in order to get the shot. But here's the sad truth of our encounters with car owners: For the most part, we meet at a show, talk on the phone or email back and forth, we spend a couple of hours during the shoot, there's a certain amount of aftercare we provide (i.e., staying in touch if we know when their story will appear, calling them to clarify certain details and get some quotes), and that's about it.
Too often, I've seen shoots that were stuck in a filing cabinet until long after the owner had passed, or the car had been sold to a new owner, or sometimes both. I've had shoots that were a race against time and a car owner's failing health to see whether the piece would make it to print before the owner passed. And that feeling, frankly, sucks: We're not just telling the story of a car (and its owner) to our readers, we also convey the voice of that owner. The story is theirs, the vehicle and the work are theirs, but it's up to us to tell the story and show off the good work involved – and it's important that we know that we're representing them correctly. The idea that we'll shoot a car and the owner will pass before his or her story has a chance to get out, before they can enjoy their 15 minutes of fame, is heartbreaking. Sometimes we get lucky; this time, we were able to make one man in Phoenix very happy.
We extend our condolences to the Jensen family.


text:
July 25, 2008 10:06 PM
Junk Food Addiction
I never used to have such a bad addiction to junk food. I think it all started in college. For most people, once they get to college, they're free from parental control...which can be good and bad. No one nagging you about cleaning your room...no one reminding you not to overdo it on the cereal...
For some odd reason, many college students are addicted to cereal, but why? Is it because of the sugars or the munchiness and convenience of this "breakfast" food? I don't eat cereal for breakfast anymore; I eat it all the time. There were days at Berkeley where I would go through
a whole bag of Honey Bunches of Oats with Almonds. The cereal gets kind of sickeningly sweet after a while, but I just keep going back to it! I'm home in SoCal for summer vacation now, but I've brought my cereal addiction back with me. I still keep pigging out on cereal, chips, granola bars, popcorn...up to the point where all I can do is sit on the sofa and go, "Ughhhh...I'm soooo full!!!!" Then morning comes, and I go through the same cycle, again.
I usually eat junk food to alleviate my boredom and when I watch tv. I just can't watch tv and not munch on something. I want to constantly chew on something, but gum doesn't always do the trick.
Anyways, enough with my odd ramblings. I've created a resolution: not to eat any junk food for...as long as possible. I'm not really sure how long this resolution is going to last, but I'll try. I should probably stop watching so much tv since I do most of my junk food eating while watching that awesome contraption. Maybe I should go with the rewards system on this...if I refrain from eating junk food for the entire day, then I can watch half an hour of tv at night...late at night so I don't go and get the bag of chips to accompany the tv session. Anyways, I'll let you guys know how that goes. If my friends read this entry, they're going to laugh their heads off. They don't think I have much self control when it comes to snacks, but I'll show them!
Victoria Eng | Permalink | Comment on this article | Comments (1)
Comments (1)
Oh, Victoria I also love Honey Bunches of Oats, whether Almonds or Honey Clusters. I always read your blogs and wish I could be a fresh face blogger. Can't wait till I read your next post!!
Posted by frazzie | 2008-07-26
Post a Comment
Monthly Archives
Recent Posts
Finals, Life and Confusion of a College Kid
EDITED: What goes on in those bspace chat rooms

subset: commoncrawl


text:
Home > Art
& Culture > Painting >
Ma conviction profonde est que l'expérience de notre vie est ce que nous avons de plus précieux à partager et c'est en ce sens que j'ai peint « Journey of a soul », « Voyage d'une âme ».
What else than our own life do we have to share with our human fellows, those who are with us today and those who will come ?
In "Journey of a soul" I try painting the "zest" of my life.
"The Blue Invasion". Exhibition in Pitanga, Auroville, February 2008.
Long ago a friend of mine gave me a small bronze Krishna . At first, I didn't like so much the statue but I did like very much my friend so I kept her gift very carefully and carry it with me around the world.
Years after, I became aware of a "knot", of a turn in my personality that I couldn't change by myself even though it was a cause of much suffering. That night, surprisingly, it was in front of the small bronze statue that I sat and asked for help. And the answer came and the answer was Blue.
"The Blue Invasion" is an attempt to share the Peace of the Blue.
A new version of the exhibition will be presented with other artworks at l'Alliance Française de Pondichéry, from the 6 of March to 17 of March 2009.
Monique Patenaude on her visual
art exhibition in Pitanga in March '02:
Since my
childhood in Quebec, Canada, I have been fascinated by representations
of our planet. Globes and maps and aerial photographs delight me. My
first trip by plane is one of my fondest memories. The patchwork of
the European land, the bright jewellery of the Greek islands, the elegant
calligraphy of the Canadian landscape under the snow, the transparent
turquoise of the Caribbean sea have given me profound esthetical emotions,
as intense as the masterpieces of the greatest museums. Therefore, it
is not a surprise that I use representations of the Earth as a basic
material for my works of art.
From 1991 to 1996, I used maps
of different existing cities of the world to give a body to what I called
'The Invisible Cities' in homage to Italo Calvino, an Italian post-modern
writer who wrote a book of this title. In the book, Calvino describes
more than 50 times the City of Venice which seems to be each time an
'other' city..
The invisible cities surround, mirror or haunt the material ones. We
can perceive or feel or dream them but we cannot touch them physically.
Some are obscure and dreadful; others are light and joyful and carry
the beauty of tomorrow.
I present here four of the joyful ones.
After a long series of 'Invisible
cities', I left aside my collection of maps and plans and my researches
on 'the expression of the human species through its cities'. I came
back to the individual human being and its thirst for light and consciousness
in a body, on the Earth. The exhibition presented here is in that line,
but it does go a little further: it is a synthesis of the two preceding
Maps represent the world, human
bodies represent the individual being, mantras represent the aspiration,
and colours (white, silver, ochre and gold) represent the Consciousness.
These four
elements are associated to express 'The Quest' for the Consciousness.
The Quest which is the sense of all life.
The greater part of Monique's
works displayed during the above mentioned exhibition was sold; proceeds
have gone towards purchasing land for Auroville.
>> See


text:
Craig Covault joins Spaceflight Now
Posted: January 14, 2009
"Craig will greatly enhance our reporting of military space, planetary exploration and the rapidly advancing Chinese space program," said Steven Young, managing editor of Spaceflight Now. "His years of experience make him a valuable addition to our team."
Since 1999, Spaceflight Now has gained an unrivaled reputation as a leading source of space news on the internet. During launches and missions the web site is relied upon by the space community for accurate and up-to-the-minute reports.
During nearly 37 years with Aviation Week & Space Technology magazine, Craig Covault covered the world's space programs including Apollo, Skylab, Shuttle and the International Space Station. He also provided extensive coverage of secret national security space programs from the White House, Pentagon and Congress. He served as a senior editor for the magazine at bureaus in Washington, Paris and Cape Canaveral. Craig has filed stories from 20 countries and written most extensively on space from Russia, China and Japan.
Craig Covault has written about 3,000 articles on space and aeronautics during a nearly 37 year career at Aviation Week & Space Technology, where he was a Senior Editor when "riffed" in late 2008 because of cost cuts at that McGraw Hill publication.
He began his space writing career in 1969-70 with grants from Reader's Digest Magazine to cover Apollo lunar mission simulations with astronauts at the Kennedy and Johnson Space Centers.
For 20 years in Washington he covered diverse civil space programs including Apollo, Skylab, Shuttle, the International Space Station and international military and civil space programs. He also provided extensive coverage of secret national security space programs at the White House, Pentagon and Congress.
He has joined astronauts many times for space shuttle launch and reentry simulations and is the only journalist to fly on board the Gulfstream II STA Shuttle Training Aircraft, with astronauts practicing steep shuttle landing approaches at the Kennedy Space Center.
He has also logged 17 minutes of simulated weightlessness in NASA's zero-g training aircraft.
Covault is also the only journalist to have practiced extravehicular activity (EVA) tasks in a space suit underwater to demonstrate station assembly tasks and Hubble Space Telescope servicing. His underwater Hubble exercise with a full scale mockup telescope included simulation of a fine guidance sensor replacement, like the space shuttle mission STS 125 crew is planning to do this coming July.
Covault has covered space programs from diverse locations around the world. He has filed stories from 20 countries and written most extensively on space from Russia, China and Japan.
As Paris Bureau Chief in 1992-1996 he covered European military aeronautics and space developments and NATO air operations during the Bosnian war. He flew on a JointSTARS radar aircraft patrolling mass grave sites in Bosnia and filed stories on NATO strike operations from on board the aircraft carriers USS Saratoga and USS Roosevelt on patrol in the Adriatic Sea.
He has flown numerous bomber, high performance fighter and command and control aircraft including Air Force One, the F-100, F-106, F-4E, F-111A, FB-111, B-52, EC-135, the AV-8 Harrier along with flights in the F-15 and AWACS in Alaska.
He is also the first American to fly with the Russian Strategic Bomber Force on board a TU-95 Bear-H cruise missile bomber. His three Bear-H flights included refueling with an IL-76 tanker.
His news stories have been widely quoted in the mass media such as the Washington Post, New York Times and Wall Street Journal. He has been interviewed by all three major U. S. networks and CNN and appeared twice on the Today Show and The Charlie Rose Show. He has also been interviewed often by the BBC and Canadian Broadcasting.
Covault has also been a guest speaker before significant forums. He testified about planetary exploration before the White House National Commission on Space and has lectured on Russian military space systems before at the National Defense University.
He has addressed the Society of Flight Test Engineers at Patuxent River Naval Air Station and spoken about reconnaissance satellites at the Woodrow Wilson International Center for Scholars in Washington. He has also been the featured afternoon speaker at Chautauqua, N. Y. and lectured at the Northwestern Polytechnic University in Xian, China.
During 2008 he made his 6th trip to China as part of a space cooperation team with the Center for Strategic and International Studies (CSIS) in Washington.
Covault has earned numerous awards including two Neal Awards, considered the equivalent a Pulitzer Prize for specialized writing. His first Neal was awarded in 1984 for his coverage of commercial space and the second in 2003 for scoops on the Columbia space shuttle accident. He has twice won the top "Space Writing Award" from the National Space Club in Washington and twice more won the Breaking News Award from the Royal Aeronautical Establishment and Aero Club of Paris. He also won the 2004 Decade of Excellent Award presented by that British/French group at the Farnborough Air Show near London.
He has also been presented the Rotary National Stellar Award for Space Achievement in Houston for his coverage of manned space flight, and the Kolcum News and Communications Award by the Florida Chapter of the National Space Club. He was also awarded the Aviation Week "Wingman Award" for his leadership on the AWST staff.
He was also selected as one of the Most Outstanding Graduates in the history of his alma mater, Bowling Green State University in Ohio where he received a BS in Journalism in 1971.
Covault was also honored by McGraw-Hill, Inc. by selection as one of its Employees of the Year and featured in a McGraw Hill Annual Report as "one of the people who will make the difference in the information age".
Final Shuttle Mission Patch
Free shipping to U.S. addresses!
The crew emblem for the final space shuttle mission is now available in our store. Get this piece of history!
STS-134 Patch
Free shipping to U.S. addresses!
The final planned flight of space shuttle Endeavour is symbolized in the official embroidered crew patch for STS-134. Available in our store!
Ares 1-X Patch
The official embroidered patch for the Ares 1-X rocket test flight, is available for purchase.
Apollo Collage
This beautiful one piece set features the Apollo program emblem surrounded by the individual mission logos.
Project Orion
The Orion crew exploration vehicle is NASA's first new human spacecraft developed since the space shuttle a quarter-century earlier. The capsule is one of the key elements of returning astronauts to the Moon.
Fallen Heroes Patch Collection
The official patches from Apollo 1, the shuttle Challenger and Columbia crews are available in the store.
© 2014 Spaceflight Now Inc.


text:
Weapons Missing From Training Camp
Updated: 12/23/2004 - Hundreds of soldier were placed on lockdown at Camp Shelby after weapons were discovered missing Tuesday.
Updated: 12/23/2004 - Hundreds of soldier were placed on lockdown at Camp Shelby after weapons were discovered missing Tuesday.
Updated: 12/23/2004 - Millions of people will be traveling by road, rail and air during the Christmas holiday.
Updated: 12/23/2004 - The pledge by Mississippi's governor that there will not be tax increases coming in 2005 has support among state lawmakers.
Updated: 12/23/2004 - The Legislative Performance Evaluation and Expenditure Review Committee and Lauderdale County's sheriff don't see eye to eye on state inmates.
Updated: 12/22/2004 - A tragedy for a military family brought out the best in some Police Department employees and WTOK viewers.
Updated: 12/22/2004 - Children attending day care shared time with Santa, but also learned about the reason why Christmas is celebrated by Christians worldwide.
Updated: 12/22/2004 - A familiar safety message has a new twist, courtesy of some musically talented police officers.
Updated: 12/22/2004 - Thousands of people bid an official farewell to the 155th Brigade Combat Team Wednesday at Camp Shelby.
Updated: 12/22/2004 - Two children have died from injuries sustained in a one-vehicle accident Tuesday in Leake County.
Updated: 12/22/2004 - Residents in Macon are being reminded about the city's shooting ordinance.
Updated: 12/22/2004 - Christmas won't come early for some awaiting demolition of many abandoned houses in Meridian. Although progress is being made, there is still much more work to be done.
Updated: 12/22/2004 - Two Lauderdale County circuit judges have recused themselves from hearing a civil case filed by a dozen members of the Mississippi Air National Guard.
Updated: 12/21/2004 - Members of the Jackson-based 185th Aviation Brigade Headquarters and their families are preparing for a holiday treat when the unit returns from Iraq on Christmas Eve.
Updated: 12/21/2004 - Meridian has hired a lobbyist to represent the city with the Mississippi Legislature.
Updated: 12/21/2004 - Tragedy struck a military family Tuesday, as they traveled through Meridian. But the Meridian Police Department was able to share a Christmas blessing.
Updated: 12/21/2004 - Usually Lauderdale County tries to pick up trash the day after Christmas Day, due to the volume. However, things will be different this year.
Updated: 12/21/2004 - A study involving the over-the-counter pain killer, Aleve, has been suspended.
Updated: 12/20/2004 - Have you ever wondered what happens to those toys that you donate during the holidays?
Updated: 12/20/2004 - Bay Springs Telephone Company recently awarded two scholarships to outstanding students in its service area.
Updated: 12/20/2004 - A pair of suspects wanted in Meridian was arrested in Selma, Ala., on Saturday.
Updated: 12/20/2004 - A reward of $100,000 is being offered in the slayings of three civil rights workers in 1964.
Updated: 12/20/2004 - Monday was the busiest mailing day of the year, with Christmas just days away.
Updated: 12/20/2004 - The governors of Mississippi and Alabama met together in Meridian Monday afternoon.
Updated: 12/20/2004 - A study by the Georgia Institute of Technology points to rural roads in the southeast being the most deadly.
Updated: 12/20/2004 - Mississippi Attorney Gen. Jim Hood says a renewed investigation into three civil rights murders in 1964 should conclude early next year.


text:
PG Research Activities
These entries are a digest of recent conference and invited research papers, world premieres (**) and territorial premieres outside the UK (*) and other research activities by Cardiff postgraduates.
- 9-12 July 2009 Laura Hamer: 'The Prix de Rome and its Female Competitors, 1919-39', SMI/RMA Joint Annual Conference, Royal Irish Academy of Music, Dublin
- 2-5 July 2009 Laura Hamer: 'Une musicienne française: Women Musicians and the Early Music Revival in Interwar France', Sixth Biennial International Conference on Music Since 1900, Keele University
- 8-9 May 2009 Laura Hamer: 'Tradition and Innovation Amongst Paul Dukas's Female Composition Students: Claude Arrieu, Elsa Barraine, Yvonne Desportes', RMA Symposium 'Nostalgia and Innovation in Twentieth-Century French Music', Lancaster University
- 2 May 2009 Max Charles Davies: **A Bit of a Nightmare Scenario (2009), Flash-Opera for soprano, baritone and small ensemble; Catharine Rogers, John Savournin and The Warehouse Ensemble, The Rosemary Branch Festival, London
- 1 May 2009 Beata Boleslawska-Lewandowska: 'Lutoslawski's Second Symphony (1967) and Górecki's Second Symphony (1972) - Two Ideas of the Bipartite Late-Avant-Garde Symphony', international conference 'Polish Music since 1945', Canterbury Christ Church University
- 21 April 2009 Nicola Loten (baroque flute and recorders) with Thomas Breeze (harpsichord): 'Handel's London Contemporaries: A lecture-recital of 18th-century music by lesser-known London composers', John Bird Lecture series, Cardiff University
- 22 February 2009 Daniel Bickerton:This Masquerade for strings, harps and percussion; Greater Gwent String Orchestra, conducted by Peter James, Riverfront Theatre, Newport
- 17 February 2009 Christian Morris: **Djemma el Fna for 36 trumpets; BBC National Orchestral of Wales Chamber Ensemble and friends, conducted by Mark Eager, Cardiff University
- 10 January 2009 Laura Hamer: 'Germaine Tailleferre and Hélène Perdriat's Le Marchand d'Oiseaux: the Reception of a Ballet by Women in 1920s Paris', RMA Research Students' Conference 2009, King's College, London University
- 9-11 January 2009 Beata Boleslawska-Lewandowska 'Awangarda muzyczna w oczach Zygmunta Mycielskiego i Andrzeja Panufnika w zachowanej korespondencji', conference 'Krytyka muzyczna. Zagadnienia podstawowe, wspólczesne, historyczne', Warsaw
- 8 January 2009 Daniel Bickerton: **Epiphany for violin and piano; Lontano (Caroline Balding and Dominic Saunders), RMA Research Students' Conference 2009, King's College, London University
- 5 January 2009 Daniel Bickerton: The Court Jester for
recorder quintet; Consortium 5, Park Lane Group 'Young Artists' New
Year series, Purcell Room, London.
"I enjoyed the mysterious low clusters that opened Kathryn Butler's Cassiopeia, the skittish cascades of Daniel Bickerton's The Court Jester, the snorting quirkiness of Darren Bloom's Consorts, and the delicate textures of Brooks Frederickson's Quintet for 15 Recorders. The playing was precise and polished." Richard Morrison, The Times, 7 January 2009
- 9 November 2008 Max Charles Davies and D H Frost: Joan's Aria (2008) for soprano and piano; **Charlotte Ellett and David Seaman, Music Theatre Wales project 'Make an Aria', RWCMD, Cardiff
- 9 November 2008 Jack White: So Morning Finds Me (2008) for soprano and piano; **Charlotte Ellett and David Seaman, Music Theatre Wales project 'Make an Aria', RWCMD, Cardiff
- 8 November 2008 Liz Lane: orchestral arrangement of David Fanshawe's The Lord's Prayer; Belinda Evans, William Slogrove Chorus and Orchestra, Sherborne Abbey
- 2 November 2008 Liz Lane: arrangement of David Fanshawe's Pacific Song (2007); Susan Milan (flute), Backbeat Percussion, Bournemouth Symphony Chorus, Greg Beardsall, BBC Radio 3 'The Choir'
- 21-25 October 2008 Ben Curry: 'Signs, Dicisigns and the Dimensions of Time in Music: Towards a Semiotic Theory of Musical Subjectivity', 10th International Conference on Musical Signification (!CMS10) 'Before and After Music', Vilnius
- 19 October 2008** Liz Lane: Somewhere Unknown; Orchestra of Welsh National Opera, Wales Millennium Centre, Cardiff
- 18-19 October 2008 Ben Curry: 'Towards a Theory of Musical Meaning in Opera: An Application of Robert Hatten's Semiotics to the Opening Section of the First Duet in Act III of Le nozze di Figaro', conference 'Music on Stage', Rose Bruford College, Sidcup
- 18-19 October 2008 Laura Hamer: 'Germaine Tailleferre and Hélène Peridat's Le marchand d'oiseaux (1923): French Feminist Ballet?', conference 'Music on Stage', Rose Bruford College, Sidcup
- 2 October 2008 Liz Lane: O Praise the Lord (2004); Hexham Abbey Girls Choir, Hugh Morris (organ), conductor Michael Haynes, Hexham Abbey Festival
- 1 October 2008** Liz Lane: Though We Are Many (2007); Hexham Abbey Choir, conductor Hugh Morris, Hexham Abbey Festival
- 30 September 2008 Sarah Murphy: 'Manuscript sources for the first movement of Janacek's In the Mists: evidence of a developing dramatic means of expression?', 'Leos Janacek within European Culture: 43rd International Musicological Conference', Brno, 30 September 2008
- 21 September 2008 Paul Ellison (Lecturer in Music History, San Francisco State University): 'Affective Key Choices in Beethoven's Sonatas', pre-concert lecture for recital by Rudolf Buchbinder, Cal Performances Series, University of California, Berkeley
- 15 September 2008** Matthew Hall: Reasons (2008) for percussion quartet, Fusion Quartet, Llandaff Cathedral School, Cardiff
- 3 August 2008** Matthew Hall: Dragons' Rise (2008), Tredegar Town Band, National Eisteddfod, Cardiff (opening piece of the Band's prize-winning progamme); 1 November 2008: Hornorkestret, Stavanger
- 18 July 2008 Max Charles Davies: Wild with Blue (2008), Amy Dickson (saxophone) and Martin Cousin (piano), Cheltenham Festival
- 12 July 2008 Liz Lane: Turnabout (2005); Southwark Winds, All Saints Church, London
- 19-20 June 2008 Laura Hamer: 'A Woman on the Podium: Nadia Boulanger, Jane Evrard and the Public Image of Women Conductors in Interwar Paris', 'The Body Conference', An Interdisciplinary Research Students' Conference, Graduate School in Humanities, Cardiff University
- 29-30 April 2008 Laura Hamer: 'Entre Satie et Stravinsky: Les modèles néo-classiques de Germaine Tailleferre', conference 'Musique Française, esthétique et identité en mutation 1892-1992', Université Catholique de l'Ouest, Angers
- 20 March 2008 Laura Hamer: 'Rediscovering French Women Musicians of the Interwar Years', 'Voice of Humanities' Research Students' Conference, Graduate School in Humanities, Cardiff University
- 18 March 2008** Phillip Cooke: Of Shadow, Of Flame (2008), Chroma, Cardiff University
- 6 January 2008 Laura Hamer: 'L'Orchestre à la fée: Jane Evrard's Orchestre féminin de Paris and the Public Image of Women Conductors in Inter-War Paris', RMA Research Students' Conference, Surrey University
- 5 January 2008 Ben Curry: 'Peircian Semiotics in Musicology: Approaches and Limitations', RMA Research Students' Conference, Surrey University
- 3 January 2008 Anke Caton: 'Hidden and Forbidden: The Political Message in Schubert's Mayrhofer Settings op.8', RMA Research Students' Conference, Surrey University
- 17 December 2007** Liz Lane: orchestral arrangement of David Fanshawe's The Lord's Prayer; Belinda Evans, William Slogrove Chorus and Orchestra, Sherborne Abbey
- 22 November 2007** Phillip Cooke: A Thrilling Tale (2007), Paul Tierney (baritone), St Machars Cathedral, Aberdeen
- 16 November 2007 Ben Curry: 'Music as Object: Experience and Hegemony: A Peircian Perspective on Encoding and Decoding in Popular Music', SMA Conference 'Analysing Popular Music in Context', School of Music, Liverpool University
- 13 November 2007** Max Charles Davies: Cells and Sanctuaries (2006) for orchestra; BBC Symphony Orchestra, conducted by Andre de Ridder, Maida Vale Studios, London (SPNM event)
- 12 November 2007** Adrian Hull: Three Agitations (2007) for solo cello, London Contemporary Music Group, conducted by Michael Francis, St Giles Church, Cripplegate, London
- 12 November 2007** Phillip Cooke: In memoriam (2007) for ensemble, London Contemporary Music Group, conducted by Michael Francis, St Giles Church, Cripplegate, London
- 10 November 2007 Liz Lane arrangement (2007) of David Fanshawe Pacific Song for choir and ensemble (8'); Bournemouth Symphony Chorus, Lighthouse, Poole
- 9 November 2007 Laura Hamer: 'Claiming a Place upon the Conductor's Podium: Jane Evrard et l'Orchestre féminin de Paris', study day 'Music in Interwar France', Keele University
- 3 November 2007 Laura Hamer: 'The Challenge of an All-Woman Orchestra to Inter-War Parisian Musical Life: Jane Evrard et l'Orchestre féminin de Paris', conference 'Gender and Musical Performance', Sheffield University
- 6 July 2007 Danijela Spiric: 'Modernity and Cultural Politics among the Southern Slavs: the Case of Josip Slavenski', Fifth International Conference on Music Since 1900 (ICMSN 2007), York University
- 5 July 2007** Phillip Cooke: Four Bagatelles for clarinet and piano; LCMG, St Giles Church, Cripplegate, London
- 5 July 2007** Adrian Hull: It's time to take your seats (2007); LCMG, St Giles Church, Cripplegate, London
- 5 July 2007 Ian Pace: 'The Marketplace as Woman??? Postmodernism's 'Un-Other' ', Fifth International Conference on Music Since 1900 (ICMSN 2007), York University
- 27 June 2007** Phillip Cooke: In Memoriam for ensemble; Kirkwall Centre, Orkney
- 24 June 2007** Daniel Bickerton: Prayer (2007) for voice and piano; William Rees, Daniel Bickerton, 'La Mortella', Ischia, Italy
- 20-27 June 2007 Phillip Cooke is one of eight students awarded places on the 2007 St Magnus Composers' Course during the St Magnus Festival, Orkney
- 28-29 June 2007 Laura Hamer: 'Reading a Woman's Place in Song: Germaine Tailleferre's Six Chansons Françaises', PhD Music Students' Conference, Edinburgh University; 1-2 June 2007, Graduate School of Humanities conference 'Reading: Images, Texts, Artefacts', Cardiff University
- 13 June 2007** Liz Lane: Heritage: Horizons (2007) for euphonium and piano (7'); Craig Keates and Christopher Williams, Cardiff
- 30 May 2007** variations on Elgar's 'Enigma' by Judith Weir, Anthony Powers and student composers; Cardiff University Composers' Ensemble, University Concert Hall, Cardiff
- 24 May 2007** Max Charles Davies: A Rundown on Couples (2007) for violin and piano; Nicole Hawker (violin) and Kate Halsall (piano), Trinity College of Music, London
- 23 May 2007 Adrian Hull: Communicare (2007) for octet; LCMG, St Giles Church, Cripplegate, London
- 22 May 2007**Gareth Peredur Churchill: Meddylun (Mindscape) for orchestra; BBC National Orchestra of Wales, conducted by Jac van Steen, Llandaff studios, Cardiff
- 22 May 2007** Phillip Cooke: Three Pieces for orchestra; BBC National Orchestra of Wales, conducted by Jac van Steen, Llandaff studios, Cardiff
- 18 May 2007 Liz Lane, arrangement (2005) of David Fanshawe 'The Lord's Prayer' from African Sanctus (3'); Black Dyke Band, Bristol Cathedral Boys' Choir, Trinity School Boys Choir, conducted by Nicholas Childs, Bridgewater Hall, Manchester; 19 May 2007, Cadogan Hall. London
- 13 May 2007 Phillip Cooke: Four Pieces for clarinet quintet; Gemini, St Giles Church, Cripplegate, London; 5 May 2007** Gemini, York University, performed as one of five pieces selected from a national call for scores
- 13 May 2007 Max Charles Davies: A Book of Firsts (2006) for soprano saxophone and string quartet; Gemini, St Giles Church, Cripplegate, London; 5 May 2007**(complete); Gemini, York University, performed as one of five pieces selected from a national call for scores; 1 May 2007** (commissioned by Sound Affairs with funds provided by ACW and PRS Foundation) (movements 1, 2 and 4); Cardiff University Contemporary Music Group, University Concert Hall, Cardiff
- 12 May 2007** Liz Lane: My Star (2006) for SATB choir (2'); Wells Cathedral Voluntary Choir, St Cuthbert's, Wells
- 7 May 2007* Liz Lane, arrangement (2007) of David Fanshawe: Pacific Song for choir and ensemble (8'); Bournemouth Symphony Chorus, Winchester Cathedral
- 2 May 2007 Phillip Cooke: Jacobite (2004) for ensemble; Bristol University New Music Group, directed by Neal Farwell
- 1 May 2007 Concert of New Music by Cardiff Students, Contemporary Music Group, University Concert Hall, Cardiff
- 24 April 2007 Liz Lane: Words, Wide Night (2006) for tenor, string quartet and piano; Andrew Staples, Carducci Quartet and Daniel Hill, University Concert Hall, Cardiff
- 17 March 2007 Max Charles Davies: Raining Sunlight for clarinet, violin, cello and piano, Ensemble Cymru, Bangor University - shortlisted for the William Mathias Composition Prize
- 10 March 2007** Liz Lane: arrangement of David Fanshawe's Pacific Song; Multicultural Honor Choir, conductor Rollo Dilworth, ACDA National Convention, Miami Convention Center
- 6 March 2007* Max Charles Davies: Panorama for flute, clarinet, violin, cello and piano; PM Ensemble, RWCMD, Cardiff; 8 February 2007** PM Ensemble, 'Waterford New Music Week', Good Shepherd Chapel, Waterford, Eire
- 5 January 2007**, Phillip Cooke: Two Elegies (2006) for cello, percussion and piano; Kokoro, Bristol University
- 14 October 2006 Liz Lane: Waltz (2005) and Descent by Hot Air (2005), Steven Kings (piano), Bristol
- 19 August 2006** Daniel Bickerton: Fanfare for Gwent (2006), Greater Gwent Symphonic Winds, Public Library Theatre, San Francisco, USA
- 12 August 2006** Liz Lane: Words, Wide Night (2006) for tenor, string quartet and piano (40'); Andrew Kennedy, Carducci Quartet and Daniel Hill, Coxley Vineyard, Wells, Somerset
- 27 July 2006** Gareth Peredur Churchill: Ystwyth (String Quartet no.1), Mavron Quartet, Neuadd Joseph Parry, Aberystwyth, MusicFest Aberystwyth
- 24 June 2006* Liz Lane: Why Cats Sit on Doorsteps in the Sun (2003); US premiere in new version with narration, Chinook Winds, Bethany Lutheran Church, Seattle
- 21 June 2006** Gareth Peredur Churchill: Haul Ar Fynydd, Vivace Singers, St Michael's Church, Lower Machen, Lower Machen Festival
- 4 May 2006 Beata Boleslawska: round-table participant in session 'Music and Musicians Persecuted by Communism', Conference 'Face the Music', University of Music and the Performing Arts, Vienna
- 26 April 2006** Gareth Peredur Churchill: Poetic Metres (Mydrau Barddonol) (2005), London Contemporary Music Group, St Paul's Church, Covent Garden
- 26 April 2006** Phillip Cooke: Salve Regina (2006), Ben Hoadley, London Contemporary Music Group, St Paul's Church, Covent Garden
- 25 April 2006 Concert of New Music by Cardiff Students, Contemporary Music Group, University Concert Hall, Cardiff
- 31 March 2006 Beata Boleslawska: 'Henryk Mikolaj Gorecki's Symphonies - Avant-garde Thought and the Tradition of the genre', Conference 'Composers, Modernism and Postmodernism', Jagiellonian University, Krakow
- 21 March 2006 Danijela Spiric: 'Imagining a Balkan Community: Modernism, Slavenski, and the First Yugoslavia', John Bird Lecture, Cardiff University
- 14 March 2006 Phillip Cooke: ' 'Passio': The Liturgical Music of James Macmillan', Bristol University
- 11 March 2006 Gareth Peredur Churchill: Blodeugerdd (2006), Jeremy Huw Williams (baritone) and Harvey Davies (piano), Bangor New Music Festival, Bangor University; 14 February 2006** Jeremy Huw Williams and Nigel Foster, University Concert Hall, Cardiff
- 7 February 2006 Carys Wyn Jones: 'Canon Formation in Popular Music', Bristol University
- 14 December 2005 Liz Lane: Hodie Christus Natus Est , arr. (2005), UWE Singers, Brass Ensemble and Bassoon Quartet, Bristol Cathedral; 10 December 2005, Wells Cathedral
- 14 December 2005 Liz Lane: It Came Upon the Midnight Clear, arr. (2005), UWE SO, Bristol Cathedral; 10 December 2005, Wells Cathedral
- 6 December 2005 Liz Lane: A Hymn to the Virgin (2004), Clifton Singers, Clifton Arts Club, Bristol; 4 December 2005, St Aidan's in St George, Bristol; 15 December 2004, UWE Chamber Choir, Bristol Cathedral; 11 December 2004**, Wells Cathedral
- 6 December 2005 Liz Lane: Adam Lay Ybounden (2004), Clifton Singers, Clifton Arts Club, Bristol; 4 December 2005, St Aidan's in St George, Bristol; 15 December 2004, UWE Chamber Choir, Bristol Cathedral; 11 December 2004**, Wells Cathedral
- 11 November 2005 Liz Lane: Fanfare for FDNC (2005), Mbale Youth Band, Frodsham; 10 November 2005, Chepstow; 8 November 2005, Woodbridge; 5 November 2005, Reading; 3 November 2005**, Pontypridd
- 8-11 November 2005 Danijela Spiric: ''Slavenski and Modernist Musical Discourse within the First Yugoslavia (1918-1945)', International Conference 'Josip Slavenski i njegovo doba – povodom 50 godina od kompozitorove smrti' [Josip Slavenski and his time – marking fifty years since the composer's death], Belgrade
- 5 November 2005 Liz Lane: In Flanders Fields (2005), Margaret Thomas, Francesca Bowkett, Roderick Young & Jeremy Watkins, Colston Hall, Bristol
- 22 October 2005 Gareth Peredur Churchill: Afon Llwyd (2005), Nia Harries (cello) and Stephen Pinkerton (piano), St David's; 28 August 2005**, Nia Harries and Stephen Pinkerton, West Wales Arts Centre, Fishguard
- 13 October 2005** Phillip Cooke: Intrada (2005), London Contemporary Music Group, St Paul's Church, Covent Garden
- 13 October 2005** Adrian Hull: The Young Hegelian (2005), London Contemporary Music Group, St Paul's Church, Covent Garden
- 27 August 2005 Nicholas Reyland: 'Emplotting Lutoslawski's String Quartet: A Liberating Action', Fourth Biennial International Conference on Twentieth-Century Music, Sussex University, Brighton
- 26 August 2005 Nicholas Reyland: instigator and chair of round-table session 'Marketing New Music: Affiliation or Assimilation?', Fourth Biennial International Conference on Twentieth-Century Music, Sussex University, Brighton
- 9 July 2005 Liz Lane: The Lord's Prayer, arr. of 'The Lord's Prayer' from David Fanshawe's African Sanctus, Yorkshire Philharmonic Choir, Horbury Victoria Band, Wakefield Cathedral; 18 June 2005**, Halifax Choral Society, Black Dyke Band, Victoria Theatre, Halifax
- 2 July 2005** Liz Lane: Turnabout (2005), Southwark Winds, Church of St John the Divine, Croydon
- 19 June 2005** Liz Lane: El Habanero (2004), Clifton String Quartet, Clifton College, Bristol
- 19 June 2005 Liz Lane: Descent by Hot Air (2005), Steven Kings, Clifton College, Bristol; 19 April 2005**, Clive Williamson, Cardiff University
- 29 April 2005**Gareth Peredur Churchill: Gorsedd Pont-y-pwl, PM Ensemble, dir. Peter Esswood, RWCMD
- 11 February 2005** Liz Lane: Somewhere Unknown (2005), BBC NOW, Andre de Ridder
- 15 December 2004 Liz Lane: Hark the Herald Angels Sing, O Come All Ye Faithful, Once in Royal David's City, arr. (2004), UWE SO, Bristol Cathedral; 11 December 2004**, Wells Cathedral
- 4 December 2004 Cameron Gardner:'Displacing the Heroic: The First Movement of Schubert's D Major Piano Sonata D.850', Conference 'The Unknown Schubert: New Perspectives, New Insights', Luther College, University of Regina, Canada; 12 November 2004, 40th Annual RMA Conference, Birmingham University; 23 March 2004, John Bird Lecture, Cardiff University
- 10 November 2004** Liz Lane: O Praise the Lord (2004), Colston's School & Colston's Girls' School Choirs, Bristol Cathedral
- 19 October 2004 Carys Wyn Jones: 'Beatles, Beach Boys and Bob: Canon Formation in Popular Music', John Bird Lecture, Cardiff University
- 14 July 2004 Nicholas Reyland: 'Liberating Action: Towards an Understanding of Lutoslawski's Poetics of Musical Plot', Symposium of the International Musicological Society, Melbourne, Australia
- 16 June 2004** Phillip Cooke: Jacobite (2004), London Contemporary Music Group, St Paul's Church, Covent Garden
- 27 April 2004 Christopher Melen: ' 'Nothing is Hidden': Some Reflections on My Recent Music', John Bird Lecture, Cardiff University
- 14-17 April 2004 Danijela Spiric: 'Canon at the Periphery: Contextualising the Music of Josip Stolcer Slavenski', International Musicological Symposium 'Music and Networking', Belgrade
- 2 April 2004 Nicolas Reyland: pre-concert talk with Jonathan Cole, Ben Foskett and Magnus Lindberg, London Sinfonietta, QEH, London
- 29 March 2004 Nicholas Reyland: 'Radioactive Ideas: Lutoslawski's Lectures on Musical Form', SMA Study Day 'Analysis, Composition and the Creative Process', Surrey University, Guildford
- 7 January 2004 Carys Wyn Jones: 'I wasn't just made for these times: Pet Sounds and the Popular Music Canon', 36th RMA Annual Music Research Students' Conference, Royal Holloway, London
- 28-31 August 2003 Nicholas Reyland: 'Metaphor, Action and Gesture in Lutoslawski's Cello Concerto: A Narratalogical Approach', 'Music and Gesture' Conference, University of East Anglia, Norwich
- 28-31 August 2003 Nicholas Reyland: chair of session 'Contemporary Music I', 'Music and Gesture' Conference, University of East Anglia, Norwich
- 26-29 June 2003 Nicholas Reyland: 'Lutoslawski in Action', Third Biennial International Conference on Twentieth-Century Music, Nottingham University
- 1 April 2003 Nicholas Reyland: 'Looking for some Action: Lutoslawski, Narrative and the Modernist Paradigm', John Bird Lecture, Cardiff University
- 6 March 2003** Gareth Peredur Churchill: Slithy Toves (2003), Becky Smith (bass clarinet), Ensemble Symposia, Glasgow University
- 29 January 2003 Nicholas Reyland: (radio programme) 'Sonorism: The Polish Avant-Garde', Resonance FM, London
- 19 November 2002 David Manning: 'Tonal and Modal Strategies in Vaughan Williams's Music', John Bird Lecture, Cardiff University
- 27 April 2002 Nicholas Reyland: 'Poland's Protean Thaw (and Lutoslawski's Livre)', Conference 'The Modernisms of the 1960s in Czechoslovakia, Hungary and Poland', Bristol University
- 12 February 2002 Alana Lowe-Petraske: 'Sound ©: Musical Copyright and the Pragmatics of Noise', John Bird Lecture, Cardiff University


text:
Rollover image for closeup
One DreamItem #: HL.08202687
Our Price:
Unrated ( Be the first to review this item )
As performed by Sarah McLachlan. Composed by Pierre Marchand, Sarah McLachlan. Arranged by Mac Huff.
Pop Choral Series. Voicing/Format: ShowTrax CD. With CD. 4.87x4.87 inches. Published by Hal Leonard. (HL.08202687)
Free Shipping on this item in orders above $199
In Stock
Found in: Pop Choral Sheet Music
Saluting the spirit of the Vancouver 2010 Olympics, Sarah McLachlan's ballad is inspired by the athletes of the world as they strive to reach their Olympic goals. You've spent a lifetime working for this moment, and you are shining. You're all that you wanted to be. A fantastic concert feature, especially for graduation! Available separately: SATB, SAB, 2-Part, ShowTrax CD. Duration: ca. 3:00.
Songs Include:


text:
|Search | About | Preferences | Interact | Help
|Find any book at the best price.
by Wilson, Edmund
Publisher:Farrar, Straus and Giroux
If great writers are hard to find, then it's safe to say great literary critics are as rare as wild white tigers who can juggle plates. Edmund Wilson (1895-1972) was one of America's most important critics, and Axel's Castle was the book that put him on the map. Few people outside graduate school read serious literary criticism, but a look into Wilson's intense thought and clear prose makes you wonder why the genre has been neglected. If you're a lover of the Modernist writers--Wilson looks specifically at Joyce, Proust, Yeats, Valery, Eliot, Stein, and Rimbaud here--then you'll enjoy Axel's Castle.
Search under way...
Search complete.
New books: 1 - 25 of 48
Used books: 1 - 25 of 72


text:
Camping Recipes
Tuna Tots
- 1 can tuna
- 1 c mashed potatoes
- 1/4 c celery
- 2 Tbsp pickle relish
- salt & pepper
- butter or cooking oil for frying
Drain tuna and combine with mashed potatoes (leftovers work great). Mix in chopped celery and pickle relish with salt and pepper to taste. Shape into balls or flatten into patties. Store in the freezer until ready for camping trip. When camping, melt 1 T. margarine or cooking oil in fry pan. Place tuna tot balls or patties in the melted oil and lightly brown over a campfire.


text:
Sleuth out a good time with 007 lore and lots of prizes at library gala
The name's Bond. Trevor Bond.
No, it's not James Bond's brother, but this Bond did work on the famous 007 spy films as the imaginative animator who created its title credits. Trevor Bond, who now lives in Naples, is one of two star attractions at the James Bond-themed fundraiser for the Friends of the Collier County Public Library tonight.
The other: a mouth-watering 1962 Aston Martin along with its owner, Naples car enthusiast Dean Edmonds. Edmonds knows all the fascinating minutiae about this sleek sports legend, with its Vantage engine, double overhead cam shaft and straight-6 cylinder engine with dual sets of spark plugs. (The economical Edmonds has them switched so he can drive on one set or the other.)
He knows a lot more about European sports cars, but he's similarly fond of his father's massive piece of highway royalty, a 1940 Cadillac that he still owns. Don't ask him which his cars he likes best: "That really is like asking which of my children I love most," he conceded.
It's hard to tear yourself away from one to go to the other. The self-effacing Bond was a creator of film titles for works like "The Road to Hong Kong," with Bob Hope. But he worked on titles for "Dr. No," "From Russia, With Love" and "Goldfinger," creating the first one as a moonlight job in London. Bond worked with small budgets, dealing with belly dancers who walked off the job and a sweet young woman intended to be arm candy for Sean Connery in a film — and who turned out to have blue teeth.
"You'll see she never smiles in the film," he said, chuckling.
There are more stories and more auction prizes. There's a private 50-person screening of either of two vintage 007 films for a winner and friends, and plenty of signed lore from famous names: five presidents of the United States, three of the four Beatles, Paul McCartney, Jimmy Buffett, Barbra Streisand, Jimmy Stewart and more. A 2012 jaguar XF Portfolio is up for auction as well.
There's a eight-seat box section at the sold-out Jackie Evancho concert at the Phil Dec. 10; and trips to everywhere from Paris to resort spots around the United States.
The event is tonight, and there are some seats still available. Black tie is optional, and if you want to come as your favorite Bond character, we bet no one will object.
"Red, White and Roulette"
What: A fundraiser for Collier County Friends of the Library; all proceeds go to its educational programs
When: 5:30 p.m. Friday, Nov. 2. Social hour, casino and silent-auction bidding begins at 5:30 p.m., followed by dinner, casino and live auction.
Where: Waldorf Astoria Naples, 475 Seagate Drive, Naples
Admission: $100
Tickets: 239-262-8135; reservations required
Subscribe to the Naples Daily News
Need Help? Call us at 1-888-878-6842.
Monday-Friday: 6am-6pm / Saturday: 7am-3pm / Sunday: 7am-2pm


text:
The following tags exist in this scene. You can find similar scenes by combining tags in this scene together using the checkboxes, or just click a tag name to browse...
Starring Tanner Reeves, Drew Andrews, Sam Ritter and Cutter West, DVD: Leather Virgin
Do you recognise pornstars in this scene? Begin typing a pornstar name, then click on the button to suggest them!
Classic three way homosexual fucking and sucking as they all thrust out each others loads.
White t-shirted guy was taken to the dungeon and taught how to please older guys with desires
Featured in playlists: leather (27 Videos), Gay Porn (74 Videos)
Video Suggestions
- 15:42Master's Submissive Slave Sucks & Gets FuckedOct 31, 2010
- 25:38Hotel Orgy with 3 Masked Men and One Hot Italian ModelNov 1, 2013
- 15:51Tanner Reeves In Vintage Gay FuckfestOct 31, 2010
- 12:41Cutter West Marc Pierce Pics & Movies GalleriesApr 6, 2005
- 17:21Ass Loving Pretty Boys Ebony Gay Guys FuckingOct 31, 2010
- 23:09Hot Studs Drew And Kent Go Down On Each Other By The PoolMay 8, 2011
- 18:26Tough Boys Having Nice Gay FuckJun 7, 1996
- 20:27Collin Jennings Fucks Lover In Locker RoomSep 16, 2013
- 15:03Leather Clad Sweet Williams Sucks Cock And Gets FuckedNov 1, 2010
- 20:15Hot Stud Jake Tuned Up For hardcore sex Gay SexJan 1, 1993