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The Marshall County Arts Cooperative works to make Marshall County more of a arts community. The Cooperative brings in professional artists to perform for the public and work with students. The Cooperative has another program called the Artistic Leadership Liaisons that allows four students from Marshall County to serve on the board.
The Marshall County Arts Cooperative is not only giving students opportunities to be on board, they are also bringing different events for Marshall county High School students to participate in. One of the events that they put on last year was contacting Donny Most who played "Ralph Malph" on the show Happy Days. Most, helped drama students from Valley Heights and Marysville work on skills needed to become a good actor. Each of the students was given a section of a movie script and went on stage and performed it to the audience, Most would then critique the acting and tell the students what they could do better to make it look more real. Most also gave the students some tips on how to actually react instead of just reacting the way you think the character would react. " This workshop helped us learn quick acting skills which bettered us in the long run" said Rosa Blaske. Jr.


text:
Robert Van de Noort is a Dutch historian and archaeologist who is the Vice-Chancellor and the Chief Executive of the University of Reading.  He is the chair of the Thames Regional Flood and Coastal Committee (RFCC). He worked at the University of Exeter (2000–14) where he was the dean of the College of Social Sciences and International Studies. Van de Noort worked from 1988 to 1989 at the British School in Rome, from 1989 to 1991 at the Rotterdam Archaeology Unit, and then he went to the University of Hull (1992–2000). He is a Fellow of the Society of Antiquaries of London and a Principal Fellow of the Higher Education Academy.

Early career
Van de Noort studied History at the University of Utrecht and Archaeology at the University of Amsterdam. He worked at the British School in Rome (1988–89), and the Rotterdam Archaeology Unit (1989–1991) before moving to Britain where he became the manager of the Humber Wetlands Project (1992–2000) and the director of the Centre for Wetland Archaeology (1996–2000), both at the University of Hull.

In 2001 he was appointed Senior Lecturer in Archaeology at the University of Exeter, moving on to became Head of Department and then Head of the School of Geography, Archaeology and Earth Resources from 2003 to 2008. He also was the university's Dean of the Faculty of Graduate Research and the Dean of the College of Social Sciences and International Studies.

In 2021, as Vice-Chancellor at Reading, Van de Noort was involved in controversy with the students' union over tuition fee refunds. He refused the union's request to cancel tutition fees for the year, following concerns over online teaching during the COVID-19 pandemic and reduced contact time.

References

Vice-Chancellors of the University of Reading
20th-century Dutch  archaeologists
Year of birth missing (living people)
Living people

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A memorial in Zevenaar commemorates the Jewish victims of this town. More information on this memorial can be found (in Dutch) on the website of the Nationaal Comité 4 en 5 mei.
The map feature is temporarily unavailable due to maintenance.


You may be surprised to read that there are many consumers who have been scammed without ever realizing it; they may have entered into a bogus competition, paid money to a fake charity, or invested in a fraudulent business opportunity. If this is the case they may find that their details are on things known as "suckers lists"; these are lists which contain the names and contact details of people who have "bitten" in the past. Scammers buy and sell these lists on the premise that people who have been fooled once can be duped again, which is why, at the moment, recovery scams are very much on the rise.
What is a recover scam?
A recovery scam will target consumers who have been involved in an initial scam. Perhaps you were sold bogus insurance or you have paid money for a product online that never arrived. Another fraudulent company (sometimes, it is the same people that scammed you the first time around) will then contact you to offer a recovery service, class action suit or consumer advice etc. The trick is that these services will cost you money.
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Remember, the people who run such fraudulent activities are experts and have often been doing it for years. Protect yourself by knowing how scammers operate! And remember; if it sounds too good to be true it most likely is!


MDELab Workflow allows modeling and executing workflows in Eclipse similar to the Modeling Workflow Engine (http://www.eclipse.org/modeling/emft/?project=mwe). The major difference is that MDELab Workflows are EMF (Eclipse Modeling Framework) models themselves. Therefore, they can be created and processed with any EMF-compatible tool.
Workflow components can be plugged together in a workflow to automatically perform processes consisting of commonly used execution steps, e.g. reading and writing models, transformation models, generating code. MDELab Workflows already provides several components to also integrate third party tools, e.g., ATL, QVT-Operational, Xpand in workflows.
For example, MoTE uses workflows to generate operational model transformation rules from Triple Graph Grammar rules.
MDELab Workflow can be downloaded from our Eclipse update site: http://www.mdelab.de/update-site.
Workflows are employed in many different scenarios where complex workflows have to be automated, that consist of commonly used execution steps.


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Ex-Columbia police chief Scott arrested for failure to return his service guns
Randy Scott has been arrested again – this time for failure to return his service guns to both the city of Columbia and the sheriff's department.
Ex-Columbia police chief Scott arrested for failure to return his service guns Randy Scott has been arrested again – this time for failure to return his service guns to both the city of Columbia and the sheriff's department. Check out this story on greenvilleonline.com: https://www.greenvilleonline.com/story/news/local/2018/08/09/ex-columbia-police-chief-randy-scott-arrested-failure-return-service-guns/945225002/
JOHN MONK, The State Published 10:20 a.m. ET Aug. 9, 2018 | Updated 10:30 a.m. ET Aug. 9, 2018
Randy Scott talks with his attorneys, Bakari Sellers, center, and Pete Strom, left, during a bond hearing at Alvin.S. Glenn Detention Center. Scott was charged after finding what appears to be drugs in his home.(Photo: Tracy Glantz/The State)
COLUMBIA — Former Columbia police chief Randy Scott has been arrested again — this time for failing to return his service guns to the city of Columbia and the Richland County Sheriff's Department.
This is the second arrest for Scott, 49, who was arrested in July on a minor drug charge at his home off Heyward Higgins Road in northeast Richland.
That arrest took place during a U.S. Marshals' task force raid for a fugitive.
Deputies found the guns at Scott's house during that raid. One was a 40mm Glock that Scott allegedly failed to return to the Sheriff's Department after his resignation in July 2016. The other was a 9 mm pistol he allegedly failed to return to the Columbia Police Department when he resigned in May 2013.
Scott is charged with two counts of breach of trust with fraudulent intent, according to a press release by the Columbia Police Department and the Sheriff's Department.
This is a developing story. Keep checking back for updates.
Read or Share this story: https://www.greenvilleonline.com/story/news/local/2018/08/09/ex-columbia-police-chief-randy-scott-arrested-failure-return-service-guns/945225002/

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Communicable Diseases Intelligence, Volume 22, Issue number 3 - 19 March 1998 /
Methodology for measuring Australia's childhood immunisation coverage
This article published in Communicable Diseases Intelligence Volume 22 Issue, Number 3, contains observations and issues on the methodology for measuring Australia's childhood immunisation coverage.
Page last updated: 19 March 1998
Edward D O'Brien, Greg A Sam, Cathy Mead
National Centre for Disease Control, Commonwealth Department of Health and Family Services, GPO Box 9848, Australian Capital Territory 2601
The Australian Childhood Immunisation Register (ACIR) commenced operation on 1 January 1996. It is administered by the Health Insurance Commission for the Commonwealth Department of Health and Family Services. The ACIR holds identification and immunisation details for each child under the age of 7 years who is registered for Medicare, and any child who is not yet registered for Medicare but for whom an immunisation has been notified to the ACIR. By the age of 12 months, 98.4% of Australian children have Medicare registration (personal communication, Kathi Williams, HIC). Medicare registration includes the postcode of residence of each child, allowing reports to be prepared for Australia, for each State and Territory and for smaller units such as Local Government Areas and Statistical Divisions defined by the Australian Bureau of Statistics.1
Immunisation information may be sent to the ACIR by immunisation providers, including general practitioners, public immunisation clinics and others. The ACIR is still relatively new and not all immunisation providers are yet supplying complete details of the immunisations they carry out. In addition, some data flow problems were identified early in the ACIR's operation. Thus, the ACIR data currently underestimate the true proportion of children who are fully immunised, particularly in Western Australia and the Northern Territory.
To be considered fully immunised a child should have completed the number and type of vaccinations listed in the National Health and Medical Research Council (NHMRC) standard childhood vaccination schedule.2 Thus, at 1 year of age, a child should have completed the primary series with three vaccinations against diphtheria, tetanus and pertussis (DTP or CDT plus monovalent pertussis), three poliomyelitis (OPV or IPV) and either two or three Hib vaccinations (if the vaccine used was PedvaxHIB or HibTITER respectively). At 2 years of age a child should have completed the primary series as well as MMR (due at 12 months), Hib (PedvaxHIB at 12 months or HibTITER at 18 months) and DTP (due at 18 months).
The calculation of the proportions of children who are fully immunised was based upon birth cohorts of three months in width. The first cohort comprised children who were born in the first quarter of 1996 (date of birth between 1 January 1996 and 31 March 1996). At the assessment date of 31 March 1997, the range of ages for the cohort was 12 months to less than 15 months. The second cohort of children (date of birth between 1 April 1996 and 30 June 1996) were examined using 30 June 1997 as the assessment date.
Only immunisations given on or before a child's first birthday were considered. If a child's records indicated that the child had received the last vaccine due in each sequence then it was assumed that earlier vaccinations in the sequence had been given (thus, for example, a record of a child having had DTP3 was interpreted to mean that the child had received DTP1, DTP2 and DTP3). Only children who were registered for Medicare were included in the calculations. The proportion of children designated as fully immunised was calculated using the count of those Medicare-registered children who had completed the primary schedule as the numerator and the total number of children who were registered for Medicare as the denominator.
In addition to the proportion of children who completed the schedule, those completing vaccination for individual diseases or groups of diseases were also calculated. The proportions of children fully immunised were lower than the proportions immunised against individual diseases or groups, because children who have missed vaccination against some diseases are not necessarily those who have missed vaccination against the other diseases.
The data presented in Tables 1 and 2 are preliminary estimates of the proportion of children who are fully immunised by State and by vaccine type for the first two cohorts of children with complete immunisation histories on the ACIR. In approximately 6 months time it will be possible to report on the status of the first cohort as they pass their second birthdays.
Table 1. Proportion of children immunised at 1 year of age, prelimary results by disease and State, for the birth cohort 1 January 1996 to 31 March 1996; assessment date 31 March 1997
DTP (%)
Polio (%)
Hib (%)
Fully immunised (%)
New South Wales 21,724 74.8 74.5 74.3 71.9
Victoria 15,644 82.7 82.7 82.4 80.8
Queensland 12,197 80.7 80.6 81.3 78.2
South Australia 4,843 79.1 79.0 79.2 77.3
Western Australia 6,384 66.5 66.8 65.6 63.9
Tasmania 1,631 77.6 78.1 77.1 75.1
Australian Capital Territory 1,062 80.3 79.8 76.6 75.8
Northern Territory 923 64.8 65.0 69.0 61.4
Australia 64,408 77.4 77.2 77.2 74.9
Table 2. Proportion of children immunised at 1 year of age, preliminary results by disease and State for the birth cohort 1 April 1996 to June 1996; assessment date 30 June 1997
Change in fully immunised since last quarter (%)
New South Wales 21,975 76.2 76.1 75.7 73.2 +1.3
Victoria 15,353 82.0 82.2 82.1 80.1 -0.7
Queensland 12,300 82.8 83.0 83.9 80.6 +2.4
South Australia 4,721 79.2 79.0 78.8 77.0 -0.3
Western Australia 6,570 69.3 69.6 69.2 66.9 +3.0
Tasmania 1,582 78.3 78.5 78.4 76.0 +0.9
Australian Capital Territory 1,076 81.1 80.9 78.5 77.4 +1.6
Northern Territory 854 65.5 65.9 71.0 61.7 +0.3
Australia 64,431 78.3 78.4 78.4 75.9 +1.0
These figures were provided by the Health Insurance Commission (HIC), to specifications provided by the Commonwealth Department of Health and Family Services. For further information on these figures or data on the Register, please contact the Immunisation Section (HIC).
1. McLennan, W. Statistical Geography Volume 1. Australian Standard Geographical Classification (ASGC). Canberra, Australian Bureau of Statistics, 1996.
2. NHMRC. The Australian Immunisation Handbook 6th Edition. Canberra, Australian Government Publishing Service, 1997.
The above report provides the first of what will be regular, quarterly reports on the immunisation coverage data obtained from the ACIR.
This report presents data showing the proportion of children fully immunised at age 12 months for two 3-month cohorts. Future reports will provide data for subsequent cohorts. As the cohorts reach their second birthdays, reports will be extended to include coverage at age 24 months (2 years). These reports will appear in the Communicable Diseases Surveillance section.
This article was published in Communicable Diseases Intelligence Vol 22 No 3, March 1998.
This issue - Vol 22 No 3, March 1998


Street improvements and a new fire station will soon be on their way for Princeton as the city works to secure financing.
The city council received information about a tax note Monday, April 8 that would be utilized for major street construction and refurbishment along with the city's second fire station to be built.
"This is to address some of our immediate concerns," City Manager Derek Borg said, regarding streets.
According to information presented at council, streets improvements would include West Brown Street ($368,000), First Street ($212,000), McGee Street and East Brown Street ($484,000), Tickey Drive ($1.9 million), Gantt Street ($300,000), McLain Street ($336,000), Oak Street ($304,000) and CR 1219 ($100,000) for a total of $4,071,000.


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Home » Website » Automobiles » BMW X7 Spied In India; Likely To Launch In January
BMW X7 Spied In India; Likely To Launch In January
BMW's flagship SUV sports a gaping grille and seven seats!
2018-12-31T20:01:10+05:30 BMW X7 Spied In India; Likely To Launch In January
Upcoming X7 has been spied somewhere near Chennai
It will be BMW's first-ever seven-seater SUV
With a host of new tech on board, it is expected to cost over Rs 1 crore
Most importantly, it is larger than the Merc GLS and Land Rover Discovery
After showcasing its flagship SUV, the X7, at the 2018 LA Auto Show, BMW is now gearing up to launch it here in India. The seven-seater 'SAV' (BMW speak for SUV) was recently spied wearing a light camouflage somewhere near Chennai. Hence, it's highly likely that it could be launched in early January.
BMW's first ever seven-seater takes the company's X-series design philosophy and expands them to accommodate three rows of seats and a host of high-end technology. And it commands quite a bit of road presence too with its 3105mm wheelbase, which makes it even larger than the Land Rover Discovery and the Mercedes-Benz GLS. At the front, there's a taller and more square-shaped rendition of BMW's iconic kidney grille. Accompanying it are sleek LED headlamps which come standard across all variants. The rear houses sleek LED tail lights and a split tailgate for easier access to the boot.
Unlike the X5, the upcoming X7 is a proper people hauler. It even comes with the option of captain seats or a bench for the middle row. What's more, all seats get armrests, cupholders, USB ports and electric adjustability. Quite impressive, eh?
Creature comforts include a four-zone automatic climate control, ambient lighting and a panoramic glass roof as standard. Splash some cash and you can get a five-zone automatic climate control, ambient air package, panorama glass roof sky lounge, glass covered controls, a Bowers & Wilkins diamond surround sound system and rear-seat entertainment package. Not to forget, all this comes with a large 12.3-inch twin screen panels at the front.
The BMW X7 is offered with four different engine options - two diesel (M50d & xDrive 30d) and two petrol (xDrive 40i and xDrive 50i). While the inline-six petrol churns out 335PS of power, the 4.4-litre turbocharged, twin-turbo V8 makes 456PS. Among the diesel offering, the 3.0-litre motor makes 256PS of power while its gruntier sibling makes 400PS. The above-mentioned powertrains come mated to an 8-speed automatic transmission, with all-wheel drive as standard.
As mentioned earlier, we expect BMW to bring the X7 in January 2019. Considering the overall package, don't be surprised to see it cross the Rs 1 crore mark. When launched, it'll go up against the Land Rover Discovery, Mercedes GLS and the Volvo XC90
Source: zigwheels.com
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Death Stranding Trailer Analysis and Breakdown
The latest Death Stranding trailer sure was...something. Here's our breakdown of the game's latest preview.
By Matthew Byrd | May 29, 2019 |
The latest trailer for Death Stranding has arrived, and it's quite the sight.
In typical Hideo Kojima fashion, Death Stranding is shaping up to be a unique, bizarre, creative, and intentionally bewildering experience. While that means it will likely be at least worth checking out when it's released for PS4 on November 8, it also means that we actually don't have a great idea about what, exactly, Death Stranding is. It's likely we won't be able to answer the biggest questions about the game until sometime after its release.
The good news is that this new trailer offers enough new information to leave us plenty of room for both analysis and educated guesses. We know quite a bit more about Death Stranding than we did before the game's latest trailer, but we'd argue that the most intriguing aspects of the game are the things that the latest preview only hints at.
So join us as we breakdown what we know about Death Stranding's gameplay and plot as well as some of our best theories about what's really going on in the game.
Death Stranding Gameplay
– As suspected, Death Stranding appears to be an open-world title.
– There's certainly a survival element in-play. We hear the mysterious babies being referred to as a kind of resource, and it seems likely that limited oxygen will play a role.
– Given that we see the protagonist wearing warm clothes during the snow section, Death Stranding will likely utilize some kind of temperature system that players will need to account for with their outfits.
– Navigating this world feels like a huge part of the experience. The player's item wheel seemingly includes a grappling hook, retractable ladder, and what appears to be a climbing pick or ice ax. There seems to be quite a bit of freedom in regards to how you're able to navigate with lots of vertical and horizontal options.
– Speaking of getting around, players will clearly have access to some kind of motorcycle. We'd be shocked if that's the only usable vehicle in the game.
– Combat is strange. It does look like your best option is to run away (which we see quite a bit of). However, you'll clearly be able to utilize some CQC techniques as a last resort. We even see Sam (Norman Reedus' character) utilize a briefcase as a makeshift weapon.
– The player's weapon wheel does include a gun, so you'll clearly be able to use them in some (we're guessing limited) capacity. We see Sam use a gun later, but that appears to occur during a specific combat section that may be a story segment.
– There are a couple of instances of tracking in the trailer. The first comes when Sam sends out a kind of sonar wave. This seems to offer some "ghosted" images of nearby items and other noteworthy objects. The second instance of tracking sees Sam venture into the woods and leave a series of bright blue footsteps. These are complemented by a series of bright orange footsteps left by an invisible predator.
– We also hear Sam's backpack emit a noise similar to the radio in Silent Hill. This will also likely serve as a warning system and really plays up the game's horror elements.
– Sony has confirmed there is asynchronous online gameplay that will allow you to share supplies, safe houses, and routes with other players. Think Dark Souls.
– It's also been confirmed that there is no traditional "death" in this game and that dying will just require you find your way back from the other side.
Read More: 40 Best Video Games to Play in 2019
Death Stranding Plot
– Death Stranding takes place in some kind of futuristic version of The United States of America. America is, somewhat surprisingly, referenced several times during the game's gameplay trailer.
– Most of the references to America involve mentions of it being divided. While this is almost certainly a play on current events, it seems that some kind of catastrophic event has caused America to become even more divided (perhaps even literally).
– Actually, we see a map later on in the game that shows a geographically split version of the USA with the word "Bridges" written above it. This seems to be the logo for Sam's organization or one he is at least assisting.
– We see the President of the United States lying in a sick bed in the oval office. She pleads with Sam to help bring America together again. This is likely a flashback or very early plot event.
– Sam was clearly a soldier at some point. We see him interacting with dog tags and there are several "war" sequences.
– Edge Knot City is referenced in the trailer and sounds like a major locale in the world.
– There's a terrorist group called the Homo Demens who seem to be the faction that many of the human (and not-so-human) enemies we've seen so far belong to.
– The invisible enemies we've seen in the past are called BTs. They seem to be attracted to the rain (or even cause it).
– The many babies we've seen in previous previews are called "Bridge Babies." Sam says they allow people to form a connection with "the other side." It's apparently not a pleasant process.
Death Stranding Theories
– There's an emphasis on gold in the trailer. Many of the pre-order bonuses even involve gold items. Given some of the references to lightning in the game, we're guessing that gold is so prominent because it's a fantastic conductor.
– Oil appears to be the other major resource in this world. Given some of the game's commentary, we're guessing that Death Stranding's world is one where the West's thirst for oil has gone too far.
– The "war" sequence in the release date trailer feels out-of-place. This is most likely some kind of flashback or trip to the "other side." This is supported by the visual of soldiers fading away.
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– Speaking of the "other side," it's not clear exactly what that means in the context of this game. The most obvious takeaway is that it's a reference to the dead. "Hades" is even mentioned at one point. It feels likely that the events that caused this current state of affairs were at least partially caused by an attempt to connect to the other side.
– Considering some of the game's other commentary, we're guessing that the connections to the other side are somehow based on the idea of "living in the past."
– "Craters" and "Voidouts" are referenced in relation to the terrorist group. Voidouts most likely involve attempts at connection with the other side and craters are what is left behind in the wake of this process.
– Based on the way the release date trailer was shot, it seems that Mads Mikkelsen's character (Cliff) is a connection to the other side. He's presented as the leader of a specialized military group who seems to have access to powers (this is Hideo Kojima after all).
– Mads Mikkelsen is framed as one of the game's villains, but it seems much more likely that he's going to be something of a chaotic neutral presence in this world.
– We see a child floating in a tube below the words "baby recovery system." This is either a hint that you'll be actively rescuing babies in the world or a hint that babies in this game will need time to recover from their adventures. Given the percentage shown beneath the baby, it could very well be the latter.
– There certainly seems to be a motherly theme to the game. Again, this is likely a piece of commentary on current events, but given that Margaret Qualley's character is named Mama, we're going to go ahead and guess that subtext becomes text at some point in the game.
– Deadman (Guillermo del Toro's character) appears to be something of an undertaker given that he's dressed for the occasion and hanging around a dead body.
– Meanwhile, Heartman (Drive director Nicolas Winding Refn) looks like one of the designers of the system that we see keeping the game's babies alive. At the very least, his color scheme matches that of the machinery.
Matthew Byrd is a staff writer for Den of Geek. He spends most of his days trying to pitch deep-dive analytical pieces about Killer Klowns From Outer Space to an increasingly perturbed series of editors. You can read more of his work here or find him on Twitter at @SilverTuna014.
Tags: Death StrandingPlayStation
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News Blog Hiker Headlines: Marmot Meteorologist, Permit Planning, Face Masks, New Statue
Hiker Headlines: Marmot Meteorologist, Permit Planning, Face Masks, New Statue It's February 4. A groundhog forecasts 6 more weeks of winter. Applications for backcountry permits will open soon with some changes due to the pandemic. The National Park Service announced a mask requirement in buildings, facilities and outside where physical distancing is not possible. A statue of Billy Frank Jr. may replace the current statue that represents Washington State at the National Capitol. https://ww.wta.org/news/signpost/hiker-headlines-marmot-meteorologist-permit-planning-face-masks-new-state-statue-2-4-21 https://ww.wta.org/news/signpost/hiker-headlines-marmot-meteorologist-permit-planning-face-masks-new-state-statue-2-4-21/@@download/image/Hoary Marmot. Photo by Donald Roberts..jpg
Hiker Headlines: Marmot Meteorologist, Permit Planning, Face Masks, New Statue
Posted by cwakenshaw at Feb 04, 2021 01:42 PM | Permalink
Filed under: Hike Planning, Hiking News, Winter Recreation
It's February 4. A groundhog forecasts 6 more weeks of winter. Applications for backcountry permits will open soon with some changes due to the pandemic. The National Park Service announced a mask requirement in buildings, facilities and outside where physical distancing is not possible. A statue of Billy Frank Jr. may replace the current statue that represents Washington State at the National Capitol.
It's February 4. A groundhog forecasts 6 more weeks of winter. Applications for backcountry permits will open soon. The National Park Service announced a mask requirement. A statue of Billy Frank Jr. may replace the current statue that represents Washington State at the National Capitol. Here's some news you may have missed while out on trail this week.
The famous groundhog Punxsutawney Phil is a species of marmot, similar to hoary marmots found sunbathing in the Cascades.
6 more weeks of winter: The forecast from Groundhog Day this past Tuesday is for 6 more weeks of winter. Stay safe by following these winter safety tips, which includes checking a source other than a groundhog for a detailed forecast (Northwest Avalanche Center is a good bet). A groundhog is a type of marmot similar to the furry creatures known by Washington hikers for sunbathing on rocks in the mountains. We've never known one to predict the weather though.
Backcountry Permits: A backcountry or wilderness permit is required to spend the night in certain areas, and applications are opening soon. The permit system varies between land managers (and many land managers have made changes this year due to covid), so it's a good idea to start researching and planning now. Learn more about how permits work and when applications open for each area.
Mask Requirement: In compliance with a recent executive order, the National Park Service announced new mask requirements. Masks must be worn in all federal buildings and facilities as well as anywhere on land managed by the Park Service where physical distancing is not possible, like narrow trails and crowded viewpoints. Learn more about hiking in the time of coronavirus.
New statue: State legislators are proposing replacing the statue that represents Washington at the National Capitol in D.C. with one of Billy Frank Jr, Native American activist. The outdoor recreation community expressed support for the bill when it was heard in the House Committee on State Government and Tribal Relations Monday. It will need to move out of committee before moving forward.
Keep up to date with Trail News, our monthly email newsletter.
Check our Hiking Guide for information on what trails are open.
Check trip reports for latest conditions on trails. And if you go for a hike, file your own trip report.
Sign up for Families Go Hiking, our email newsletter for families with plenty of tips on keeping kids busy.


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Home | Delmark News Blog | The "New" Delmark Records
The "New" Delmark Records
A review two years after changing hands.
ENGLISH interview with Julia A. Miller & Elbio Barilari by Franky Bruneel. Published in "Back To The Roots" magazine.
"It was therefore no surprise when in May 2018 the news came that Bob Koester had sold the label Delmark Records, to a musician couple, or so it went. But at that time Julia A. Miller and Elbio Barilari were relatively unknown in the blues world. Two years later, we firmly believe that no one is better suited to secure the future of Delmark and the Chicago blues. Together with Elbio and Julia, we are drawing up an interim assessment of the reborn record label", says Franky Bruneel in the introduction of his feature article on Delmark Records and his interview with Julia Miller, CEO & President of the label, and Elbio Barilari, its Artistic Director. Bruneel is the Editor of the Belgian magazine "Back To the Roots" one of the most well respected blues publications in the world. Read complete English translation.
The history of Delmark Records since Bob Koester founded the label in 1953 can be found in BTTR # 33 (November 2000). The name Bob Koester is legendary among blues lovers all over the world. The family label is synonymous with quality and has proven to be crucial for the development of the Chicago blues. When we visited Delmark in June 2017, Bob Koester's wife Susan told us about the decline in the business. Bob had already sold his Jazz Record Mart and had a tiny record shop in the entrance hall of the Delmark building. A little later, promotion manager Kevin Johnson was fired. Delmark was clearly going through rough times, and Bob was already 85 years old at the time. It was therefore no surprise when in May 2018 the news came that Bob Koester had sold the label Delmark Records to a musician couple, or so it went. But at that time Julia A. Miller and Elbio Barilari were relatively unknown in the blues world. Two years later, we firmly believe that no one is better suited to secure the future of Delmark and the Chicago blues. Together with Elbio and Julia, we are drawing up an interim assessment of the reborn record label.
By Franky Bruneel
JULIA: My name is Julia Miller and I am a guitarist, composer, improviser, sound artist, visual artist, curator and educator. I specialize in synthesized electric guitar, and I co-lead the band Volcano Radar, along with Elbio Barilari, who is also my son's step-father. I've played the guitar since I was eight years old, and I also play the bass, banjo, and ukelele. I played the clarinet in high school and college, influenced by a close relative who was a Dixieland clarinetist.
In 2018, I realized a lifelong dream and became the President and CEO of the historic Chicago record label, Delmark. As your readers most likely know, Delmark was founded in 1953, and is the oldest continuously operating independent record label in the US, releasing jazz, blues, and creative music of all types. Delmark House also holds a working recording studio and an art gallery which currently hosts "Women of the Blues", a collection of photos of female blues artists by many notable photographers.
I am committed to civic and political leadership, and I feel that arts have a vital role in the current political, social, post-COVID, landscape. I am a member of the Recording Academy, the Blues Foundation, and am a certified ProTools/AVID instructor. I am also an Artistic Advisory Board member for the Ragdale Foundation. Throughout the 90's, I was particularly active as classical music composer with the American Women Composer's organization, and with the Chicago Composer's Consortium.
In the late 90s, I was the first finalist recognized for electronic music composition in the Gaudeamus Prize (Netherlands). In the early 2000's live recording of my solo electric guitar performance on Chicago's Experimental Sound Studio Sunday Solos Series, "Solo Variations", was released as a digital EP on the netlabel Pan y Rosas. Volcano Radar's first two records, "Refutation of Time" and "Electro Parables", were also released on Pan Y Rosas, and downloaded more than 75,000 times.
Often I link my music to charitable causes such as the $100 Guitar Project, a double CD of improvised and composed short pieces by 65 different guitarists which was released on Bridge Records with proceeds benefitting CARE. In 2012, I was a recipient of the prestigious Helen and Tim Coburn Meier Foundation Award for established mid-career artists for my work with site-specific improvised opera compositions. In 2018, I was awarded an NEA grant for my work with blind weavers at Chicago's Friedman Place. I received a DMA in music composition from Northwestern University (Evanston, IL) in 2005, and I also hold guitar performance degrees.
ELBIO: My name is Elbio Barilari, I was born in Montevideo, Uruguay, of Italian, Spanish and Native American descent. I went to the Conservatory for degrees in Composition and Clarinet. During my Conservatory time I became also a music writer, a passion that I still pursue. Privately I studied classical guitar and started very early to play blues, jazz and rock, both on guitar and sax. I also studied in Brazil and Germany. In 1984 I went to study in Germany with an invitation of the Deutsche Musik Wrath. I love and compose music in modern tango style as well. My whole life I have been musically omnivorous, I had my own blues and jazz combos and in the 90's I was touring in Spain and France with a blues band.
In 1998 I came to Chicago, working as the Editor in Chief for the then No.1 Hispanic weekly paper in the US, "La Raza". Slowly, I was inserting myself in Chicago's musical life for classical, jazz and blues. Several of my symphonic works have been commissioned and premiered by Chicago and American orchestras. By 2002 I had my first American jazz group, with stars such as Harrison Bankhead on bass and Avreeayl Ra on drums and the late Jeff Marx on tenor sax. Later, I had my own big band with la crème de la crème of Chicago jazz musicians. Around the same time I started my long term collaboration with my great friend and mentor Paquito D'Rivera.
In 2012 I started playing with guitarist and composer Julia A. Miller. We created the "Volcano Radar" band and we started producing our first indie albums. We also became a couple. Actually, the Delmark project (Julia's idea) came as an extension of our musical careers. The "new" Delmark is, definitely, a musician's project, not a "record label executive's" project.
How did you get in contact with Bob Koester and how did you get the idea to take over Delmark Records?
JULIA: Having lived in Chicago since 1987, I'd visited the Jazz Record Mart as a music student, but I didn't know Bob then. Elbio & I had brought an early Volcano Radar record to Bob, at Bob's Blues & Jazz – his current store – for his opinion. After that, it seemed like a transition in the record label might be possible.
ELBIO: I knew Bob Koester for many years as a client of his record store. One Sunday morning, before brunch, Julia asked me: "What if we buy Delmark?". Half-joking I said: "Of course, why not?". The same week we went to see Bob at his record store.
By the way, were there other candidates in the running?
JULIA: At the time we started discussing possibilities with the Koesters, there were no other candidates that we know of.
ELBIO: As far as we know all the previous offers were just for the incredible Delmark catalogue, with no intention of keeping the label and the studio alive. Bob Koester wouldn't even consider that.
How did the negotiations with Bob Koester go? Did you come to an agreement quickly?
JULIA: The negotiations were primarily with the Koester's, represented by Bob Jr., along with label manager Steve Wagner. Elbio and I engaged a professional CFO to help us create a business plan, and we met steadily for nearly a year, though the actual sale came together very quickly, with a lot happening in the two months before the sale.
ELBIO: That day, when we went to visit Bob at his record store, he wanted to talk about records, jazz history, anecdotes. Regarding Delmark he told us to go and talk to Steve Wagner, the label manager. We did exactly that. The process of agreeing in the terms and formulating a business plan took close to one year. A I mentioned before, the key was that Bob Koester absolutely wanted the label to keep going, which was exactly our intention. Ever since, he has expressed that he is happy we keep Delmark going and happy with the many new Delmark releases.
When we visited Delmark in June 2017, Susan Koester told us how difficult it had become. The label clearly had difficult times. Did you consciously or unconsciously take a big risk? Or had you mapped out a clear perspective beforehand?
JULIA: Before we knew her personally, we had heard that "Sue is the Glue", and that was very true. She kept in contact with many people and was truly a hub for the label. However, the label was organized in an older business model, and we knew that it would be a "reboot".
ELBIO: We knew, yes. We came up with a 5 year business plan. We knew we needed to modernize the business model and to bring Delmark into the 21st century, technologically, internet, social media, downloads, streaming, etc. We were also very conscious about the historical value of the brand, the catalogue and the marvelous recording studio.
You used to be strangers to the blues world, but a month after the takeover, the biggest blues media event in the world took place in Chicago, the Chicago Blues Festival. Together with Bob Koester, you appeared on the main stage and promised the blues audience that Delmark would always embrace the blues. Did you initially receive many questions about this from doubting blues lovers or musicians?
ELBIO: Actually, we were not strangers to the blues world. I already talked a little bit about my jazz and blues background. Julia had her own early experiences with blues and jazz. The blues and jazz communities received us warmly, wonderfully. If there were any doubts, those doubts came from people that didn't know us or did not bother to ask, not from the musicians or from our experience and firm convictions about blues, jazz and Delmark's historic role.
JULIA: I agree with Elbio
What is your affinity with blues music? Were you involved with this genre before?
ELBIO: I started playing blues when I was 14 and I got my first electric guitar, a Teisko, as a loan from a cousin. I was always seriously interested in blues and I learned with the Uruguayan blues electric guitar player, Daniel Bertolone, the best. Also, I put together a collection of around one thousand blues LPs and CDs, many from the Delmark label. Later, touring Europe as a tenor saxophonist of a blues band, I met many musicians, such as James Cotton, Henry Grey, Clarence Edwards, Lou Donaldson & Lonnie Smith and also two current Delmark artists: Dave Specter and Dave Weld. Back in Uruguay my band was hired to open both for Buddy Guy and B.B. King and we played with John Primer. At the time I was the leader of one of the best blues bands in South America. I came for the first time to Chicago in 1994 and I met and befriended Magic Slim, Sugar Blue, A.C Reed and Eddy Clearwater. In 1996 my band recorded one of Eddy's tunes, he was very happy about it. Also I went to the Jazz Record Mart and met Bob Koester for the first time. Therefore, yes, I have been always very much involved with blues.
JULIA: I played blues and songs in high school, and I walked to blues clubs as a music student at DePaul (Chicago) in the late 80's, and played recreationally in jam sessions at Rosa's, Eddy Clearwater's Reservation Blues, and Buddy Guy's, in the 90s/2000's. I studied jazz & blues improvisation in the 90's with notable teacher David Bloom (Bloom School of Jazz-Chicago). I always taught Blues history and form in my Song class at the School of the Art Institute, and one of my students from that time went on to perform with Willie Hayes and to release his own independent blues record. My first Delmark LP was Otis Rush's "Cold Day in Hell"!
So you are musicians yourselves. What is the advantage of being musicians while running a record label? Maybe you understand the concerns and needs of musicians better…
JULIA: The advantage is to the other musicians (haha!). But seriously, the business side is a big job, and we take that very seriously in a modern way – especially in terms of promotion and visibility on the internet. We prioritize creativity and the support of artistic vision. We also care very much about our position as custodians of Delmark's historical catalog.
ELBIO: Absolutely. We come from a 100% musician's perspective. We know how difficult it is to do your own indie productions and sell them. We would not propose to any musician anything that we think we couldn't accept ourselves. Delmark is not a rich label, but we offer respect, artistic freedom, collaborative work, the best deal we can afford and all the promotion we can afford by maximizing the efficiency of our team. Also, and this is very important, we can offer more studio hours than pretty much any other label, because Delmark has its own recording studio and that makes an enormous difference. When you come to record at Delmark nobody is rushing you, you can have fun. We can and we like trying things.
Elbio, you're a professor at the University of Illinois in Chicago. What are your activities there?
ELBIO: I have been teaching for 11 years the course of Latin American Music. Sometimes I also teach Jazz History. For 5 years I was the curator of the School of Music weekly concerts. I produced classical, experimental, blues, jazz & world music concert for these series. For example, I brought Eddie C. Campbell, for the first time, to the University of Illinois.
Julia, what about your teaching experience?
I was the head of the Guitar Department at the Music Institute of Chicago for more than two decades, and my new role at Delmark ties in with my work with historical recording technology and song as a professor of Sound at the School of the Art Institute of Chicago, where I taught from 2002-19. I left my position at SAIC in the spring of 2019, to focus on Delmark full-time.
When we visited Delmark in June 2018 for the press meeting about the release of the CD 'Lurrie Bell & The Bell Dynasty', we interviewed Lurrie and Steve Bell in an almost empty office. Almost all the furniture had disappeared, there was still some forgotten promotional material lying around. It was clear that you had started to give the building and the offices a serious facelift. That was the beginning of a new era for Delmark, wasn't it?
JULIA: When we came to the building in May of 2018, it was full of stuff. We were very careful to sort through everything in what is now the front gallery space. We also (later) completely reorganized the warehouse, and the listening room. We kept all of the posters and flyers, and digitized them for a Facebook gallery, and then painted the office spaces. We also installed WiFi, and a central computer hub. In order to reimagine the business, we needed to be able to see, and to access, everything in the building.
ELBIO: Completely. The recording studio was updated to the newest technology while keeping functional all the unbelievable analogue tape machines and effect racks and the great vintage sound board. The offices were completely redone. The lobby is now a beautiful art space where we host 3 or 4 art exhibits a year.
As enterprising people, you probably felt that time had stood still at Delmark. What were the things you immediately thought about "we want to do this differently"? And how did you prioritize that? What was your plan of action?
JULIA: There were many aspects of the business which were like a museum. For example, the Delmark Production Book – a written ledger of all of the releases back to 1953 – still exists. There's an old-fashioned wooden workbench in the shipping area which reminds me of my grandfather's machining business from the middle of the 20th century. The business itself was completely decentralized, with all of the systems separate, and we centralized it, creating a modern model. Our plan was always to focus on digitizing and streaming, but also to put more LPs out, as well as to radically increase digital and physical distribution and sync placement.
ELBIO: We needed to bring a 21st century business model, we needed a new and powerful website and we needed to digitize the catalogue. It took us 2 years to digitize 10 thousand songs but now they are all available digitally. This is an enormous music treasure that the "new" Delmark has made available to the world.
You made almost no changes to the studio so far. The studio radiates a kind of legendary authenticity. A lot of stuff hails from Chess, isn't it? Are you going to leave the studio intact as it is now?
JULIA: We gave the studio a digital "brain transplant" – installing ProTools Ultimate HD and keeping or repairing the historical technology. We redid the Hammond B3 for Delmark's Soul Message Band record, also adding the option of Dis to the instrument. We had the ATR-102 tape machine completely rebuilt, as well as the Pultec EQs (Chess) with new/old tube stock. This is the system we use for master tape transfer. We had the trusty Neotek Elite console in the control room reconditioned. We are going to essentially leave the studio as is – because the sound is important. However, we hope to install a surround mixing suite in the building, as well as other modern studio upgrades to partner with the ancient technology.
It's clear that behind the scenes you have prepared yourselves well before the release of new albums took off seriously. But with the CD's of Lurrie Bell and his brothers, the Rockwell Avenue Blues Band, Willie Buck, Johnny Burgin, Breezy Rodio, Dave Specter, Jimmy Johnson and now recently Linsey Alexander and Johnny Burgin's project 'No Border Blues', you have enormously accelerated the pace of new releases. Is it feasible to continue at this pace in the future?
ELBIO: Including blues, jazz and 2 classical releases we put out 20 records in 2 years. The COVID pandemic has slowed down the whole industry but we still have several releases pending for this year. In the blues field we will release the first Delmark album by pianist Johnny Iguana with guests such as Billy Boy Arnold and John Primer, the 2nd Delmark album by Demetria Taylor (Eddie Taylor's daughter), Mike Wheelers 4th album and Jimmy Burns 6th Delmark's album.
You have adapted the website of Delmark Records to today's times. Where the ins and outs of a record label used to be something mysterious, you've clearly chosen to be closer to the people. Through the concept of the website, Delmark has become very accessible for blues lovers and for the public itself. This must have been a deliberate choice. Can you tell us more about this?
JULIA: The website is the center of the business. Ecommerce and social media are the future, and we've designed the whole business around that. We hope to have even more social interaction in the future, as well as historical articles and a newsletter.
You have also started to focus more on modern trends such as offering downloads. Nowadays, what is the ratio between the income from downloads and the income from effective CD sales?
JULIA: Streaming is crucial to a record label these days. CD sales are less than they were, and LP sales (and other boutique media, like reel-to-reel) have increased.
Many people are of the opinion that CDs will eventually disappear while others claim that CDs will never disappear because artists want to sell something tangible during their performances and because many enthusiasts still want to put something physical in their collection box. What do you think about this?
JULIA: We will keep producing CDs as long as artists and audience ask for them. We also offer digital download cards currently with LPs, and are open to other physical forms – like 45s!
And yet you do not leave the real audiophiles out in the cold. You've started offering reel-to-reel tapes from the most successful Delmark albums ever. For blues lovers there is already the reel-to-reel of Junior Wells' Hoodoo Man Blues' and soon there would be one from Magic Sam. There's a hefty price tag on those reel-to-reels. Could you give us a little bit of an introduction in this matter? What exactly is such a reel-to-reel, why is it so expensive and what kind of audience buys this?
JULIA: Our reel-to-reels are first generation copies of our masters, created in an all-analog process (no digital involved) for listeners who choose that listening experience. There is a worldwide "audiophile" audience which enjoys playing and listening to tape, and the Delmark catalog is perfect for that.
Were there any Delmark-releases sold out over the years? And if so, will you make them available again?
JULIA: Yes, many. We are working on a complete digital AND physical catalog – we may make titles available with CDs "on demand" – and we are working on putting 30-40 titles back in, first on CD then eventually on LP.
As you know, we have become close friends with many musicians from the Chicago blues scene over the years and Delmark has some of them. When we checked with them for their first impressions of the new Delmark, we only heard positive reactions. Everyone told us that they feel that the artists get more support and guidance from the label. Also in terms of promotion and public relations and so on. Is that also a facet that you have very deliberately expanded and improved?
JULIA: We appreciate the Delmark family! We are happy to support all of the great music and great people.
ELBIO: Yes, we are musicians. We know what we, as musicians need, we try to provide that to our fellow artists. Again, Delmark is not a wealthy label, but it is a very welcoming and warm label.
Throughout its history, Delmark has been a blues label that mainly focused on artists from Chicago. Will that remain the intention in the future? Or do you have plans or ambition to lure national and/or international blues acts to the label?
JULIA: Delmark just released No Border Blues, a record of all-Japanese musicians influenced by Chicago Blues musicians who toured Japan. The record is led by Johnny Burgin and produced by Stephanie Tice.
ELBIO: We will maintain the focus in Chicago blues but it doesn't mean we would not release albums by blues artist based on different parts of the country or the world. If John Mayall wants to come to Delmark he will be welcome with open arms.
In August 2019 the very good news came that promotion manager Kevin Johnson – who had already worked for Delmark from 2005 to 2017 – was re-employed. For many media, including us, Kevin was a reliable contact. He's also really passionate about blues music and we all think it's a good thing he's back. We understand that his resignation was a cost-cutting measure at the time. From what point of view did you think his return to Delmark was important?
JULIA: All we know is we needed Kevin back, and we brought him back. He does an incredible job and he adapted very well to the "new" Delmark.
For almost 33 years, producer Steve Wagner has been the man behind the mixing table at Delmark. He has over 500 albums on his record. On May 1, Delmark Records announced his departure. Steve has been very important to Delmark. He has always tried to capture the natural sound of the artists. He never created some kind of unnatural radiophonic sound out of commercial considerations. It had to sound pure and true. Many artists and fans of Delmark Records will miss him. Who's going to take over his duties?
ELBIO: We recognize Steve's contribution to Delmark and he will be always a friend. As far as engineers well, we are in Chicago, we have a wide variety of experienced engineers to work in different projects. Also, Julia Miller is a very good sound engineer, very knowledgeable, and she taught classes in studio techniques at the prestigious School of the Art Institute of Chicago for many years.
JULIA: We appreciate Steve's knowledge and experience and consider Steve a friend. Steve had a two-year contract, and he decided to take some well-deserved time, after 33 years.
A lot of record labels don't have their own recording studio. For new releases, those labels have to buy studio time elsewhere, which might create more pressure. In your own studio you have everything under control. But is it profitable to run your own studio in 2020? Do artists who are not on Delmark Records also make use of your Riverside studio?
JULIA: Yes, it is profitable and yes, many artists come to record their productions in our Riverside Studio, as a rental. Also, we are operating in COVID stages 3&4 with masks and social distancing.
How did you experience the corona crisis? What impact did this have on the label's activities? For example, have you postponed releases because of corona because it is better for a CD to be released when the artist can tour again?
JULIA: In terms of the business, we kept essential operations, including shipping, and worked extensively from home. Since we are a digitally-oriented business, we redoubled our focus on this, implementing the "COVID pivot" to even more online work. We have become very familiar with zoom. Businesses are running 2-4 months behind, and shipping has been impacted, especially internationally. Releases slated for May were generally postponed by distribution, but that schedule is beginning to catch up. Delmark Records LLC received a PPP loan, which helped a lot and is a testament to the solidity of the business.
A number of Delmark artists have been active during the corona crisis with solo performances from home, which they stream on their Facebook page. Of course, the virtual tip bucket was always there. We've met you many times during the weekly lockdown concerts of Jimmy Johnson and Jimmy Burns. How do you feel about this phenomenon?
ELBIO & JULIA: we were very worried about the lack of income from live gigs and also the depression of not being active. Actually, the live streaming works fine and we have been supporting out artists very strongly, even with an online live calendar that you readers can find at delmark.com. We are also starting to stream live from the Delmark studio. As for Jimmy Johnson and Jimmy Burns, the homebound streaming has been a great touchstone, and we love listening to them every Saturday.
There are also artists who did not give any virtual lockdown concerts at all. Some have ended up under the radar because of corona. Do you think corona has compromised the careers of some artists?
JULIA: The lack of touring has been a challenge. But, the world is changing and it's important to go with that.
ELBIO: May be, but not with Delmark artists, they are all ready to go!
When you review the new Delmark Records two years after the takeover, what's the state of affairs of the label? Is the turnout better? Is Delmark Records back in line and is there a positive perspective for the future?
JULIA: From a business perspective, the two-year mark is a classic benchmark. We've hit that, and passed it. We're VERY proud of everything that has been accomplished in such a short time.
ELBIO: We knew we needed to adapt the business model to the 21st century and we did it. The turnout is great and the perspective is very positive.
What are your plans for the future? Where do you want to go with Delmark Records? What are your goals and aims?
JULIA: We've touched on many goals throughout this interview: studio upgrades, more distribution, more records back into print, new releases, a newsletter. I'm very excited about the addition of streaming to the studio. And maybe we'll release Volcano Radar on LP!
ELBIO: We will keep alive the rich Delmark history and catalogue and we will add new recordings by existing Delmark artists and new artists that are the future of the blues music. Delmark is an international label, based in Chicago but already open to the world.
VISIT "BACK TO THE ROOTS" WEBSITE: https://www.backtotheroots.be/
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Categories: Delmark News Blog
Steve Freund says
Excellent interview!!! I am very impressed with the bios of Julia and Elbio. There is lots of valuable experience with this mighty duo! Wishing Delmark another 50 years or more of making American Music……
Dave Weld says
What a great way for the public to get to know Delmark again, and the fine efforts to expand Delmark, by Elbio and Julia. Back to the Roots has always been a staunch support, for the Chicago Blues artists such as myself, and the wonderful, deep wealth of Chicago Blues history. To bridge two stalwarts like this, is a sign of hope for the future, in these uncetain times of covid. Right on!


Unfortunately the weather was not quite what had been ordered for the official opening of the Stratton Adventure Play Area although while Pete Jackson of the Play Area Group made a short announcement the rain did ease and stayed away long enough for the ribbons to be cut and the equipment declared open. Not that a little bit of wet weather damped the enjoyment of the children who waited patiently to enjoy the swings, climbing frame and zip-wire. The spirits of the adults who sampled cakes and something liquid and bubbly were not daunted either.


text:
Locals remember Glenn Frey
OPINION by KEITH GURNEE
Jan. 18, the day that the Eagle's brilliant co-founder Glenn Frey died. For all of us who love rock 'n roll, it was one of those moments you'll never forget where you were when you heard the news.
Flash back to March 16, 1974, an amazing night to be remembered. For those of us fortunate locals who attended the Red Wind Indian benefit held in the old Quonset hut auditorium at Cuesta College, it was the concert of concerts. How it happened was a remarkable convergence of good karma.
After being elected to the San Luis Obispo City Council in 1971 as the first Cal Poly student to serve on that body, then Mayor Kenneth Schwartz appointed me to serve on the Economic Opportunity Commission (EOC), a quasi-governmental entity created as part of President Lyndon Johnson's War on Poverty during the 1960s.
In accepting that position, I quickly became the commission's chairman. Before I knew it, I was way over my head, having to break up two people trying to strangle each other at my first meeting. I found a surprising ongoing tension and bitterness between the low income factions of that era. But I soon came to know John Fitzrandolph, another resourceful Cal Poly grad still in his mid-20s served as "Community Liaison" for the EOC, who was to have a major impact on the organization.
Connecting With the Red Wind Indian Foundation…
Charged with writing grants and providing advocacy services for those facing poverty in San Luis Obispo County, John got to know an organization that needed the type of help he could offer: the local band of Red Wind Indians who were trying to buy a 20 acre parcel some 22 miles east of Santa Margarita as the home for their tribe.
In my visits to the EOC office, I often saw John conversing with a distinctive Native American gentleman by the name of Semu Huaute, better known as "Grandfather, a Chumash medicine man who served as the spiritual leader of the group.
Fitzrandolf jumped at the chance to help the Red Winds and secured several grants and technical assistance to help the tribe purchase and farm the property they occupied. In the process, he soon discovered that Grandfather had some notable connections to the rock 'n roll industry, including friendships with Neil Young and a new band starting to flex its musical muscles, the Eagles.
It was not long before John hatched the idea to have EOC sponsor a fundraising event to help the Indians pay off their property: a rock concert featuring Neil Young and the Eagles at Cuesta College. With the blessing of the EOC, John got to work and his efforts came to fruition on an unforgettable night some 42 years ago.
The Rockers Come to Town…
It was the night of March 16, 1974 and what a night it turned out to be. For $5, the concertgoers got far more than their money's worth, while raising $10,000 for Red Wind.
Each of the two performances that night began with the Red Wind Indian's drum ceremony. Next, Neil Young, who had gifted two Buffalo to the tribe earlier that day, then launched into "Helpless" with his thin reedy alto followed by his classic "Heart of Gold." Then came "Cinnamon Girl" with his bombastic guitar licks as he delved deeper into his body of work. And then on came the Eagles to join Young on his finale, "Down By The River." The place went nuts!
Some who attended had not heard of the Eagles, who were just starting to hit the radio airwaves. But when they left, they knew they had heard something special. The distinctive harmonies behind the songs written by Frey and drummer Don Henley were there for all to hear starting with "Witchy Woman." Then came their string of hits including "Take It Easy," "Peaceful Easy Feeling," "Lyin' Eyes," and "Already Gone." Bernie Leadon's banjo licks on "Early Bird," Randy Meisner hitting the high notes on "Take It To The Limit," and Don Henley's "Best of My Love" brought the house down.
When the performance concluded, we all just stared at each other in disbelief at being so fortunate to be in that place at that time. Little did the organizer of the concert, John Fitzrandolph, know that this successful concert would develop into his start as a rock promoter in his own right.
Fast-forward 42 years to Jan. 18, and the death of Glenn Frey. Upon hearing the news, I immediately remembered him at the concert where he was the undisputed leader of what was to become the best-selling band of the 20th century. He was a skinny little guy with long brown straight hair and a thin mustache framing his face. It was hard to believe he was gone, taken by the same ailments that almost took my wife in 2014.
As the co-writer of many of his songs, drummer Don Henley called Frey "The Lone Arranger." By watching Showtime's "History of the Eagles"– which has been aired frequently lately—you can really get a feel for how gifted Frey and his band-mates have been.
To me, the Eagles have been nothing less than America's answer to the Beatles. Their prolific work captured the essence of the 1970s—continuing into the next millennium– as no other band could.
Farewell Glenn Frey. Thank you for your life and for sharing your special gifts on that unforgettable night in 1974 and for the rest of your creative life.
Keith Gurnee is a Cal Poly graduate, a former member of the San Luis Obispo City Council and a principal at RRM Design Group. Gurnee retired from RRM in 2013 and was elected as president of the California Planning Roundtable, a state-wide think tank organization.
Subjects: History Music
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telecranker
I posted a similar comment on the SLO Tribune story. I'm trying to reconnect with a few people that were involved with this concert.There was a doctor that lived in an old adobe house outside of town (SLO). I cannot recall his name but he had a girlfriend known as Leener. It was a rainy winter that year and a wall of their adobe house had caved in. A friend of mine knew them and rounded up a group of us to help restore the wall. That night, the Doctor and Leaner told us about this concert and said he could get us seatsup front. We still had to pay the admission, which I believe was $4 for students. That concert is unforgettable, and I've been to hunderds since. The Red Wind drum circle that opened was really cool and was my first experience with Native Americans. Songs that stood out to me (if I recall correctly) were Already Gone, Good Day in Hell, Midnight Flyer, On the Border, Take it Easy, Duelin' Daltons, Desperado, Out of Control, Outlaw Man, Bitter Creek, Cowgirl in the Sand, Revolution Blues, Vampire Blues, Ambulance Blues, and Down by the River. I have a couple b&w photos of Glen & Neil that I should scan & post. I always wondered what happened to that doctor & Leener.
obispan
I remember the "Red Winds Indians Reservation" to be in fact a commune under the disguise of a Native American "reservation", in fact led by a blond-haired, blue-eyed Jew from New York who went by the name of "Toby Buffalo".
malovato
I gotta agree with "panflash" the writer wasn't even there or at best has a fuzzy memory. I was at the second show and can assure you Lyin' Eyes and Take it to the Limit wasn't played. The way I remember it was the Indian drum group came out first and performed for way too long. Then the Eagles came out. I remember how "tight" they were. Songs sounded like they were straight off the record. When the Eagles were done, Neil Young came out and did his gig. I don't remember Heart of Gold. Actually, I was kinda disappointed by Neils gig only because he opened with "Helpless" later did Cinnamon Girl and Down by the River. Everything else he played was new stuff from his upcoming unreleased album "On the Beach" which nobody had heard before. Most of all I remember how HOT it was and standing throughout the whole thing, my feet and legs were "killing me!" I still have the $5.00 green ticket stub. Truly one of the best concerts I have ever attended. I wish I could relive it.
jwt6039
panflash you dont have a clue what you are talking about, the Eagles as well as many bands will play an unreleased song at a concert, especially if they know it is going to be a blockbuster like Take it to the Limit. I personally saw the Eagles from the 2nd row in Fort Worth in 1977, Glenn Frey said "we are working on a new album called Hotel California, here is the title track". One year later I saw them again at the same venue in the Hotel California tour, you must not go to many concerts.
Vote Up-1Vote Down
panflash
OK, so we've got some hard-core Eagles fans weighing in here. That's fine. Maybe we should just let no less an authority than The Dude in "The Big Lebowski" settle the issue for us:
gladitsnight
No, the Eagles weren't America's answer to the Beatles, they were so much better than that. That Glenn Frey was the driving force for the most successful American band of the 70's and then again in the 90s forward, I can't imagine anyone being more influential, or with a bigger following. The Eagles touched the emotions and hearts of people all over the world.
PolyProf
The rivalry in the 1960s was Beatles vs. Beach Boys. Brian Wilson and Lennon & McCartney kept trying to outdo the other. They were the driving force behind American popular music of the decade.
Props to the Eagles, a reliable, steady band with numerous great songs, but nowhere near the iconic status of Beatles or Beach Boys.
Still, that sounds like one helluva night at Cuesta College.
Well, Keith, "Take it to the Limit" wasn't even released until November of 1975, so there's no way you heard the Eagles sing it at that concert in March of 1974.
Second, to consider the Eagles as "nothing less than America's answer to the Beatles" is a rather wild stretch. Yeah, they put out some memorable ear candy for the masses, but no way they were the altering force that the Beatles were in the history of rock music.
Glenn Frey's passing is a loss, and, along with the losses of David Bowie and Paul Kantner, this year is off to a very sad start for legends in the rock business. And I suspect we're going to see more of the old big names slowly passing by, so be prepared to see some major names slipping away, including some more influential than Frey.
Pelican1
The Eagle has landed….RIP my friend.


The snow is finally melting in Utah, and that can only mean one thing; time to start spring race training! That's where our 2017 Keeper issue comes in. It's packed with over 500 local and nearby event listings, training tips, nutrition information, race spotlights, and reviews of the year's best running gear. The Keeper is your go-to guide for planning your race calendar and staying up-to-date on the latest health and nutrition info. It's designed for keeping on hand all year long, but you can also find our continually updated event calendar online at sportsguidemag.com.
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The Gourd from Outer Space!
We have a great selection of dried birdhouse gourds and a few dried goosebump pumpkins. Let your creatively run wild. Kids love to decorate something new. The dried decorated gourds can be kept year after year.


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