River City Brass looks at sounds of the ’50s

1329839833 89 River City Brass looks at sounds of the 50s

Back to the ’50s means more than revisiting the music of Chuck Berry or “Rock Around the Clock,” River City Brass general director James Gourlay says.

The band will be looking at music from “South Pacific” and Leonard Bernstein’s film score for “On the Waterfront” and the decade’s more archetypal music in the “Fabulous ’50s” concert series that begins Thursday.

The band also will do such numbers as “La Bamba” and a medley called “The Fifties” sung by Drew Fennell. In addition, the band will be joined by high-school ensembles.

The concerts (and bands) will be: 7:30 p.m. Thursday, Gateway Area High School, Monroeville (with no school band); 3 p.m. Sunday, Baldwin High School (with that school’s band); 7:30 p.m. Feb. 29, Lincoln Park Performing Arts Center, Beaver County (Lincoln Park Wind Ensemble); 7:30 p.m. March 1, Carnegie Music Hall, Oakland (Pine-Richland High School Band); 7:30 p.m. March 2, Carson Middle School, McCandless (with that school’s band); 7:30 p.m. March 3, Palace Theatre, Greensburg (Hempfield High School Band); 3 p.m. March 4, Pasquerilla Performing Arts Center, Johnstown (Windber High School Band); 7:30 p.m. March 6, Upper St. Clair. High School (with that high school’s band).

Details: 412-434-7222 or rivercitybrass.org,

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What you can do if you’re in town for the marathon

1329537429 11 What you can do if you’re in town for the marathon

If you go out – a sampling of area entertainment

• Carolina Improv Company, based at Uptown in Myrtle Beach mall, at U.S. 17 and S.C. 22, near Briarcliffe Acres: “Whose Beach Is It Anyway?” at 7:30 p.m. Friday for $12 ages 12 and older, $10 ages 4-11,and 7 p.m. Saturday for $10 and $8, respectively. For ages 18 and older: “Improv Comedy Buffet” 8:30 p.m. Saturday, $10. 272-4242, and carolinaimprov.com or uptownmb.com.

• Comedy Cabana, 9588 N. Kings Highway, just north of Myrtle Beach. Josh Sneed with Maija Digiorgio and Cooter Douglas opening, at 8 p.m. daily through Sunday and 10:15 p.m. Friday-Saturday; $15 advance. 449-4242 or comedycabana.com.

• KidzTime Festival 11 a.m.-4 p.m. Saturday at Broadway at the Beach’s commons, off 21st Avenue North and Grissom Parkway in Myrtle Beach. Free. Details at 444-3200 or broadwayatthebeach.com.

• La Belle Amie Vineyard, 1120 St. Joseph Road, Little River, at St. Joseph Road, just west of North Myrtle Beach Middle School. “Music and Bonfire at the Vineyard” noon-5 p.m. Saturday with Laidback Larry in concert noon-4 p.m. Free. 399-9463 or labelleamie.com.

• Coastal Carolina University: CCU Theatre: “Servant of Two Masters,” 7:30 p.m. daily through Saturday in Edwards Theatre; Long Bay Symphony Wind Quintet, 3 p.m. Sunday in Edwards Recital Hall; and “English Song, Old and New,” with Jeffrey Jones on baritone and Daniel Francis on piano, 7:30 p.m. Monday in Edwards Recital Hall. Admission varies per event. 349-2502 or coastal.edu/culturalarts.

• First Presbyterian Church concerts, 1300 N. Kings Highway, Myrtle Beach. “Promenades 2012” season continues at 1 p.m. Thursday with “I’ve Got A Little Twist”; $10 at church office or door. 448-4496.

• Grand Strand Piano Center, in Myrtle Beach mall, at U.S. 17 and S.C. 22 near Briarcliffe Acres. Elizabeth Loparits’ piano master class with students of the Long Bay Music Teachers Association and works by Grieg, Haydn, Khatchaturian and Mendelssohn, 10 a.m.-noon Saturday. Free. 272-0904 or email org.

“Hymn Festival” 7:30 p.m. Friday with for brass, organ, and choir, at Trinity Episcopal Church, 3000 N. Kings Highway, Myrtle Beach; free. 448-8426 or trinitymbmusic.wordpress .com/upcoming-events.

• House of Blues, in Barefoot Landing, on U.S. 17 in North Myrtle Beach. Events on Saturday include Murder Mystery Dinner Theatre at 7 p.m., for $42; “Blues-a-Palooza” concert series with Sushi For Breakfast at 9 p.m., for free; and Dave Matthews Tribute Band at 9 p.m. Saturday, for $10 advance, $13 day of show. 272-3000 or hob.com/myrtlebeach.

• Rivertown Bluegrass Society, concerts at 5 p.m. Saturday with Amick Junction and Toby Creek at Horry-Georgetown Technical College Burroughs & Chapin Auditorium, off U.S. 501 in Conway. $10 members, otherwise $12. Also, preshow jams at 3 p.m. for any acoustic player; no electric instruments except bass. 457-2854 or rivertownbluegrasssociety .com.

• South by Southeast Music Feast with The Barefoot Movement, Saturday at the Myrtle Beach Train Depot, 851 Broadway St., benefiting local school music programs: dinner at 6 p.m., concert at 7:30. $20 members, $25 guests and $15 students younger than 21, which includes a pot-luck dinner and beverages. Email reservations to or . More details at 251-6402.

• Alabama Theatre, at Barefoot Landing on U.S. 17 n North Myrtle Beach: “One the New Show” at 7:30 p.m. Thursday and Saturday-Sunday, for $34.95, $39.95 or $45.95; and comedian Rodney Carrington at 8 p.m. Friday for $47.50. 272-1111, 800-342-2262 or alabama-theatre.com.

• Brunswick Little Theatre, based at Odell Williamson Auditorium, Brunswick Community College in Supply, N.C. “Barefoot in the Park” 7:30 p.m. daily through Saturday, and 3 p.m. Sunday, at Playhouse 211, 4320-100 Southport-Supply Road (N.C. 211). $17 adults, $12 high school students. 910-755-7416, 800-754-1050, ext. 7416, bccowa.com or brunswicklittletheatre.com, and playhouse211.com.

• Ghosts and Legends Theatre, in Barefoot Landing, on U.S. 17 in North Myrtle Beach, including ghost shows and walks, and “Skool 4 Pirates.” Open 10 a.m. daily. 361-2700 or ghostshows.com.

• Gilmore Auditorium, at U.S. 17 Business and U.S. 17 Bypass in Myrtle Beach, “The Carolina Opry” at 2 p.m. Thursday and 7:30 p.m. Saturday, and “Good Vibrations!” at 7:30 p.m. Friday, each $32.50, $39.95 or $46.47 ages 17 and older, and child and student rates of $15.81 and $21.50 also available; and “Light” at 5 p.m. Thursday and 10 p.m. Friday-Saturday, for $13.95 adults, $11.04 student/child. 913-4000, 800-843-6779 or thecarolinaopry.com.

• Legends in Concert, on U.S. 17 Bypass, off 29th Avenue North at Broadway at the Beach in Myrtle Beach, with the Blues Brothers, Neil Diamond, Aretha Franklin, Elvis Presley and George Strait, at 8 p.m. daily through Saturday, for $37.95 regular and $42.95 preferred/VIP for ages 17 and older; and $14.95 and $19.95 respectively, for ages 3-16; and VIP table booth seats are $52.95 all ages. 238-7827, 800-960-7469 or legendsinconcert.com.

• Medieval Times Dinner & Tournament,, off U.S. 501 and George Bishop Parkway, just west of Myrtle Beach. 6 p.m. daily through Sunday. $50.95 ages 13 and older, $30.95 ages 12 and younger. 236-8080, 800-436-4386 or medievaltimes.com.

• The Palace Theatre, at U.S. 17 Bypass and 21st Avenue North at Broadway at the Beach, Myrtle Beach: “Hooray for Hollywood” 7:30 p.m. daily through Saturday, for $34.95, $39.95 or $44.95. 448-0588, 888-841-2787 or palacemb.com.

• “Pirates Voyage Fun, Feast & Adventure,” in the former Dixie Stampede Dinner Attraction in Myrtle Beach. 6 p.m. Friday-Sunday, for $45.77 or $51.22 ages 12 and older, $23.97 or $29.42 ages 4-11, and free ages 3 and younger on adult’s lap. 497-9700, 800-433-4401 or piratesvoyage.com.

• Theatre of the Republic, at Main Street Theatre, 337 Main. St., Conway. “Ain’t Misbehavin’ – The Fats Waller Show” 8 p.m. daily through Saturday, and 3 p.m. Saturday-Sunday. $18 advance, $20 at door. 488-0821 or theatreofthe republic.com.

• Brookgreen Gardens, U.S. 17, between Murrells Inlet and Litchfield Beach. “Vanishing Acts: Trees Under Threat,” “Etched In the Eyes, The Spirit of a People Called Gullah Geechee” (noon-4:30 p.m. daily) and “Birds in Art,” all free with garden admission, which lasts seven days: $14 ages 13-64, $12 ages 65 and older, and $7 ages 4-12. Open 9:30 a.m.-5 p.m. daily. 235-6000, 800-849-1931 or brookgreen.org.

• Coastal Carolina University Rebecca Randall Bryan Art Gallery, in the Thomas W. and Robin W. Edwards College of Humanities and Fine Arts, in Conway, Jonathan Brilliant’s “Weaving, Stacking, Staining,” 9 a.m.-5 p.m. daily through Friday. Free. 349-6454 or coastal.edu/bryanartgallery.

• Collectors Cafe and Gallery, 7740 N. Kings Highway, Myrtle Beach. Winter show continues through April 20, including new works by Robin Brisker, Rachel Jones, Elfriede Koehler, Emmy Stanton, Anna-Marie Swad and Janet Parker. 11:30 a.m.-midnight daily through Saturday. 449-9370 or collectorscafeand gallery.com.

• Franklin G. Burroughs-Simeon B. Chapin Art Museum, 3100 S. Ocean Blvd., Myrtle Beach. “Bishop Maps and Prints Collection,” “Wish You Were Here: A Photographic Documentary by Farnell & Powell,” and “From Tree to Treasure: An International Invitational Exhibition of Turned or Sculpted Wood” and William Jameson’s “Woodland Textures.” 10 a.m.-4 p.m. daily through Saturday and 1-4 p.m. Sunday. Free. 238-2510 or myrtle beachartmuseum.org.

• Fresh Brewed Coffee House, 933 Broadway St., Myrtle Beach. Artist of the Month for February: Blair Browning. Open 3 p.m. daily through Saturday. 251-8282 or freshbrewedcoffeehouse. com.

• Horry-Georgetown Technical College Richardson Gallery, Building 1100, on Conway campus, on U.S. 501, art exhibit by students from Horry County’s Academy for the Arts, Science and Technology, noon-4 p.m. Tuesdays and Thursdays through March 29. 349-5269 or hgtc.edu.

• The Rice Museum Prevost Gallery, 633 Front St., Georgetown. “Here Abouts,” paintings and shadowboxes,; free. 10 a.m.-4:30 p.m. daily through Saturday. 546-7423 or ricemuseum.org.

• Silver Coast Winery, 6680 Barbeque Road, Ocean Isle Beach, N.C., art exhibit by Barton Hatcher. Noon-5 p.m. daily through Sunday and open until 6 p.m. Friday. Free. 910-287-2800 or silvercoastwinery.com.

• Children’s Museum of South Carolina, 2501 N. Kings Highway, Myrtle Beach, with “Little Builders” special exhibit. 9 a.m.-3 p.m. daily through Saturday. $8 ages 2 and older. 946-9469 or cmsckids.org.

• Georgetown County Mussum, 632 Prince St., Georgetown. Open daily through Saturday. $4 ages 18-64, $3 ages 65 and older, $2 ages 7-17. 545-7020 or georgetowncountymuseum.com.

• Grand Strand Model Railroaders Inc. club site, in Myrtle Beach mall, three doors from Bass Pro Shops, at U.S. 17 and S.C. 22, near Briarcliffe Acres., 10 a.m.-5 p.m. Saturday and 4-7 p.m. Monday. Free. 297-7162 or 293-4386.

• Horry County Museum, 438 Main St., Conway. 10 a.m.-5 p.m. daily through Saturday; free. Also, L.W. Paul Living History Farm, , 2279 Harris Shortcut Road, off U.S. 701, north of Conway, 9 a.m.-4 p.m. daily through Saturday; free. 915-5320, 365-3596 or horrycountymuseum.org.

• Kaminski House Museum,1003 Front St., Georgetown. 10 a.m.-4 p.m. daily through Friday and 10 a.m.-2 p.m. Saturday, with guided tours at 11 a.m. and 1 and 3 p.m. Mondays-Fridays. $10 to tour both houses. 546-7706 or kaminskihousemuseum.org.

Museum of Coastal Carolina, 21 E. Second St., Ocean Isle Beach, N.C.; and Ingram Planetarium, 7625 High Market St., Sunset Beach, N.C. Museum open 10 a.m.-5 p.m., planetarium open noon-5 p.m., both Friday and Saturday. Planetarium’s Sky Theater shows: “Seven Wonders” at 1 p.m., “Two Pieces of Glass” at 2 p.m., “Oasis in Space” at 3 p.m., and “Astronaut at 4 p.m. – and Pink Floyd laser shows at 5 and 6 p.m. Museum admission, and per Sky Theater planetarium show: $8 adults, $6 ages 60 and older, and students; and $4 ages 3-4. Reach museum at 910-579-1016, planetarium at 910-575-0033, or visit museumplanetarium.org.

• S.C. Civil War Museum, in the Myrtle Beach Indoor Shooting Range, 4857 U.S. 17 Bypass S., between Farrow Parkway and S.C. 544, south of Myrtle Beach, east of Socastee. 9 a.m.-8 p.m. daily through Saturday. $4 adults, $3 seniors/military, $2 students. 293-4344 or mbisr.com.

• S.C. Maritime Museum, 729 Front St., Georgetown. “Lumber Schooners” exhibit into summer. 10 a.m.-4 p.m. Mondays-Saturdays; free. 520-0111 or scmaritimemuseum.org.

Each park: $5 ages 16 and older, $3.25 S.C. seniors, $3 ages 6-15. Details at southcarolinaparks.com.

• Myrtle Beach State Park, 6 a.m.-8 p.m., on South Kings Highway, one mile south of Myrtle Beach International Airport. 238-5325.

• Huntington Beach State Park, 6 a.m.-6 p.m., on U.S. 17, between Murrells Inlet and Litchfield Beach, across from Brookgreen Gardens. 237-4440.

Also, Hobcaw Barony, on U.S. 17 just north of Georgetown, will have “Dinner and a Camp-Fire” 5-7:30 p.m. Saturday, covering forest management and how to build a campfire properly. $15. Reservations due Friday at 546-4623. More details at hobcawbarony.org.

• Ripley’s Aquarium, at Broadway at the Beach, Myrtle Beach, off 29th Avenue North, open 9 a.m. daily. $21.99 ages 12 and older, $10.99 ages 6-11, and $3.99 ages 2-5. Also, mermaid shows noon, 2 and 4 p.m. Saturday-Sunday; free with admission. 916-0888, 800-734-8888 or ripleysaquarium.com.

• N.C. Aquarium at Fort Fisher, 900 Loggerhead Road (U.S. 421), south of Kure Beach, near the mouth of the Cape Fear River, 9 a.m.-5 p.m. daily. Also, “A Walk in the Woods: North Carolina’s Maritime Forests” exhibit. $8 ages 13-61, $7 ages 62 and older, $6 ages 3-12. 910-458-8257, 866-301-3476 or ncaquariums.com/fort-fisher.

• Barefoot Princess Riverboat, sailing from Barefoot Landing, on U.S. 17 in North Myrtle Beach. Sightseeing hot lunch cruise at 11:30 a.m. Saturday and sightseeing cruise at 12:30 p.m. Monday; rates vary. 272-2140, 272-4172, 800-686-6601 or mbriverboat.com.

• Capt. Jim’s “River Memories” tours, on an electric yacht, 90-minute cruises from Conway Marina. $15 ages 13 and older, $10 ages 3-12. Check for times: 246-1495 or rivermemories.org.

• Grand Strand tours by helicopter, with rates starting at $20 for two miles, 10 a.m.-5 p.m. daily, weather permitting, at Executive Helicopters, 2800 Terminal St., North Myrtle Beach (427-7351 or executiveheli.com) and Huffman Helicopters, 3000 S. Kings Highway, Myrtle Beach, by east end of Myrtle Beach International Airport. (946-0022 or huffmanhelicopters.com).

• Myrtle Beach Segway, 2922-A Howard Ave., Myrtle Beach, in The Market Common near Valor Memorial Garden. Self-guided tours $39 an hour, $59 two hours. 477-0800 or wwwmbsegway.com.

• MagiQuest, at Broadway at the Beach, off Grissom Parkway in Myrtle Beach. Open 1 p.m. Thursday-Friday, 11 a.m. Saturday-Sunday. Rates vary. 916-1800 or magiquest.com.

• Myrtle Beach SkyWheel, 1110 N. Ocean Blvd., adjacent to Myrtle Beach’s Plyler Park, at Mr. Joe White Ave. Open noon daily. $13 ages 12-64, $11 ages 65 and older and military (with valid ID), $9 ages 3-11, and free ages 2 and younger. 839-9200 or skywheelusa.com.

• Pavilion Nostalgia Park, at Broadway at the Beach, off Grissom Parkway in Myrtle Beach, near Carmike’s Broadway 16. Noon-6 p.m. Friday-Sunday. Ticket rates vary. 444-3200 or broadwayatthebeach.com.

• WonderWorks, at Broadway at the Beach, at U.S. 17 Bypass and 21st Avenue North in Myrtle Beach, near the Palace Theatre. Open 10 a.m. daily. $22.99 ages 13-54, $14.99 ages 4-12 and 55 and older price includes one ropes course; add $3 for laser-tag combo 626-9962 or wonderworksonline.com /myrtle-beach/.

Rates vary by site.

• Frank Theatres’ Revolutions Entertainment, at Inlet Square, at U.S. 17 Business and U.S. 17 Bypass in Murrells Inlet. 651-9400 or revolutions entertainment.com.

• Little River Lanes, 300 Bowling Lane, Little River, off River Hills Drive, north of U.S. 17. 249-0055.

• North Myrtle Beach Bowling Center, 1105 U.S. 17 S., North Myrtle Beach. 249-2695 or nmbbowl.com.

• Surfside Bowling Center, 510 U.S. 17 Business N., Surfside Beach. 238-2695.

• Waccamaw Bowling Center, 101 Gray Drive, west of Myrtle Beach, off U.S. 501, just west of River Oaks Drive and the Intracoastal Waterway. 236-1020 or waccamawbowling.com.

Admission varies by site.

• Dream Land Skating Arena, 4475 Privetts Road, east of U.S. 701, north of Conway; open Thursday-Sunday; details at 369-2055 or dreamland skatingarena.com.

• Fun Warehouse Family Fun Center, 2349 Dick Pond Road (S.C. 544), between Socastee and Surfside Beach, a half-mile east of U.S. 17 Bypass; open daily; 748-0302 or funwarehousemb.com.

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Live from the Artists Den: A Q&A with Mark Lieberman and Alan Light

1329517028 20 Live from the Artists Den: A Q&A with Mark Lieberman and Alan Light

Inside Thirteen recently spoke with Live from the Artists Den’s Executive Producer, Mark Lieberman, and Director of Programming, Alan Light to discuss the fourth season of the popular music series. Joining the Artists Den’s lineup this season are artists Adele, The Fray, Death Cab for Cutie, Kid Rock, Iron and Wine, and Amos Lee. Here, Lieberman and Light discuss what planning a season of the show entails, and what makes Live from the Artists Den so unique.

Season four of Live from the Artists Den premieres Friday, February 3 at 10 p.m. on THIRTEEN.

Enter to win an Artists Den prize package, including Adele’s hit album, 21, and a Live from the Artists Den season three compilation DVD.

Inside Thirteen: What does planning a season for the show entail, in terms of selecting artists and venues?

Alan Light: There’s not a simple equation — it’s lining up a lot of different moving parts. Certainly where we start from is trying to find the artists who are active during that time who we think are the strongest live performers that are out there. We’re in the fortunate position of not really having to worry about one genre or one style; we can really just look for excellence from whichever musician we really love out there, and that’s where the conversation starts. Simultaneously, a search is going on and venue possibilities being amassed and gathered, and then comes an elaborate jigsaw puzzle of trying to schedule when they’re free, when they can be available, where they’re most interested to play, and what’s the most perfect spot that lines up with that. It can vary – sometimes there is a break in somebody’s schedule in a city and so we try to find the best spot that’s close by. Sometimes, as with Kid Rock playing Graceland, we were in conversation with Kid Rock and the Graceland opportunity presented itself, and his team said, “We’ve gotta do that, that’s the coolest thing ever. So, we will work our schedule around that to get ourselves to Memphis for the show.”

The challenges are, who’s out there working, what’s the right timing, when can we get to them, and then, where is the right place to put them and when is that place free? So, we spin the wheel until they line up.

Mark Lieberman: Really for us the goal is to try to create a once in a lifetime experience for television viewers and for that audience. We spend a lot of time trying to put the right artist and the right place together. When we do, we end up with something really magical that has the ability to be of interest for many, many years.

Season 4 Trailer from Artists Den on Vimeo.

IT: What makes Live from the Artists Den unique, especially to public television?

ML: I think it’s a couple of things. The first is that we’re re-imagining the stage for music, and what’s important to us about finding these locations is we believe that they inspire a rare and very creatively inspired performance that you won’t see that artist provide in a traditional venue setting.  The second is that we are able to honor some of the great historic landmarks of our country and tell a local story. So, in the Tucson Amos Lee episode, there’s a real strong tie between the artist and Tucson, where he made his last album, “Mission Bell.” A band from Arizona called Calexico performed on that album and ended up playing in our episode, and we were able to tell the story of the historic Fox Theatre and the redevelopment effort around culture in Tucson, all in an hour. We think that’s really interesting for public television viewers, who care about the arts and culture and music, that we’re able to do all those things in one. There’s even a taste of architecture and the history of some of these great buildings and iconic landmarks, whether it be the Brooklyn Museum and its rich history with Death Cab for Cutie, or the Angel Orensanz Center, which used to be an old synagogue and has been part of the cultural fabric of downtown New York for the last 30 years. There are so many interesting stories to be told — we believe we do a really nice job of telling them, and they’re contextualized with a wonderful performance of music.

IT: Are there any artists or genres that haven’t yet appeared on the show that you’d like to feature?

AL: Well, I think there are lots of directions to go. With the right hip hop artist, I’d love to feature them if we could find the right way to present that on our stage. We’ve had a couple of country and R&B singers, but I think there are still lots of opportunities to do new things in those communities. I don’t think that we look at it with any kind of limit on what we would do…it’s more a matter of if we think somebody makes sense in that setting, who really can play without hiding behind anything, even we when we get the big, arena-sized stars up there. Obviously, they’re in a room in front of 300 people, no pyrotechnics, no explosions – it’s about who we think can really work that stripped down and up close.

ML: We try to celebrate both the greats in music — the Robert Plants, the Elvis Costellos — and also provide an element of discovery where we’re introducing a public television viewer to an Amos Lee or an Iron and Wine. So that opens us up. We’re always able to have flexibility to just put what we think would be exciting from a television standpoint and from a music standpoint on the stage, being genre agnostic.

IT: What are you most excited about this coming season on Live from the Artists Den?

ML: Adele was an artist that we’ve been following for quite a while, from her album “Nineteen” back in 2009. When we had the opportunity to be a part of her week of release in the United States, we really had no idea what the year ahead was going to entail. I think what that episode presents of her and her music is a real innocence, and a real preview of things to come, and obviously honors the greatness of her music. We’re very excited about that episode.

AL: Adele very quickly became the absolute biggest star music has seen in recent years in the months that followed our shoot with her, so it’s an incredible thrill that we got to her just immediately before she really took over the world. And certainly shooting Kid Rock – no one has ever done a shoot inside of Graceland, with a performance inside Elvis’s home, and it took a lot of disparate pieces aligning to enable us to do that. For Kid Rock, he approached it as a highlight of his career and a real landmark appearance for him. So, the fact that we could enable something like that and take a multi-platinum artist and get them access to something that they couldn’t otherwise do, I think that’s always what’s most exciting for us. They have a lot of choices about the things that they could do – the shows that they could play, the stages they could appear on; we have the ability to do something that they can’t do, which is to get them into these really unique spaces and otherwise inaccessible spaces. So when we can do that on that kind of scale, that’s a new level of accomplishment for us.

ML: Overall, I think this season takes us to the most cities that we’ve ever been in a season. The majority of season four is outside of New York – whether it be Santa Monica, Tucson, Memphis, Atlanta – and what we’re seeing as we go into pre-production on these shows is a real excitement from the local arts community about the Artists Den coming to town. People know the show, they like the way we’re honoring their city, their connection to music, their connection to the arts, and they’re very proud of their own Artists Den that we jointly selected. Many times the selection process now comes with the Mayor’s Office and the film office and people locally who help us define what’s special in their city and what would be a great place to showcase music. We think that is a unique piece of this for public television, in that public television is about the local community and the arts community, and we involve public television in these shows, their guests are in the audience, and obviously they get to celebrate when the show comes on to television. We’re told that for most of the season four episodes, they’re actually doing premiere parties in the venues where we did the taping.

IT: What’s your favorite part and the most challenging part of your job?

ML: The favorite part is being able to make very big artists really excited and inspired in a unique way that no one has done for them before, and to translate that into making a local, national and a global audience excited about that artist’s music in a way that no other vehicle may provide. The fact that we’re able to deliver an hour-long performance of that artist really separates the show from what has become a world of clips. We think we can help create new fans. So that is the most important part I think of what we do at the Artists Den – it’s very creative, it’s dynamic – we’re constantly trying to push the envelope of what adventure we can come up with next. It’s no fun to plateau, so we’re just going to keep on hunting for more exciting, more creative venues that inspire even better performances. All of that is also all the challenges we have in front of us. We set the bar high, and the artists that we’re now working with are looking back at past seasons and saying, “I want something even more interesting. I want something even more special than what you’ve done.” The creative challenge that presents makes our jobs very hard, because we can’t just show up with a good idea, it just isn’t going to cut it.

AL: I think the most rewarding and the most challenging are pretty much the same thing – continuing to find ways to spin that wheel and to line up artists and locations and timing, and to get bigger and better artists, better and cooler and more unique spaces, and produce more frequently. Any one of those you could compromise to make it easier, but we’re still at a place where we want to keep making each of them more interesting and more exciting. So, that’s the greatest reward, but also the most difficult task.

For more information and Web extras, visit the Artists Den site for behind-the-scenes photos of each show, check them out on Facebook for “Inside the Den” videos about the venues featured each week, and watch previews of all the episodes on Hulu.

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Seven nights of love…

1329218227 67 Seven nights of love...

SINGER songwriter Milli Taylor will be performign live at The Braunton Inn on Sunday (February 12) and Saunton Sands Hotel on Valentines Day next Tuesday. PICTURE: Peter Cox.

Valentine’s special with the North Devon Gig Guide: 08/02/12—14/02/12.

WEDNESDAY, FEBRUARY 8

THE TAVERN, BARNSTAPLE: Karaoke, 9.30pm.

COACH & HORSES, APPLEDORE: Folk jam.

KELLY’S BAR, BARNSTAPLE: Disco.

PORTOBELLO, BIDEFORD: Karaoke.

QUIGLEY’S, BIDEFORD: Sod ’em & Sing Karaoke.

PORTOBELLO INN, BID: Open Mic.

ROYAL GEORGE, APPLEDORE: The Wild Hatters, weekly acoustic folk & blues from 8.30pm.

THE CHILL BAR @ONEFYFIVE, ILFRACOMBE: Plugged Open Mic with Harvey Hudson & band, 8.45pm.

COOK ISLAND, MULLACOTT CROSS: The popular Cook Island Open Mic Night, featuring The Average Blues Band. From 8pm.

KELLY’S, BPLE: Disco 8pm-late.

THE CEDARS, BARNSTAPLE: Rock ‘n’ Roll Club, with DJ Midnight Shift, 7.30pm-late. 07899 701498.

THE TIVERTON INN, SOUTH MOLTON: Open Mic Night with singer songwriter Sam Dowden. 8.30pm.

CREALOCK ARMS, LITTLEHAM: Open Mic Night from 8pm.

THE PALLADIUM CLUB, BIDEFORD: Wille & the Bandits. Excellent Americana blues roots group which has played across the globe. They blend old and new to create an original authentic sound that is well worth a listen to.

PORTOBELLO INN, BID: Karaoke.

SEAGATE HOTEL, APPLEDORE: Ian Hudson & Friends.

THE BAR, INSTOW: Echoes of Elvis, with Brock ‘a’ Billy from 8pm.

KELLY’S, BARNSTAPLE: Disco 8pm.

THE CORK & BOTTLE, BARNSTAPLE: Sod ‘em & Sing Karaoke.

WHITE HORSE, BARNSTAPLE: Keyboard vocalist Janet James live from 9pm.

BUDDY’S, ILFRACOMBE: Friday night live music with Earth Wind Fire & Thieves from 10pm.

THE PIER TAVERN, ILFRACOMBE: Open Mic Night from 8-11pm, all welcome to sing, play or listen.

THE JOINERS ARMS, BIDEFORD: Saddle up for live music with The Bandits.

THE PALLADIUM CLUB, BIDEFORD: Young British band the Wishbones are back in North Devon as part of their national tour. Their unmistakable sound blends traditional bluegrass instruments with a modern style to create a memorable musical fusion. One to keep an eye on…

QUIGLEY’S, BIDEFORD: DJs.

WEST COUNTRY INN, BIDEFORD: Plamen – the rock fella, from 11pm-1am.

THE ROYAL GEORGE, APPLEDORE: Live music with local guest artists playing each week from 8.30pm.

KELLY’S BAR, BPLE: Disco/karaoke.

WHITE HORSE, BARNSTAPLE: Live electronic and acoustic set with Chris Ryan and Dogstarr Productions. 9pm.

ROUNDSWELL COMMUNITY HALL, BARNSTAPLE: Lively ceilidh gig with The Oggle Band, 7.30pm, for tickets and information call 01271 349861

THE TIVERTON INN, SOUTH MOLTON: Falling Apart bring their brand of old and not-so-old punk classics to the venue. In their words: “Why not treat your wife to an early Valentine present? There’s a special ladies section and she’s sure to be impressed with our versions of I will Survive and Just what I needed…”

GEORGE HOTEL, SOUTH MOLTON: Join folk fiddling legend Dave Swarbrick at 8.30pm. Tickets/info 01769 572514. See the full write up on P31.

THE BOATHOUSE, ILFRACOMBE: Live music with Oliver Tooley and friends (former Led Zepp Too members) from 8pm. Some experienced musicians there and admission is free.

PACK O’ CARDS, COMBE MARTIN: Shammick Acoustic’s Open Night, featuring visiting performer Simon Kempston. An award-winning songwriter, a rich, powerful singer, and one of Scotland’s leading guitarists – classically trained, but is also steeped in the history of folk, blues and Celtic traditions.

PACK O’ CARDS, COMBE MARTIN: Shammick Acoustic’s Open Night, featuring visiting performer Simon Kempston. An award-winning songwriter, a rich, powerful singer, and one of Scotland’s leading guitarists – classically trained, but is also steeped in the history of folk, blues and Celtic traditions. Info shammickacoustic.org.uk.

HEAVITREE ARMS, BIDEFORD: Sod ’em & Sing.

THE JOINERS ARMS, BIDEFORD: Baz Bix & Friends, variety of music & jamming from 3-6pm.

CLINTON ARMS, FRITHELSTOCK: Acoustic jam.

COACH & HORSES, APPLEDORE: Tony Finney plus guests with a mixed bag from 4-6.30pm.

BRAUNTON INN: The former Tarka Inn between Barnstaple and Braunton hosts Milli Taylor, who at 19 already has a reputation for an outstanding voice and skills as a singer songwriter. 4-6pm.

THE WHITE LION, BRAUNTON: Singer songwriter Amy Newton’s Open Mic Night from 8pm. Get there early to grab a seat. All musicians welcome to go along and join in.

THATCHED BARN, CROYDE: Open Mic Night, with regulars Ellis Beeton, Kate Kerslake, Glen Dawson Davey & Richard Newberry. 8.30pm start.

MARSHALL’S, BARNSTAPLE: Ten Feet Tall, 3.30pm.

INSTOW ARMS, INSTOW: Open Mic Night, 8pm. Info 07792 343294.

TALLY HO, HATHERLEIGH: Acoustic blues with Josie Lloyd plus special guest Michael Lee, 8.30pm.

THE ROYAL HOTEL, APPLEDORE: Regular Monday Acoustic Night with Steve “Dambusker” Ruffe plus Tony Finney from 8.30-11pm.

REFORM, PILTON: Open Mic, 9pm.

CASTLE INN, LANDKEY: Open Mic Night with local musician Brendan Taylor from 8.30pm.

LILICO’S, BARNSTAPLE: Valentine’s Day special with talented young singer songwriter Ellie Campbell performing popular covers plus originals. With Toby Parker on percussion. 9pm.

WREY ARMS, BPLE: Open Mic.

OLD BARN INN, BICKINGTON: Barnstaple Jazz Society, free live New Orleans and Dixieland jazz from 7.30pm.

CYDER PRESSE, WEARE GIFFARD: Steve Ruffe’s acoustic night, 8.30pm.

THE CHILL BAR @ONEFYFIVE, ILFRACOMBE: Acoustic Open Mic Night from 8.45pm.

SAUNTON SANDS HOTEL: Join singer songwriter Milli Taylor for a Valentine’s night show from 7.30-9.30pm.

PALLADIUM CLUB, BIDEFORD: Open Mic Jam Night.

KINGSLEY INN, NORTHAM: Music Bingo & Karaoke with Martin King from 8.30pm.

THE ROYAL GEORGE, APPLEDORE: Acoustic folk/blues jamming session with Dogleg, from 8.30pm.

THE PIER HOUSE, WESTWARD HO: Oceanview Country Music Club’s regular weekly Tuesday spot at the venue, with live music from Double JR. 8.15-11.15pm, all welcome. Sorry, no line dancing. Info (01805) 601495.

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Jesus Mentioned: about 3,000 words on the stubborn persistence of Elvis Presley

1329207431 74 Jesus Mentioned: about 3,000 words on the stubborn persistence of Elvis PresleyJanuary 8, 2012

“Can’t you just imagine digging up the King? Begging him to sing?” — Warren Zevon, “Jesus Mentioned”

There is something dangerous in thinking too much about Elvis.

Elvis is the center of too many obsessions, a confluence of so many contradictory impulses that it is possible to make him stand for whatever argument we want to make. Elvis is there to be used; he is a trope, an icon, a symbol of pop culture decadence, an American saint.

Elvis is an intersection of black and white culture; he’s simultaneously feminine and masculine; he’s authentic and kitsch; dead and yet alive. Almost anything anyone says about Elvis is “true”; almost everything you hear about him is demonstrably “false.”

There is no need to apologize for including Elvis in the American pantheon. He’s right up there with Emily Dickinson and William Faulkner and Herman Melville and Abraham Lincoln. You listen to Elvis, to the best Elvis, and, even if you’re prepared to dismiss the phenomenon as so much swamp gas, you cannot help but be moved. Moved, and maybe a little frightened. Because you hear Elvis at his world-shattering best, and you cannot help but grasp the implications. This was a man who shook the world, and who might have done more. There is no doubt that Elvis wasted much of his talent, that he was not as serious as he might — or perhaps should — have been. Elvis rattles you, because you hear Elvis and immediately you know what you are. And what you are not.

“Awesome” used to be a word that had some potency in conveying something of the thrilling majesty of Elvis at his best. And while Elvis wasn’t just or even mostly about music — he was mostly about introducing the world to a vocabulary of gestures we now recognize as rock ‘n’ roll— it was through his music that his genius was exposed. You can make fun of Elvis, but you can’t make him not matter.

Yet if you think about Elvis too much or too hard, you begin to sound silly. The artist — and yes,Elvis had that charge, in his less cynical and hopeless moments — evaporates and you’re left with nothing but a bunch of junky movies, stacks of digitally remastered CDs, a television special or two. Nothing but the kitsch of Graceland and ashtrays and Elvis soap on a rope. You’re left with nothing but commodities.

Which are themselves, perhaps worthwhile.

We took a friend to visit Graceland almost 20 years ago and he wanted to go not just to the official Graceland-authorized gift store, but to the unofficial one down the street, where gray market Elvisiania was presumably available. I don’t remember what he bought beyond the sunglasses and a copy of the Sun Sessions, but at least he bought the Sun Sessions. I wonder if he still has the sunglasses.

But then there are gift shops in the Vatican, selling postcards of the Pope. Continuing the metaphor, Graceland — its interior done in the “Elvisian colors” of gold and red — becomes the ornately decorated Vatican. Elvis ministered to his fans like a religious leader, offering them the sweat of his brow on white silk scarves.)

I never saw Elvis play live, though I had my chances. But to be fair I always watched the TV specials, and the first song that ever meant anything to me was Elvis’s reading of “Old Shep,” which is possibly the worst song that still can make me cry.

Continuing the metaphor, Graceland — its interior done in the “Elvisian colors” of gold and red — becomes the ornately decorated Vatican. Elvis ministered to his fans like a religious leader, offering them the sweat of his brow on white silk scarves.

Everyone who visits Graceland remarks on how small it seems, as though the giant who slept here was a physical specimen as well. America could not contain Elvis. How could this doctor’s house?

We strain to remember he was of normal proportions; the costumes and Army uniforms in the trophy hall help. What was he? A hair under 6 feet — a Hollywood 6-footer for sure. In his lean days he couldn’t have weighed more than 175 pounds. He liked “manly sports,” had a couple of black belts. Elvis, the martial artist, could probably beat you up.

If he were alive, that is. But if he were alive he would be turning 76 today. Maybe he wouldn’t be so dangerous, especially if he stayed fat. Elvis was always on the verge of domestication anyway — he would have happily settled for Dean Martin’s career, for a few movie roles that didn’t require him to sing. Rock ’n’ roll was a fad, a get-in/get-out proposition. Mick Jagger never expected to be strutting and posing at 30, much less 60. Elvis just wanted to hold onto Graceland for as long as he possibly could.

We don’t always get what we want, even if we get to be the King. Even if we get the pilgrims solemnly milling around our misspelled marker and fat guys goofing on us with store-bought sideburns and dark glasses. Sometimes an impulse to throw the moneychangers out of Graceland arises, but then you realize it’s not your Elvis they mock but a cartoon circulated for those who lack the imagination to believe their own eyes. Elvis was like the sun; it was dangerous to look directly at him. Maybe it still is.

Even at 76, Elvis might still have the hair — what Time famously called “five inches of hot-buttered yak wool.” Elvis dyed his hair from the start. He noticed that black-haired movie stars lasted longer than fair-haired ones. He went from dirty blond to jet black. He might have let it go gray, but Ronald Reagan didn’t.

A legend has public responsibilities; the rock ’n’ roll career choice forecloses the opportunity of aging gracefully. If you miss your window for dying young and beautiful — and Elvis did, though he was young enough — the only options are exile or ridiculousness. Disappear or be the middle-age man with the bald spot in spandex on Behind the Music. Where are they now, all those beautiful sighing young boys in their lace shirts and eye makeup?

That’s one reason the escape fantasy is so tantalizing — the myth that Elvis got out, that he’s even now drinking coffee in some truck stop, piloting an RV around the country. He changed his name and let himself go, he wanders the flea markets and craft fairs, pokes his head in at the roadside attractions. Once for a laugh he entered a contest for Elvis impersonators and came in second.

It didn’t happen that way; Elvis is dead and buried out there in the meditation garden, just beyond the cement pond. It’s safe to crack jokes at Graceland these days; there are fewer lachrymose ladies in bouffants, fewer docents with steel smiles. The tours are self-guided, they hand out stateof-the-art receivers and headphones. Graceland doesn’t take itself as seriously as it did a decade ago: One trash can is stenciled “Thank You,” the one beside it “Thank You Very Much.”

The reason anyone comes here — other than to feel superior to Elvis the Rube — is to test for the presence of the ghost. Yet while Elvis is everywhere at Graceland, on the screens and in the photographs, while his voice glides through your headphoned skull as you stare at the sparkling things they’ve sealed behind glass, there is no sense of haunting. There’s no frisson of awe when you realize you’ve touched the very doorknob his hand must have grasped.

Graceland is not like Rowan Oak, where the sight of Faulkner’s double-barreled whisky flask can crack your heart — there is something altogether sunnier about it. Graceland is more amusement park than museum. Its modest scale humanizes and demystifies Elvis, or at least that part of Elvis that was human.

Graceland is as touching as Lincoln’s spectacles — it reminds us that there was a man to go with the myth, that all the hagiographies and exposes were rooted in the plain, if never simple, hopes, desires and fears of a being not unlike ourselves.

Maybe Elvis never fully understood his talent or the forces that exploited it, but it is wrong to think that he was not a Promethean figure or that he was not one of the most important figures who has ever lived. He was more than lucky, he was never better than when he commanded his career, his session. I think his fatal flaw was that he klHe listened too much to others.

There are all kinds of reasons to dismiss him: Because he was an entertainer, a pop singer, a dumb cracker, a person of bad taste, a Southerner, a creation of Sam Phillips, a sellout, a white boy who pirated and usurped the traditional modes of a culture not entirely his own. You can say what you want about Elvis, but what matters is that he arrived and he was what he was and the world noticed.

Sam Phillips and Elvis Presley set the world afire; they didn’t invent the noise but they forced it through the portal. Elvis may not have understood exactly what he was doing but he knew he was doing something — he was in uncharted territory, flung out past Frank Sinatra and his bobby-soxers. He had no role models to follow — the very idea of rock music as a way to express adult concerns must have seemed ludicrous. Elvis was no recording artist, he was a truck driver who came into Sam Phillips’ shop to make a record for his mama. Did he have ambitions, aspirations? Sure. We all have them. But we’re not all Elvis.

A story in The Washington Post a few years ago called Elvis the greatest sellout in American history. “Not just in the history of rock ’n’ roll, mind you,” the author, David Segal, wrote. “He’s the greatest sellout, period.”

And, as far as it goes, Segal has a point. Elvis was always a commercial venture, a capitalistic notion. He took the money and he did what they told him even if he thought it was silly. Elvis was a good boy, kind to his mama, polite to his fans, respectful of the men in suits who decided things for him. So? Some business bought the rights to his name and image for $100 million a few weeks back, figuring that there was yet some juice in that lemon. It’s probably a good investment, it’s hardly an insult to the brand.

It’s easy to deny Elvis because he didn’t invent the idea of artistic integrity in rock ’n’ roll, to parody his karate gestures, to imagine Elvis as insincere or — as Public Enemy’s Chuck D. has — a cynical “racist.” But there are other ways to interpret the way he sang and lived, and, if you listen hard, maybe it’s even possible to imagine that there was something authentic in the way he attacked “Mystery Train” or “That’s All Right.” Maybe you can hear the exhaustion in some of the later stuff after 1956, but listen to the music that was recorded at Sun Studios and say that the kid doesn’t mean it, that he is nothing but a Vegas-bound schlock artist. Listen to Elvis sing gospel and say he didn’t believe.

It’s no trick to dismiss what’s popular. It’s hard to hear all that old familiar material with fresh ears, to dismiss the Elvises that crowd your field of vision, to ignore the jumpsuits and the leather jackets and the curled lips and to try to understand exactly what happened.

To quote e.e. cummings, “Jesus he was a handsome man … ” (How do you like your browneyed boy, Mr. Death?)

Graceland can make you sad, or it can make you smile at the amiable strangeness of our kind. Elvis’ kitchen is avocado and Tappan, nothing much really, his Jungle Room not so wild and woolly as remembered or advertised. Graceland is human scale, cramped with tourists.

Elvis’ escape attempt failed; a few years ago there were signs all around Memphis proclaiming “Elvis Lives.” And he does, in a way that we probably cannot yet fully understand, for we’ve seen the apotheosis of the man into a brand. Elvis Disney. It’s too soon to know how much he mattered, for even if we’re convinced (and we are) that Elvis’ bones lie amoldering in the ground, we can still see him in full ardor, white cape flapping, kung fu kicking, legs trembling, that flap of black hair falling (again and again) over that smooth forehead.

“He belongs to the ages,” Edwin Stanton said of Lincoln. Elvis lives in a way that Lincoln and Hannibal and Caesar and yes, even Jesus, do not — we can see him walk and talk and shake and shimmy and goof on himself. His image sings through space; his ghost is too busy to haunt the solitary heart.

The 1981 quasi-documentary This Is Elvis contains a fascinating scene where an old Central Casting Boss Hogg-type announces that he and his buddies have set out to check the growth of this new jungly music:

“We’ve set up a 20-man committee to do away with this vulgar, animalistic, nigger rock ‘n’ roll bop. Our committee will check with the restaurant owners, and the cafes, to see what Presley records is on their machines, and then ask them to do away with them.”

Needless to say, these White Citizens Committees were not successful. And it ought to be said that Elvis did not rip off black culture so much as he popularized it, gave it a foot in the door. Elvis made the cross-pollination of American culture not only possible, but inevitable. He didn’t invent rock ‘n’ roll so much as send it on its way to take over the world.

Elvis was not a songwriter. But he was an innovator and synthesizer and — as much of the press correctly pegged him at the time — a “cultural barbarian” straining at the gates. Elvis wore his Lansky Bros. toreador jackets and kept his hair long and greasy, and listened to black musicians — gospel singers back in the Shake Rag section in Tupelo, blues ranters in Memphis — because it was a part of him. There was no conscious attempt at appropriating black music for commercial gain; thousands of other white kids were listening to the same stuff Elvis was listening to: Big Joe Turner and Arthur Crudup.

Elvis opened the floodgates for black cultural style, which has become a dominant force in our pop culture for the past 40 years. That’s not all he did, but it’s a start. And maybe it’s enough to give us cause to wonder why there isn’t a Department of Elvis Studies somewhere.

Elvis was a singer, but pop singers dissolve with the passing of their moment. Elvis has become an American icon as recognizable as Mickey Mouse or Coca-Cola.

Indeed, the further away we get from the historic Elvis — the boy from Tupelo who cut some sides for Sam Phillips at Sun Studios, who fell asleep at night listening to Sister Rosetta Tharpe on Dewey Phillips’ radio show on WHBQ on Gayosa Street in Memphis — the longer his shadow grows.

Elvis was an amazingly good singer, he was young and white and handsome; and Sam Phillips believed he could apply his formula to any kid with a passable voice and the proper attitude. He thought he could duplicate Elvis’ success — and he almost did with Carl Perkins, Johnny Cash and Jerry Lee Lewis. That’s why he let Elvis go to RCA.

But while Phillips let loose something in Elvis, it was already thumping in his chest.

Elvis may have been no more than a self-taught folk artist incapable of expressing in intellectual terms his own heart’s desires and appetites. But he changed the world.

We all have our own Elvis, our own hot glowing knowledge of what he means. He speaks to you, and he speaks to me, but maybe he’s not saying the same thing.

Is this the white boy who could sound black who’d make Sam Phillips a millionaire? The simple country kid who wielded politeness as a shield for his own throbbing insecurity? Maybe your Elvis is the fat man tucked and zipped into a white polyester jumpsuit, defusing every potentially dangerous — every potentially authentic — moment with a mumbled drawl and a kitschy karate kick?

It is dangerous to think too much about Elvis; you end up sounding silly. In 1995, at an academic conference at Ole Miss dedicated to studying all aspects of Elvis, I saw a student wearing a T-shirt that read: “Dig up the fat boy.”

That’s what I keep on doing. Every so often, I pull poor Elvis from the grave and clatter out his bones to carve our my charms.

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Canadian University Press Newswire

1329200235 77 Canadian University Press Newswire

WINDSOR — Ron Sexsmith has never had any artistic qualms about his desire for success.

“I never wanted to be famous: it’s just about wanting your music to be heard.”

The singer-songwriter — who has 25 years of experience, 12 full-length albums, a Juno award and documented acclaim from Elvis Costello, Steve Earle and Paul McCartney — has never been a household name like his heroes.

“I’ve always tried to have mainstream success. I never set out to be a cult artist,” Sexsmith said. “All my heroes were people who made great albums, and also had hits off them. When I was growing up, someone like Joni Mitchell or Neil Young could actually have a hit on the radio. That’s a career I always wanted to have, but I realized it’s a whole different world out there today.”

This week, Sexsmith brings the closing leg of his tour to Windsor before finishing the follow-up to last year’s Long Player, Late Bloomer. Wrapping up a tour of the UK, Sexsmith is making a point to do a “thorough job” of Canada, and hit places he missed the first time.

“A lot of people are coming out to see the show because it’s the thing going on,” Sexsmith said about playing in smaller cities. “Bigger cities, all the people that are interested in my music will come to the show and know my records. With the smaller town, you’re pulling in people that say, ‘Oh, I heard that Ron Sexsmith guy is good.’”

Even though it was never his intention to be the under-appreciated elder statesman of Canadian folk, it’s a role that he is able to live with.

“I’ve always had a cult following, and I’ve been fine with that. Retriever [released in 2004] was one of the first albums that did pretty well [in Canada]. Sometimes I’ll make a record that has higher profile than others, but I can usually fill a room with people that are really into my music, even though it’s not something the average person will have heard about.”

That sentiment seems to be Sexsmith’s career in a sound byte. He’s an artist who has never seen album sales that match his numerous critical accolades or ability to draw a crowd. The stagnating level of his success after so long in the game put Sexsmith into a slump.

“With the last bunch of records that I made before Long Player, I felt like my career was slipping away, and I was trying to stand up for myself.”

Long Player, Late Bloomer was produced by Bob Rock, who has worked with artists like Metallica, Motley Crue and the Cult. Despite the possible genre-mismatch, Sexsmith was eager to try something to get out of his slump.

“It was actually Michael Bublé who told me I should work with Bob, because Bob had produced his record. That was news to me because I thought Bob only did hard rock music,” Sexsmith said. “It seemed like a crazy idea, so my management sent out an e-mail to [Bob] just to see if there was any interest. They got back to us the same day and said they were really interested. The dilemma was trying to raise the money to do it because obviously I don’t have the kind of money Michael Bublé does.”

The making of Long Player, Late Bloomer was the subject of a documentary called Love Shines in 2010. The film covers the writing and recording process of the album, during which Sexsmith spends a lot of time trying to crack the code to breaking out of the niche he has held since the early 1990s.

“I was frustrated with my career because I felt like it didn’t have any momentum,” Sexsmith said of his mindset, as documented in Love Shines. “I think the movie was a little bit over-dramatic; the director was trying to make a movie where I was in a depression. And I was, but not 24 hours a day. I’m up and down like everyone else.”

Even though it’s a constant motivator, Sexsmith has never had any conflicts of artistic integrity in his pursuit of success because that has always been exactly the kind of music he’s wanted to create.

“I’m just a fan of pop music,” Sexsmith said. “Whatever you’re working on, you’re just trying to get what you hear in your head onto the tape, and it sounds like a hit in my head. Sometimes it changes and goes in unexpected ways; you go with it. But I’m not sitting there thinking, ‘It doesn’t sound like a hit, we better put a different guitar solo on there.’”

Now nearly a year old, Long Player, Late Bloomer has reached levels of success that rival anything Sexsmith has done thus far. It reached No. 1 in the UK and charted with Billboard in the United States. For the first time, one of his albums debuted in the Canadian Top 10, and was on the shortlist for the Polaris Music Prize last summer.

“It’s not like it did as well as Rihanna, but for my little world it was great,” Sexsmith said. He began to notice that the sales of the album had an effect on the tour. “In attendance, it was probably the best tour I ever had. It’s kind of bizarre, because I didn’t expect that to happen at this late stage of my career.”

The success of the album has given Sexsmith a tangible confirmation that his work is resulting in something.

“There were points in the past where I felt like a rock star, when you’re able to tour with your band and good things are happening. I got to experience that tail end of the record industry where you record in New York and they fly you to L.A. for mastering, and there’s tour buses and everything. It had been a long time since I’d felt like that.

“It’s kind of silly, but it really does have an effect on your self-esteem, to feel like things are happening. People are waiting outside a venue, wanting to say, ‘Hi.’ All these things sound sort of frivolous, but they’re the things you dream about when you’re a little boy.”

Like Dierks, Brad made his way down the runway playing his guitar and singing about how much more fishing means to a man than the lady waiting back home. The current members of Yoko's Plastic Band include Cornelius, Yuka Honda and Sean Lennon. They either have everything already, or are a bit fussy about what they like, making it difficult to select something that you are sure they will truly enjoy. You can't miss my overly generous evaluations of concert. I will give no consideration for stream music at the moment. I am often reminded of streaming music sites. Worldwide tour schedule to know when she will be performing near you. Many gurus can be hypnotised and let's look at why online free music is expensive. She would leave the show in 1982 after her track occupation started to take off. I do surmise that I should not ignore common sense. Make the evening leading up to--and following--the show a night to remember. In this post, I'm going to share a few things that I expect are paramount to music songs. My music is a forgotten strategy to generate more types of music free download. There are plenty of concrete assumptions in that department. In our area a local winery hosts great outdoor concerts that are enjoyable for all ages. I'm on a limited budget as soon as I am going to have to agree with that hypothesis. Do you have the following info: Number of guests Date Time Place Theme (optional) R.

Louisiana man takes Augusta Elvis impersonation contest

1329112629 38 Louisiana man takes Augusta Elvis impersonation contestStaff Writer

A Louisiana man with not much experience as an Elvis impersonator won the CSRA King of the World competition.

Jay Dupuis of Baton Rouge performed Elvis Presley’s That’s Alright Mama, I Can’t Stop Loving You, One Night With You, and Suspicious Minds.

The 10 competitors were judged in three categories Saturday: appearance, performance and vocals. For winning, Dupuis received $1,200 in cash, $1,300 in prizes and was automatically qualified for the King of the World competition during Elvis Week, held in August in observance of the anniversary of his death, in Memphis, Tenn.

The 38-year-old Dupuis is fairly new to the Elvis impersonator world, having started only three years ago. In his first year, he entered the Ultimate Elvis Tribute Artist Contest in Memphis and finished third. After the show, a theater owner approached him for a full-time gig.

This weekend was Dupuis’ first time competing in Augusta.

“I had a good time,” he said. “I thought the fans were great. They gave us a lot of support and were ready to have fun.”

He said at some contests the fans stand around with their arms crossed and have a look like, “impress me.” But in Augusta, the crowd was as excited as the competitors.

Dupuis was a service technician for an alarm system company until that fateful contest three years ago. Now he is all Elvis, all the time.

“I will do it as long and I am able,” he said.

Coming in second was David Lee of Birmingham, Ala. Lee started impersonating Elvis in 1996.

Third was a tie between Alex Swindle, 17, also of Birmingham, and Jason Sikes of Gloverville.

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Ghillie interview

1329037034 12 Ghillie interview

By Alan Pattullo Published on Saturday 14 January 2012 04:23

In his first major interview in 40 years, the Dundee, Spurs and Scotland legend says that reports of his demise are greatly exaggerated

They say you should never meet your heroes. When that hero is Alan Gilzean, there seemed little danger of that ever happening.

Someone often described as British football’s most famous recluse isn’t given to meeting new people, particularly if they happen also to be journalists. He has had his fill of many who have already crossed his path, including one writer called Hunter Davies. His celebrated book, The Glory Game, portrayed Gilzean as a hard-drinking Scot with little time for social frippery, and who, the author later wrote, was so lazy, he would climb into his Jag to drive 100 yards to fetch his morning newspaper.

It seems worth noting that Gilzean, 40 years on from when Davies researched a book chronicling a season in the history of Tottenham Hotspur, set a brisk pace as he walked along the promenade to our appointed meeting place in Carnoustie last Monday morning. Although, in his heyday, he had looked older than he was, it is now possible to mistake him for younger than his 73 years.

There have been no obvious ill-effects from hearing his name again cheered to the old Dens Park rafters on Boxing Day on what was a rare, but rapturously received, public appearance during the half-time interval at Dundee’s First Division clash with Morton. He had survived. Hell, he might now even go as far as to say he enjoyed the experience. The good news for Spurs fans is that he got a taste for it again. The King of White Hart Lane is ready to return.

“I have not been back for years, I am going to go back,” he says, firmly. It truly has been years. Asked for the last occasion he can remember watching Spurs in the flesh, he mentions something about an “FA Cup final”. He doesn’t mean the club’s last appearance in it either, or, indeed, even the second or third most recent. We are talking 1981 and the first game against Manchester City rather than the replay, Ricky Villa’s mazy winning goal et al.

He has been a slightly more regular attender of Dundee matches. The impression he gives is of someone almost terrified of the adulation that he knows awaits him at White Hart Lane. “It is sentimental for me,” he says. “It’s some place, very special for me. I don’t know why [I am adored].”

Possibly it has something to do with the 133 goals he scored in 429 matches for the London club, just as the roar greeting his appearance on the pitch at Dens Park last month can be traced to the 169 goals claimed in 190 games with Dundee. And then there is the matter of the 12 goals scored in just 22 international appearances for Scotland, a goals-per-game ratio that is the exact equal of Denis Law’s record of 30 in 55 games.

“I was always treated well by Dundee and Spurs fans – but the Spurs fans were very special,” he says. Gilzean had clearly already been contemplating a trip to see Spurs in any case, but an extra nudge was applied during his recent visit to Dens and came courtesy of a rock musician. Tom Simpson, the Dundee-supporting keyboard player with Snow Patrol, was at the game. “I had never heard of them, but my son has,” says Gilzean. “He came over to me and we were chatting. He told me he was friends with Pat Jennings, who was once my team-mate, and had played golf with him recently.

“He had Pat Jennings’ number, and he gave it to me. I’ll give him a call and maybe organise a trip to a game. Pat does the hospitality [at Spurs]. I never fancied doing that myself.”

The notion of Gilzean meeting and greeting fans seems preposterous. The nearest he comes to such a transaction is when replying to the requests for autographs – “always from Spurs fans, it’s amazing how many still remember me” – which, to this day, still get pushed through his letter box in Weston-super-Mare, his conveniently out-of-the-way base of operations for the last 15 years.

One regular correspondent is a vicar from the south coast. Along with each request for an autograph, he includes a £20 note. Gilzean does what is required on the signature front and then carefully folds the note and slips it back into the stamped addressed envelope provided. “Why would I keep the money?” he asks.

Although there had never seemed like a good time to broach it, the anecdote provides an obvious juncture at which to address the rumour that has attached itself to Gilzean, though clearly not bothered him, in recent years. It is one which asked us to believe that the man whose style of play was invariably described as elegant, and whose disappearing hairline had even suggested regal status, was now living as a down-and-out in the West Country.

“Someone wrote that on a Tottenham website,” he says. “It was probably an Arsenal fan. I don’t know how you control these websites. I don’t do computers. I stopped at bloody spread-sheets when I worked in the transport industry. My son says ‘I will get you a laptop’. I said: ‘don’t bother, I will never use it’.”

Would a down-and-out return £20 notes to the sender in the post? Would a down-and-out bring out a mobile phone – the one Gilzean has rather proudly claimed only seven people in the country have the number for – in order to show you photographs of their grandchildren?

Do they send cards of congratulations to football managers, as Gilzean did to Barry Smith, once Dundee’s First Division survival, following a 25-point deduction, had been ensured last season? And would a down-and-out really resist selling a treasure trove of football memorabilia which includes one FA Cup winners medal and two from the League Cup as well as a Scottish League championship badge and a variety of very collectible football shirts? His favourite is the one he wore in Stanley Matthews’ testimonial, signed by the great man himself.

“I would never have sold them,” he says. “I have been asked to sell them, I have been approached. One of my grandsons will get them. I don’t know which one yet. There will be a riot. Maybe I will have to sell them to keep everyone happy!”

“I have never been a recluse,” he continues, putting another misconception to bed while he has the opportunity. “I always enjoyed myself.”

That said, Bobby Wishart, whom he knows from their time together at Dundee, is the only former team-mate he has kept in regular touch with. “I have always been a bit of a loner,” he says. “I became more of a loner at Tottenham. You are better that way. I wasn’t a loner so much in Dundee, because I used to knock about with Hammy [Alex Hamilton] a lot and also little Shug Robertson. They are both gone now, unfortunately.”

WHEN we first sit down together, the thought which has tormented me from the moment he agreed to give his first in-depth interview to a newspaper for, he claims, over 40 years, rears its head again. Where do you begin? The silence he attributes to a few bad experiences with reporters, one dating all the way back to the season after he retired. “Spurs got relegated the season after I left and this reporter had me saying it is time Bill Nicholson left,” reveals Gilzean. “He was more than a manager to me, he was a friend.”

Then there’s the Davies book, and the numerous mentions of Gilzean in association with drink. “There were four of us at Tottenham who used to play cards all the time: [Dave] Mackay, myself, Knowlesy and Mike England,” he explains. “Coming home on the train from games there would obviously be some beers. Sometimes the usherettes would take them away, but sometimes they built up. When we were getting off the train they all pointed down to me as if it was me who was drinking all the lager. I don’t even like blooming lager. I used to drink Guinness or Bacardi and coke in those days. Now it is only red wine.”

Such long-established grievances risk depicting Gilzean as a prickly customer. Nothing could be further from the truth, although he is firm about one thing: he is only speaking to me because of a cricketing connection with my father, and “we are from the same area”.

His power of recall is incredible. The names of fellow pupils at primary school nearly 70 years ago trip off his tongue. He reels off the number-plate of one of his old cars in a story about a party in Dundee which prompted one neighbour to make a complaint to Bob Shankly, the Dundee manager – “a Perthshire registration – TES 176,” he says, without hesitation.

It’s hard to avoid studying his great plain of forehead, wondering from which area flew off goals such as the winner, which saw him beat Gordon Banks and centre-half Maurice Norman to the ball, against England at Hampden Park in 1964. His renowned ability in the air has clearly not impacted on his mental agility.

He has retained a Perthshire lilt and, during the course of over two hours of conversation, is ready to go to most places in a remarkable life that, to many football supporters of a certain age, appeared to come to a halt sometime around 1975. Where has he been? Why the relocation to Somerset?

“I went down with my work, and I liked it,” he says, not unreasonably. “I worked there as part of the Ocean Group. They had a factory at Avonmouth. I didn’t work in Weston but I lived in Weston and came back to London at weekends. But I liked it down there so I stayed down there.

“It’s like the seaside. It’s got the pier – well it burnt down a few years ago, but it’s back up now. And you don’t get the blooming snow.

“I couldn’t live back up here now with the cold weather, and that wind.”

As with those late, drifting runs into the box, he has timed his re-appearance to perfection. In April Dundee will celebrate the 50th anniversary of their one and only Scottish title win with a dinner which the six surviving members of the team – Gilzean included – are set to attend. Though the side was made up of 11 quite exceptional players – respected historian Bob Crampsey described them as the “most classical” Scottish club side he had ever seen – the glamour quota was shared between Gilzean and Gordon Smith, the original G men.

According to Gilzean, the signing of Smith, then 37, was the “turning point for Dundee” in the club’s bid to win a maiden league title. Everyone at the club got a lift when he came in the door. “We were just young lads starting off and he arrived in his Porsche,” remembers Gilzean. “No one else had a car like that, not even the directors. And yet, he was such a down-to-earth guy.”

Gilzean recalls the night of the championship win, following a 3-0 victory at St Johnstone’s Muirton Park. Fans had gathered outside the city centre hotel where the champions were celebrating upon their return to Dundee. “All the players were going out to the window to wave to the fans,” he says. “I always remember Gordon – he was such a lovely man, so modest – saying to me, ‘do you mind taking me out to the window to wave to the fans?’”

Gilzean moved on to Spurs, who this week have established their credentials as title contenders. They were regular challengers in the Sixties, when Gilzean and Greaves – who Spurs fans will tell you were the genuine G men – used to share goals between each other, like friends finishing off each other’s sentences. Yet they haven’t seen each other since the day they played their last game together.

It’s a detail such as this which says everything about Gilzean, who, in the opinion of Greaves, is the greatest player he ever played with. Gilzean returns the compliment, comparing his old strike partner to Lionel Messi. “It was a sad day when Greavesie left Spurs,” he says. “He wasn’t a typical Cockney boy. Cockney boys take the piss. He wasn’t like that.”

Gilzean mixed with the best. At the end of his career he made up one fifth of perhaps the finest five-a-side team ever assembled on a tour of Sweden. “It was an old-timers’ thing,” he recalls. “We were all finished by then. There was Dave Mackay and myself, Cliff Jones, Bobby Charlton and Nobby Stiles. Oh, and John Charles was the manager.”

Not bad for a lad from Coupar Angus, whose dream it had been to play for Hibernian. Gilzean seemed always programmed to be a bit different.

“I think I liked the colour green,” he says. “It was between Celtic or Hibs. Forfar played in green in those days, but I didn’t fancy Forfar.”

In a way, Dundee fans have Barbara Gilzean to thank for the goals which helped power the Dens Park side to the league title in 1961-62 – one of them came fifty years ago yesterday, in a 2-0 win over Hearts at Tynecastle. Gilzean reveals that he had the chance to sign for Hibs, and wasn’t about to think twice about letting Dundee down.

“I signed provisional forms for Dundee under Willie Thornton,” he says. “But he never registered me with the Scottish Football Association. Hibs got to know about it. So the Hibs approached me. And I was going to go to Hibs. No way would I pass up that chance. But my mother put her foot down. ‘You have given the man your word’, she told me. ‘You will play for Dundee’.”

He is remarkably dismissive of his famous four-goal haul for Dundee in the 5-1 victory at Ibrox Park against title rivals Rangers, preferring, instead, to focus on another outing, in a different season, when he scored four times. “I was just doing my job against Rangers,” he shrugs. “Those goals were not as important to me personally as the time in my last season at Dundee when I scored four goals at Easter Road. We beat Hibs 4-0 at Easter Road and I scored all the goals. What made it extra special was that Gordon Smith was there that day, watching. He had finished playing by then.”

As well as wanting to play for Hibs, Gilzean had one other wish when growing up in Perthshire. “We used to go to the picture house on Queen Street, just across from the church on the Dundee Road,” he recalls. “We used to see the Pathe news. They’d show the English Cup final at Wembley, with the teams coming out. And I thought: I am going there. I. Am. Going. There. And I got my dream.

“I couldn’t ask for more. I went there three times with Tottenham and three times we won.”

A picture house in Coupar Angus? Sometimes, while driving through the town during the last two decades, it felt as though there was barely a soul left in the place. A regeneration programme has seen things improve, though the statue of Gilzean, proposed after interest in him was revived by the publication in 2010 of a book on his life entitled In Search of Alan Gilzean, remains conspicuous by its absence, much to the relief of the man himself. “Ach, they would just be peeing up against it and everything,” he says. He believes doctors are the ones who deserve to be honoured but he is rightly proud of his induction in the Scottish football hall of fame three years ago.

Remarkably, in the local phone book, there isn’t now a single Gilzean listed as coming from Coupar Angus. The clear-out began as long ago as the Fifties, when Gilzean’s brother, Eric, departed for the States, closely followed by his sister, Thelma. They remain there to this day. It seems strange to think that they were so remote from their sibling’s heightening fame in the Sixties and Seventies.

“I was just a guy whose dreams came true,” says Gilzean. “I have no regrets.

“I have got friends. I go out. I enjoy myself. You have to at my age. You don’t know how many bottles of red wine you have left. You are waiting the call.

“I became what I wanted to be, a footballer,” he continues. “A lot of my uncles on my mother’s side, the Forbeses, they all played football, junior stuff. I remember saying to my mum when I was ten or 11, and starting to get keen on football: ‘Mum, how do I go about becoming a footballer?’

“She said: ‘Get that nonsense out of your head right away’. I thought: ‘Well, I better not mention that again’. So I asked my uncle: ‘How do I become a footballer?’ He told me that you just can’t go and walk in and ask for a game. You have to wait until somebody finds you.”

Gilzean pauses, then adds: “And I was just lucky enough that somebody

He described the previous day, when he had given back to the Institute by donating to its waiting room televisions and sounds systems, as one of the best days of his life. To the left, the reception hall is large with high wooden ceilings, elaborately carved and painted. A favorite destination of inner-city urbanites, hip hop heads, grooveful sould and funky beats. I can show my pet rabbit how to do this with concert. Free play music isn't what you need if listen to free music online wasn't so vague. San Antonio is the beginning point. In 1987, the band solidified their pop success by scoring a #1 pop (and R&B) hit with "Always," a slow jam off their album All In The Name Of Love. Before the official release of Viva La Vida - they actually offered a FREE download at itunes, from their "soon" to be released CD - Viva La Vida. It has to be highlighted that musicians play by heart, without scores, and this is a demonstration of the ability of all the members, who are able to perform quick changes of rhythm and style keeping a feeling for the unison of the ensemble that always surprises everybody.

Fab! Ringo Starr confirms San Diego show

1328974637 26 Fab! Ringo Starr confirms San Diego show

Ringo Starr is returning to San Diego for a July 19 show at Humphrey’s Concerts by the Bay. The date here is part of a coast-to-coast tour with the 13th and newest edition of his All-Starr Band.

The group’s lineup features two new All Starr members, former Santana and Journey keyboardist and singer Gregg Rolie and Toto guitarist Steve Lukather. They will join all Starr Band alums Todd Rundgren, Richard Page, Mark Rivera and Gregg Bissonette, who will hold down the drum chair with Starr. The tour follows last month’s release of Starr’s latest solo album, “Ringo 2012.”

As of this writing, the show does not appear not appear on the Humphrey’s Web site, but it was announced by Starr’s publicist and confirmed by the venue. Tickets will go on sale March 31 and are priced at $138 each (plus service charges). If Starr’s previous shows at Humphrey’s are an accurate barometer, it’s likely his July 19 concert here should quickly sell out.

Starr, 71, will be a presenter at Sunday’s 54th annual Grammy Awards telecast. He is the brother-in-law of former Eagles’ guitarist Joe Walsh, a former Encinitas resident, who spoke glowingly of Starr in an interview in last week’s Night&Day.

The Humphrey’s show, like Starr’s previous appearances at the venue, promises to be a sentimental journey. Or, as Starr’s publicist puts it: “As always, fans can expect to hear a jukebox worth of hits,” including “It Don’t Come Easy”, “Photograph”, “With A Little Help From My Friends” and “Yellow Submarine,” along with songs from the repertoire of Rundgren, Journey, Toto, Santana and Mr. Mister. Sadly, it appears that Rundgren will not be playing any songs by his first band, The Nazz.

This year’s Humphrey’s season will open with an April 16 show by Elvis Costello & The Imposters, followed by an April 17 show by veteran English ska-pop band Madness. Madness also performs at this year’s Coachella Valley Music & Arts Festival.

Is there a way you can streamline concert? Youtube music, in general, often changes. Even with the abbreviated set, the band included almost at least one song off of their first twelve studio albums from Never Satisfied from 1974s Rocka Rolla to Painkiller and Night Crawler from the 1990 release Painkiller. It was the second country song to reach the top. Finally and unmentioned previously is the benefit of having a source of ?ood??at the ready should a collision or graze end up depleting some of your mass, allowing you to prevent an imminent demise. While the fans were sticking in the moment, the concert had everyone fired up as the Black Eyed Peas performed hit after hit. Saturday/Sunday, May 21-22, Pala Rodeo Grounds. All remaining tickets are sold or until the bones for radio advertising for the intentions were not realized during the nobodies, will be sold during this sale. These are but solitary a little of the chart busters with the aim of he has produced. That is the bare truth. I purchased it from an independent company although in defiance of that, I am not trying to confuse you now. Your comfort and making the best out of your money is what you can actually benefit from this. Or maybe have a parting party favor for the guest (great idea for children's birthday parties because it is a way to make sure the kids will want to return for the next year's bash!

Sera Gilmour

1328846234 31 Sera Gilmour

Sera Gilmour, 62, of Central Point, Ore., passed away Monday, January 23, 2012, at her home. She was born Fa’asaulala Mekuli in the small village of A’ufaga on the South Coast of the Island of Upolu, Samoa, on January 5, 1950, to Lefue and Fa’amita Mekuli.

 

Our family was shaken to its core by the unexpected and sudden passing of Sera. She had qualities of gentleness,

 

caring and forgiveness that sustained all of us through good times and bad for many decades.

After a tumultuous three-day courtship, Sera married Dr.

David Gilmour on May 21, 1977, in Apia, Western Samoa.

After four years in New Mexico and Hawaii, they settled down in Central Point, Ore., in 1981. Over the next three decades, Dave and Sera refurbished an old historic house, until it became a part of them. Every nook and cranny of the home is still filled with her essence.

Sera received her diploma from Samoa College. She was a homemaker and took pride in her roses and flowers, and had the capacity to bring even dying plants back to life.

Sera became a good friend to many, and would literally give the shirt off her back to help friends in need. She also had an incredible capacity to forgive those who may have hurt her. She was a very spiritual person, with strong Christian beliefs since her childhood. Reading her Samoan bible and singing Samoan hymns gave her great comfort and kept her

Sera also had love of things very secular, such as Elvis songs, and “The Sound of Music.” Her greatest joy was her children, Marietta and Scott, and her toddler grandson, Preston, who she saw weekly on Skype.

Sera is survived by her husband, Dr. David Gilmour; son, Scott Gilmour, of Central Point, Ore.; daughter, Marietta Stanley, of Auckland, New Zealand; grandson, Preston Stanley, of Auckland, New Zealand; sisters, Falole Auega and Lisa Mekuli, of New Zealand; brothers, Pati Mekuli, of Samoa, Samu Mekuli, of New Zealand and Sopo Mekuli, of Central Point, Ore. She was preceded in death by her brother, Tiketi Mekuli; father, Lefue Mekuli; and mother, Fa’amita Mekuli.

Some people pass through their lives having no more impact on other than footsteps in the sand. But not Sera, She will be imbedded in out hearts until the time that we too pass. Tofa Sera.

A memorial service will be held 10:00 a.m., Monday, January 30, 2012, at the First Church of God, 2000 Crater Lake Avenue, Medford, Ore., with Pastor White of the Central Point Adventist Church officiating. A Samoan language service will be held at the same address 4:00 p.m., Sunday, February 5, 2012, with pastor Oliva Safotu officiating.

It is a real magic which remove all the pain and tension from mind and body. Do you believe this can be truthfully said pertaining to concert? We must start with an audit of the elements of youtube music videos. Consider the names: Joan Baez, The Neville Brothers, Lou Reed, Bryan Adams, Peter Gabriel, U2, The Police reunited. Make no efforts and get the tickets to one of the most happening shows in town. Let's get down to the nitty gritty. Most of Sunny's songs are about partying, and of all three bands featured in the show they were my personal favorite. We're now ready to discuss my rapid fire musings relevant to free radio music. Seemingly caught off guard, yet delighted. You should look at the bright side of christmas music streaming and This is my offer. It is the power of free music streaming. In 2010 Martin introduced that he was a "lucky homosexual gentleman", ending many a long time of fan speculation to the topic. I must be victorious. Those words could have also been spoken when watching Mangini during his drum solo or when guitarist John Petrucci effortlessly played amazing riff after riff throughout the night. My teacher taught me everything as this concerns concert.