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Local walk raises awareness for human trafficking
Photos courtesy of The Chaparral.
An anti-human trafficking walk was held at JPL Church in Rancho Mirage Oct. 20 by A21 Campaign. The walk started at 9 a.m. at the church and proceeded to Eisenhower Medical Center then back to the church.
Every year in October the A21 Campaign gets together and does walks throughout the globe to raise awareness and put an end to human trafficking. Lynn Nelson and Aprile Poag, attendees of JPL Church, helped organize the event. Everyone showed up wearing black t-shirts and carrying earphones to listen to the podcast that went along with the walk.
"Twenty years ago I went to the Philippines with my mom and noticed the trafficking. I am from Philippine descent and it's always been in my heart to get involved. I learned that every October thousands of people walk together to fight and bring awareness to human trafficking. We wanted to bring [the walk] to our community." said Nelson, one of the hosts of the first ever Coachella Valley Walk For Freedom. She also said that "The Desert is a hub for trafficking."
Kristen Nelson, College of the Desert's specialist for the International Education Program and daughter of Lynn Nelson, said "working at the college especially with young people, it's important that we are aware and we can help each other as much as we can. I believe the walk is one of the ways I can do that."
A21 Campaign is a nonprofit organization whose goal is to end the $150 billion industry of human trafficking. A21 operates in 14 different locations across the globe, including 12 different countries. According to their website, 1% of victims of human trafficking are rescued, human trafficking is the fastest growing criminal industry in the world. The different types of trafficking include sex trafficking, forced labor, bonded labor, involuntary domestic servitude and child soldiers.
To learn more about the A21 Campaign, visit www.A21.org.


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In last week's column, I related the experience of a young Illinois woman who found herself on the receiving end of a debt collection notice – sent via her social networking page!
As I pointed out, the unusual method not only cost the debt collectors a lawsuit for emotional distress, but it also could very well have violated the Fair Debt Collection Practices Act – a federal law passed to protect consumers and set limits on just what debt collectors can do to collect a debt.
But as we'll see, the pressures of today's economy have translated to more questionable debt collection activities than ever before.
There have always been the rare extreme examples of outrageous debt collection attempts. In one case, an El Paso jury awarded a couple $11 million (reduced on appeal in 1998 to $1 million) for what they endured at the hands of debt collectors.
Seeking to recover a Visa credit card debt of $2,700, the collection agents swore at the couple; made harassing calls at work; claimed that a "hit" had been placed on one of the debtors; and even allegedly called in a bomb threat to one spouse's workplace.
In Duval County, a jury awarded $15 million to an elderly woman who was harassed by debt collects over a debt that wasn't even hers. The senior citizen, who suffered from anxiety disorders, was convinced by the overzealous collectors that she'd be jailed – so she tried to surrender to some very confused law enforcement personnel.
Last month, Dianne McLeod filed what is believed to be the first wrongful death lawsuit ever brought against a debt collector.
According to the Tampa woman's lawsuit, McLeod's husband Stanley had fallen behind on his mortgage payments after suffering a heart attack that forced him to leave his job. The defendant, Green Tree Servicing, allegedly harassed Stanley with 10-12 phone calls a day driving his blood pressure up and subjecting his weakened heart to more stress.
Sometime after an allegedly abusive phone call from one of Green Tree's collectors Stanley suffered a fatal heart attack. Representatives of Green Tree have characterized the claims as "outrageous and meritless."
For some debtors, even death is no refuge from overzealous debt collectors.
Using improved database technology to determine when estates are opened in the U.S.'s estimated 3,000 probate courts, debt collection firms are more methodical than ever than in pressing their claims. However, in many instances, no formal estate is ever created, leaving debt collectors with nothing to file against.
But does that stop them? No.
Despite the fact that in most states there is no obligation for a survivor to pay a deceased family member's debts, debt collectors report that going after surviving family members is one of the healthiest parts of their industry.
Many individuals pay the debt of a dead spouse, sibling, or parent out of sentiment or moral obligation, bur many are completely unaware that they have no legal duty to do so – and the debt collectors on the other end of the line are in no hurry to tell them otherwise.
Sometimes, the "moral obligation" collection tactic can backfire. Mark and Sara Neill of Becker, Minn., were offended when they received a dunning letter from Bullseye Collection Agency over an unpaid $88 chiropractor's bill.
The reason was that in the upper right hand corner of the notice were the letters WWJD (commonly understood to signify "What would Jesus do?"), and the Neills felt it was a blatant attempt to made them feel that there would be spiritual consequences for failing to pay the debt.
The Neills decided to do a little smiting of their own, and in October 2008 filed a class action lawsuit in federal court in Minneapolis. According to their lawyer, Thomas Lyons Jr., "This is equivalent to a shame tactic and is an attempt to guilt an alleged debtor to pay the debt by portraying the debtor as a sinner who is going to go to hell." Let he who is without sin cast the first lawyer.
In these tough economic times, consumers are using the courts to fight back against debt collectors who break the law by calling too often, calling too early or too late, talking to third parties about someone's debt, or, by making false threats of jail time, garnishing a debtor's wages, or seizing someone's home.
In Houston, for example, suits filed in federal court against debt collectors pursuant to the Fair Debt Collection Practices Act (FDCPA) were up 60 percent in the spring of 2009 from the same point a year ago. The FDCPA provides statutory penalties of up to $1,000 per violation, and claimants can also recover their attorneys' fees from those engaging in wrongful debt collection conduct.
In some egregious examples, debt collectors have not only made harassing phone calls, but have gone after people who already paid the debt or didn't owe it in the first place. In others, the collectors have pursued debts long after the statute of limitations has run on any claim the creditor may have had.
For example, Texas has a four-year statute of limitations on breach of contract causes of action. If a creditor pursues debts were incurred more than four years previously, it may be violating the FDCPA since it has no valid claim.
In New York, which currently has a six-year-long statute of limitations on collectible debt, debt collection agencies have come under increased scrutiny in the wake of horror stories of outrageous practices.
Among other incidents, default judgments were taken against numerous debtors, leading to court orders freezing their bank accounts – even those containing Social Security disability payments, which are exempt from collection. One process service firm and its CEO were even charged criminally for allegedly never serving court papers on hundreds of debtors, who were later unknowingly hit with default judgments.
New York Attorney General Andrew Cuomo has initiated a probe of the debt collection industry, and has subpoenaed documents from at least 20 different companies. In addition, New York – which already has some of the toughest laws in the country for protecting consumers in debt collection cases – passed new legislation earlier this year to require licensing of debt collectors, reduce the statute of limitations on collecting debt to three years, and require that creditors prove consumers with a "debtors bill of rights."
I've defended debt collection companies charged with FDCPA violations, and I've defended individual debtors from overzealous collectors.
As with virtually any profession, a few bad apples can damage the reputation of an entire industry, and debt collection is no different. But in these troubled economic times, as collectors and the companies who hire them operate under increasing market pressures, it is more important than ever for those struggling to pay their debts to know that they have important legal rights and protections.
John Browning is a partner in the Dallas office of Thompson, Coe, Cousins & Irons LLP. He may be contacted at: firstname.lastname@example.com

subset: commoncrawl


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Medium length hair offers unlimited possibilities when it comes to creating a fab hairstyle. However, after a while, the length might not seem so flattering after all. The best way to add a new flair to your locks is to add bangs or layers. These two accessories are among the most sought-after styling techniques of the year. Find the best do for your face shape and personality. Ranging from the edgier to the more classic variations, don't scare away of improving your styling skills with a few tricks. Inspired by the stunning hairdo of ... Read More
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Regular price
Slip-on R.M. Williams Chelsea boot feature a supple leather construction, a nimble soft toe and leather lining, and leather outsoles with a rubber heel that provide a solid grip for the city streets. Each boot has two solid cotton twill pulls, to get the boot easily on. The ankle elastic is a very strong durable elastic that will not stretch out. The toe is tapered and slightly squared. Label: R.M. Williams
Measurements in Inches • Heel Height: 1 1/8" • Bottom Length: 11.5" • Widest Measurement of Sole: 4 1/4" • Widest Sole Circumference : 11 1/4" • Stamp Size: USA 8 // women's 10
Additional notes: • Full grain leather that stands up to abrasions and scrapes • Leather lining increases comfort • Will refund shipping charges that exceed $2.00


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i think this is the best phone i ever used among sony ericssion products. this one is best to use for all multimedia users better than other phones.
vasigar, 01 Oct 2010has anyone got their screen problem rectified. If so how lond did it take for it?themes are not applied. then what type of themes are to be downloaded?and how to apply?
has anyone got their screen problem rectified. If so how lond did it take for it?
thank tou all friends for providing the opinion.
*i thought of buying thsi phone and now i changed my mind and going for c510
OMG, many of you were stucked by the screen problem... I hope se would fix it in the next production, coz i want to buy this phone
Can it does mutitasking by pressing the pop-up button, just like c510??
Plzz answer, thx
Ysh, 28 Sep 2010DO NOT BUY THIS PHONE...
its crappy hardware...the flux wire gets damaged just after a months... moreI too have been a victim of the same phenomenon....the display went off within less than a month of usage and the service centre does not have spare parts..........and will also not be having them anytime before a month..........sony has gone terribly wrong with this launch....from being a loyal ericsson fan I have become absolutely anti and will never buy an ericcson....
Strongly recommended not to buy
plzz yar tell me y this mobile is waste...
wat r dhe drawbacks
plzzz tell me
i am big fan of sony ericsson
which mobile i should buy in 9 to 10000
plzz suggest me
please tell me i want to buy this phone.hand-free vol is good or not.as compare to nokia c3
why dis mobil waste.. feautures are really good na..tell me some resons please
and if u buy this phone and regret later...like i am...
dnt say nobody warned you...
its crappy hardware...the flux wire gets damaged just after a months use...screen goes blank...its been a month since my phones been given for repair...but has not been repaired...the service center person tells u they cant do anything as they are not getting any spare parts from the company as its a new phone...
so if u really don't wanna waste your money...id say
and after such a horrible experience...both with the phone and the service...I WOULD NEVER EVER GO FOR A SONY ERICSSON PHONE AGAIN...EVEN IF ITS FOR FREE...I JUST HATE S.E
please tell me i want to buy this phone.shall i buy r not.many members sayng dat to dont buy plzz tell me ur opinion
Do not buy this phone...Worst ever phone...
Same problem here display blank...i got this problem after 12 days i bought this phone...n now its lying at the service center for a month and no repair...


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Don't have nightmares.
I've posted lots of variations on the fritter theme, crammed with everything from chick peas to cauliflower and sweet potato. These ones see carrots and courgettes take a turn, and I reckon they're the best of the lot. It might be something to do with all the cheese in them...Read More


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Background Quality Improvement in Coronary Care, a Swedish multicenter, controlled quality-improvement (QI) collaborative, has shown significant improvements in adherence to national guidelines for acute myocardial infarction, as well as improved clinical outcome. The objectives of this report were to describe the sustainability of the improvements after withdrawal of study support and a consolidation period of 3 months and to report whether improvements were disseminated to treatments and diagnostic procedures other than those primarily targeted.
Methods and Results Multidisciplinary teams from 19 Swedish hospitals were educated in basic QI methodologies. Another 19 matched hospitals were included as blinded controls. All evaluations were made on the hospital level, and data were obtained from a national quality registry, Swedish Register of Information and Knowledge About Swedish Heart Intensive Care Admissions (RIKS-HIA). Sustainability indicators consisted of use of angiotensin-converting enzyme inhibitors, lipid-lowering therapy, clopidogrel, low-molecular weight heparin, and coronary angiography. Dissemination indicators were use of echocardiography, stress tests, and reperfusion therapy; time delays; and length of stay. At the reevaluation period of 6 months, the improvements at the QI intervention hospitals were sustained in all indicators but 1 (angiotensin-converting enzyme inhibitor). Between the 2 measurements, the control group improved significantly in all but 1 indicator (angiotensin-converting enzyme inhibitor). However, at the second measurement, the absolute adherence rates of the intervention hospitals were still numerically higher in all 5 indicators, and significantly so in 1 (clopidogrel). No significant changes were observed for the dissemination indicators.
Conclusions The combination of a systematic QI collaborative with a national, interactive quality registry might lead to substantial and sustained improvements in the quality of acute myocardial infarction care. However, to achieve disseminated improvements in adjacent clinical measures, those adjacent measures probably should be made explicit before any QI intervention.
The quality of care for Swedish patients with acute myocardial infarction (AMI) is continuously increasing. Nevertheless, a great potential for improvement still exists.
The aim of the present study was to design and implement a systematic quality improvement (QI) collaborative in the area of AMI care, and to validate its usefulness primarily by analyzing its effect on hospital adherence to national guidelines. Also, the impact on patient morbidity and mortality was to be evaluated. The intervention was based on proven QI methodologies, as well as interactive use of a web-based quality registry with enhanced, powerful feedback functions.
19 hospitals in the intervention group were matched to 19 similar control hospitals. In comparison with the control group, the intervention group showed significantly higher post-interventional improvements in 4 out of 5 analyzed quality indicators (significance shown for ACE-inhibitors, Clopidogrel, Heparin/LMWH, Coronary angiography, no significance for Lipid-lowering therapy).
From baseline to the post-intervention measurement, the intervention hospitals showed significantly lower all-cause mortality and cardiovascular re-admission rates (events per 100 patient-years; -2,82, 95% CI -5,26 to -0,39; -9,31, 95% CI -15,48 to -3,14, respectively). No significant improvements were seen in the control group.
The improved guideline adherence rates in the intervention hospitals were sustained for all indicators but one (ACE-inhibitors), this during a follow-up measurement three months after study support withdrawal. No effects were seen on any indicators other than those primarily targeted.
In conclusion, by combining a systematic QI collaborative with the utilization of a national quality registry, significant improvements in quality of care for patients with AMI can be achieved.


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9 Ways Glitter Freckles Can Actually Enhance Your Beauty Routine
With 2016 already gone (boy, bye!), it's time to embrace the new year by upgrading our beauty game. While 2016 did bring us stellar beauty looks that we'll continue to use *way* into this year (lookin' at you, glitter strobing), 2017 is already winning us over with some standout trends. Glitter freckles, believe it or not, are making waves across the Insta-verse with their show-stopping faux take on a natural beauty trend. Take your Friday night to the next level by using your favorite glitter makeup and patting it across the bridge of your nose and cheeks for an OTT look that's gorgeous and hard to ignore. Ready to start 2017 off on the right foot? Explore all your glitter freckle options, below.
1. Rainbow Stars: Give your bare face a bit of sparkle with this colorful spectrum of glitter. This faux-freckle look is a must for a night out with the girls.
2. Disco Fever: Wowza! While this look would have been perfect for NYE, we say take your Friday night look up a notch with this DDG style.
3. White Noise: Want to make your tan stand out? Cover your face with white freckles and a bold blue lip.
4. Boys Club: Who says girls can have all the fun? Add stars and glitter right underneath your eyes for a glitter takeover that's hard to ignore.
5. Confetti: Get ready to upgrade your bday beauty with this confetti complexion. Pat on some confetti over the bridge of your nose and cheeks for a fun-filled look that's subtle and sweet.
6. Geometric: Hello, Gorgeous! Let your coral eye game shine by pairing it with geometric gold flake freckles. This look is seriously too good to be true.
7. Rock and Roll: Bring out your inner rocker chic with this mega babe style. Pro tip: Keep the glitter minimal to balance out this look when paired with a bold lip and fierce cat eye.
8. Fairy Magic: Who needs eyeshadow when you can deck out your eyes with faux gold freckles? Add a bold pink blush and rose-colored lip to complement the gold flakes.
9. Water Droplets: When you're looking for a more monochromatic look, give this style a try. These faux freckles are really great for beauties with blue eyes who are looking to make them pop.
Looking for more makeup inspo? Follow us on Pinterest!


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- Grip & Tilting Dock: SKU 189BGRPLCK UPC 854249006015


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Showtime expands hi-def programming
Showtime continues to expand its high-definition programming, with seven of
its original series airing in HD, including new shows The L Word, Dead
Like Me, Free for All and Out of Order, along with many
original movies in HD.
The pay service estimated that 55% of its content originates in HD and 75% of
prime-time content is available in high-resolution wide-screen format.
Showtime's SHO HDTV also offers big theatrical titles in HD.


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TORONTO — Traffic heavyweights Grand Slam Media and TrafficPartner.com announced today that the companies have agreed to merge operations and "form a conglomerate of extensive proportions."
The companies said the deal will focus on allowing the companies to strengthen European sales using Grand Slam Media's Adnium and AdRewards proprietary platforms.
"Both parties are positive that this cooperation will give Grand Slam Media global reach," Michael Reul, CEO TrafficPartner.com, told XBIZ. "Combined with TrafficPartner.com's experience and reputation, the agreement allows for a profitable perspective in the partnership."
Reul said that TrafficPartner, through its investment vehicle AdultVentures.com, looks for investments and partnerships to create new synergies on a global scale and deliver benefits to our partners.
Luke Hazlewood, CEO and main shareholder of Grand Slam Media, said that his traffic company has been in the advertising network business for 10 years and "has grown a sustainable business."
"Together we will focus on exciting projects," Reul said. "Naturally, we will only do so after our mandatory 'AdultGarten' party."
Additional information about the partnership will be revealed soon in an exclusive and in-depth video interview with Reul and Hazlewood.
The CEOs will be answering questions and show off a handshake to formalize the deal.
"Stay tuned for our exciting interview in the upcoming week," Reul said. "An outstanding deal deserves an outstanding reveal."


text: My church asked some artists in the congregation to create pieces for our current series, The Whole Story, as we began delving into the New Testament. I was assigned The Beatitudes. I must have read this passage dozens of times. It's fairly well-known and certainly referenced quite a bit in sermons. God is very gracious with us and knows we read and read and often do not retain or think about what we're reading. And sometimes, when we've read it for the thirty-fifth time, God tells you to slow down and listen.


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; Date: May 20, 2017
Tags: Doctor Who »»»» Season 10
Quelle Surprise: Missy's in the Vault? Who would have expected that!
It was way too obvious that Missy was in The Vault. And therefore, Stephen Moffatt's head fake for us was to have Missy in the Vault because we were of course going to invent all kinds of cockamamie scenarios of who's in the Vault. Moffatt did that before when introducing the Master - we'd seen Missy several times, wondered who this person was, and the much-too-obvious-answer was that Missy was the Master, which is what was actually the case.
Missy's scene on the execution platform was straight-up-Master, doing his/her best to exploit any weakness to escape what was seemingly a certain fate. In the past, the Doctor has tried hard to "save" the Master. For example with the John Simm Master, the David Tenant Doctor pleaded to offer the Master help to straighten out his personal energy system. Therefore in this case - one might think the Doctor would relish the chance to rid the universe of a baddie, but he has a history of helping the Master, and would therefore act as he did to circumvent the execution.
We now know what/who is in the Vault. It's the Master/Missy, and we know that the Doctor agreed to spend 1000 years guarding the Vault. That's quite a long time for the Doctor to stay in one place. So of course he's been making little detours like we've seen this season. A couple episodes ago we saw The Doctor bringing in "Mexican" take-out food, shooing Nardole away, and then entering the Vault. Does that mean the Doctor and Missy have been having hanky-panky in the Vault? If so, what might be the result? A daughter that then produced a grand-daughter named Susan?
Any "hanky-panky" going on would be morally troubling. Any Jailor has legal/judiciary power over the Prisoner. Yes there are instances of Prisoners and Jailors forming sexual relationships. But we're talking about the Doctor, and he's always strived to operate under high morality.
That college in Bristol is unlikely to exist for 1000 years, yes? For example it's known that in 2150 the Daleks stage a major invasion of Earth and try to steal the planetary core. The Doctor knows this. And those generation ships riding on the back of space whales, that was in 2500. If he started this Guarding The Vault task in 1947 or so (70 years before present), those and some other events are well within the 1000 year time frame. And, I'm overthinking this aren't I? He'd just move the Vault somewhere else?
Illusory truth in a fake world?
The main part of this story was this trip into the Hereticum, a super-secret library in the Vatican storing all kinds of crazy arcane knowledge. We went over the history of the word Veritas and some other details in Extremis, Season 10 Episode 6 preview
We know these crazy-looking "monks" in the red robes are capable of creating fake worlds, and are intent on invading this world for some reason or other. It's a good idea to run simulations of a plan before executing the plan. They're intelligent monks, you gotta give them that.
I don't understand something about this book, Veritas. If it's a warning for the fake-world-people then why would it be useful for the real-world-Doctor to receive a copy of Veritas? Well, the real-world-Doctor received more than that, he also received information about the nature of the creatures and the nature of the attack. Will this Veritas book play a role later in the season? Or was that just an elaborate red herring on Moffatt's part?
That begs a question - is the real-world-Doctor really the real-world-Doctor?
Pope Benedict IX in 1045?
According to Wikipedia, Pope Benedict IX's reign was 8 November 1047 – 17 July 1048 (252 days). Oh, wait, that's not accurate. Benedict IX actually held the office in three separate periods of time, including for a period in 1045. [Wikipedia1] The Doctor's memory, Lovely Girl, I knew she was trouble etc is interestingly strange since Pope's are men. But the Wikipedia page talks of how Benedict IX "seemed as if a demon from hell, in the disguise of a priest, occupied the chair of Peter and profaned the sacred mysteries of religion by his insolent courses" and that "he" was the first Pope rumored to be homosexual. A later Pope, wrote this about Benedict IX: "his rapes, murders and other unspeakable acts of violence and sodomy. His life as a pope was so vile, so foul, so execrable, that I shudder to think of it."
For better or worse, the authors of this episode chose a suitable Pope to have started the Hereticum library.
The image above is what the Doctor Who staff wants us to believe is a portrait of Pope Benedict IX.
This is the official Portrait of Pope Benedict IX, as retrieved from Wikipedia, and in turn that picture came from a book scan on archive.org. This looks like a guy, doesn't it?
On a website named "The Book of Bastards" [BookOfBastards] there's more information about Benedict IX's infamy. He frequently held bisexual orgies, had sex with animals, and on and on, seemingly intent on violating the Seven Deadly Sins as quickly as possible. Instead of being a proper Religious man, he was the scion of a wealthy family who had worked for decades to keep the Papacy in their family.
Was the actual Pope Benedict IX actually a woman in disguise? Or is Doctor Who playing a little loose with our history? Given that Benedict IX ruled nearly 1000 years ago, it's very unlikely we can determine the truth.
What we do know is that the Pope they chose for this episode was a real gem of lunacy. Trouble would be a very good word.
This fake world did have some differences from the "real" world, though. For example, fake-world-Bill asked Penny out on a date, and real-world-Bill hadn't done so yet. Maybe its fake-world-Pope-Benedict-IX who was a woman, and the Doctor Who staff isn't asserting that real-world-Pope-Benedict-IX is a woman?
I'm definitely overthinking
Yup. I should stop here.
Oh.. Nardole. No longer just a comedy side-kick. I said I was gonna stop though. Oh... wait... River Song's diary in his pocket. I stopped already. Sheesh.


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CULTIVATING THE SEED OF YOUR SOUL by Cathy D. Slaght
Strange way, maybe, of looking at how we create reality- but it's said that what we know as the SOUL is simply the ability to choose.
If that's true, and environmental stress such as fluoride, EMF, sugar and so on impacts choices by lowering voltage - we want to do as much as possible to manage this.
So, for example
Maybe it wouldn't hurt to add basil to drinking water?
And my personal favorite for working with basil - pesto
Plenty of recipes online- here's Jeff Primack's 9 clove healing pesto, which may have the added benefit of keeping vampires away on Halloween-
In blender-
Serve over meat, pasta, vegetables…delicious! seriously!
Also, are you aware that recipes can be added to the Pro Tool dispenser? According to what many quantum scientists believe, just receiving the energy of a recipe via a software program such as the SRC can provide the same nutrition.
For me, the jury is still out, but am going to follow the "what could it hurt?" philosophy and give it a try.
Meanwhile, a few other tips for working with stress related to fluoride- as always, plenty more information online-
The point of all this is MASTERY…not of others, but OURSELVES.
This involves taking charge of one's own thoughts/choices.
Could there be certain attitudes that lead to this? YES – more tomorrow.
Today's scan- etheric, not physical
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Cathy D. Slaght
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October 2019


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Curating Downtown New York's Most Futuristic Space, with Her Own State-of-the-Art Style
There's an art world player stereotype, isn't there? Gallerists and curators are often stereotyped as rather humorless characters: serious, stark, and sheathed in a monochromatic palette. But when Isolde Brielmaier and I sat down for coffee recently, the director of arts and culture of Westfield World Trade Center was quite the opposite. Warm, hilarious, and with a penchant for madcap Marco de Vincenzo designs, Brielmaier feels as modern as the art she's poised to install within the expansive Oculus structure come August once its spaceship-like doors open to the public. Tthe former SCAD Museum of Art chief curator hints at attracting a slew of daring new art installations that are sure to draw the eyes of city dwellers from all five boroughs as they make their way through the futuristic transportation hub.
Splitting her time as an adjunct professor at NYU's Tisch School of the Arts and a fixture on the art scene, it's imperative the academic and working mother of one dresses for comfort and impact—clothes can take her from meetings to openings. For the Ugandan-Austrian former dancer, this mostly means creating a look that puts an artful spin on the corporate dress code: Gucci suits and Robert Clergerie platforms. Here, Brielmaier talks about the soon-to-be-unveiled exhibits at the Oculus and tells us what pieces keep her in step with the art world.
Fashion as Art
"My first forays into fashion were rooted in costumes and performance. I was trained in classical ballet and modern dance and performed some amazing pieces that were always accompanied by ornate costumes made of luxurious fabrics, textures, and patterns. Aside from my love of dance, I began my career in the arts at the Guggenheim Museum, managing the museum's public programs and events. I went on to do my PhD at Columbia, and my time there really reinforced the idea that people of different cultural backgrounds and belief systems can come together to discuss shared ideas through art. I love working with artists. Artists are our eyes and ears of the world, and I pay very close attention to what they are doing, thinking, and making."
The Multi-Hyphenate Creative
"My role as director of arts and culture for Westfield World Trade Center, as well as my post at NYU's Tisch School of the Arts, allows me to occupy both public and private sectors. My students challenge me to think in new ways about my work outside of the university. Likewise, my work with artists and within the private sector has expanded my perspective as a curator and scholar. After a couple of years of planning and relationship-building throughout Lower Manhattan, I'm most excited to kick off the public art program within the Oculus at Westfield World Trade Center. It has been incredibly rewarding to collaborate with our cultural partners, local schools, and to work with artists on big ideas for this profound space. My hope is that everyone who moves through this space will be inspired by unexpected and enriching cultural experiences."
Looking Ahead
"I am really looking forward to the fall semester at NYU. My courses are focused on the impact of our visual world, which includes images in all forms as well as new media and social media. And I am also working with several philanthropic organizations on upcoming benefit events. I am very much committed to supporting arts education, criminal justice reform, and global women's issues."
Style Roots That Go Deep
"I have a culturally diverse background, which I cherish deeply. My time with my family in eastern Africa has influenced me greatly. My Ugandan grandmother's style also has had a tremendous impact on me: She wore dresses in bright patterns with strong ruffled, pointed shoulders with matching head wraps every day. I remember this quiet, graceful, strong woman who seemed to glide across the ground as she moved.
"I also went to high school for a time in Hamburg, Germany, where much of my mother's family lives. Hamburg is such an elegant, regal city and people there really dress the part. My upbringing has enabled me to learn how to exist in many places at once, to be most comfortable in those in-between spaces. This has definitely translated into how I approach my personal life and my career and how I dress for both. I love textural and thematic contrast, mixing things that don't at first seem to go together: a perfectly tailored suit and a cool pair of sneakers, or different patterns and textures layered together."
Art Teacher Chic
"In my line of work, no day is a typical one. I often start off with an early breakfast meeting, then head to the office, and then the day might unfold with meetings, calls, and site visits that involve taking our community and cultural partners as well as artists on tours around the World Trade Center. I have evening events several times a week, plus I also teach and work with students, so I value comfort—a sense of ease is really important to me. I have a bit more freedom to be 'artistic' or simply wear all black—the art world 'uniform'—and as a professor, I am always inspired by my students. I gravitate toward big statement pieces. I love accessories! Shoes, bags, and lots of bracelets that I have picked up over the years stacked on my wrist. My signature piece is probably a very large pair of glasses that frame my entire face. I adore them."
Curating a Massive Accessories Closet
"I am in heels by day and by night, if I can. I like a comfortable flat or sneaker on the way to work or in between meetings when I am on the go. For heels, I like Robert Clergerie, Manolo Blahnik, Gucci, and classic stilettos from Sergio Rossi. For sneakers, I'm a 'classics' kind of girl, so I lean toward Adidas and Nike, but I also like Acne Studios. I collect jewelry inspired by Indian wedding pieces and am especially fond of the ring that my husband designed with the jewelers at Reinstein/Ross, one of my favorite places in New York. I also like Monique Péan's designs, which combine sculptural and organic elements; plus she packs strong social consciousness into each collection. I absolutely adore the rings and bracelets by Wilfredo Rosado. I always feel elegant yet edgy when I wear his designs; they draw heavy inspiration from art and the street."
Gallery-Hopping Uniform
"Weekends for me are about comfort. I typically wear sneakers and T-shirts. My daughter enjoys when I wear a Comme des Garçons T-shirt—the little face always cracks her up. We love to bike around the city, so a jumpsuit is also part of my weekend fare: perfect for a stop in the park, a quick snack in a café, or peeking into art galleries in Chelsea or the Lower East Side."
Out of Office in Style
"This month, I am off to attend a large exhibition in Spoleto, Italy, and will also spend a few days in Rome, which is one of my absolute favorite cities on earth. I'll travel for work to South Africa later this year. While there, I will be on the lookout for stackable bracelets by local artists and beadwork—beautiful, bold, vibrant beads—and other jewelry pieces for which this part of the world is so well-known!"


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Publications Search
This publications portal is a repository of all IOM migration and health publications from 2006 to present where IOM was a primary contributor.
Publications include peer-reviewed scientific papers, technical reports, training guides/manuals, policy briefs/discussion papers, factsheets, newsletters, research reviews, conference and poster presentations. These are categorized by topic, author, country/region covered as well as by year, language and type of publication. The map reflects the countries covered by the publications.
To browse or search: simply use the filter options on the left-hand side. Alternatively, you can enter key word/s in the search box. Selecting a specific publication will lead to a 'download' link or link to the website where the document is housed. Here is the step-by-step guide for your reference.
Returning with a health condition: A toolkit for counselling migrants with health concerns
Janet Rodenburg, Evert Bloemen


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Painter Turns to Hammersmith
Christmas of 1973, an album by the Canadian band Painter hit the North American
market like a ton of TNT. To call it "heavy" was an understatement – yet it was
also sophisticated and melodic, and replete with radio-friendly hooks. And part
of its appeal was that it came from a band which appeared to have no track
record with the record-buying public. That was quite untrue of course.
of the Calgary-based band 49th Parallel, named after the invisible
line of the Canadian-U.S. border. Formed in April 1967, it included in its
ranks Danny Lowe, Bob Carlson, Dave Petch (later replaced by Jack Velker), Mick
Woodhouse (later replaced by first Dave Downey, and then by Alf Cook) and Terry
Bare. With the vocals of Dennis Abbott, they were a punkish but straightforward
pop band and sounded almost – well – British.
popular touring act with smart matching military style jackets (with chevrons
on the sleeves), they also forged a relatively unremarkable recording career. Their
first single was released in May 1967 and received the attention of Billboard Magazine: "It's RCA Victor
here for the debut single by a Calgary group, the 49th Parallel,
with "Laborer" and "You Do Things To Me" from the Canadian–owned Gaity label in
the U.S." It received encouraging airplay in Canada, but did not sell in large
numbers. Their follow up 45 rpm was the wonderfully-titled "Citizen Freak" b/w "She
Says" in early 1968.
clear direction with the band and let them go that spring. They rebounded by
joining up with another American company. Again it was Billboard that announced in July 1968: "The Calgary group, the 49th
Parallel, is now on the Venture label in the U.S. distributed by Quality
Records here, with their "Blue Bonnie Blue" [written by Delaney Bramlett]
happening out west." Venture was a short-lived label from Los Angeles, sporting
mostly African-American acts. It was run by president Mickey Stevenson, and was
distributed by MGM Records in New York.
was "Now That I'm A Man", followed by what was to be their swansong "Twilight
Woman" in January 1969. It sold and got airplay, and stayed on the CHUM charts
for seven weeks (CHUM being Canada's premiere rock radio station based in
Toronto). And according to Billboard
on April 26th: "…"Twilight Woman" now on every major chart in Canada." Taking
advantage of this surge of popularity, the band issued their one eponymous album
in September of that year. It was a bit of a hodge-podge, made up of their
singles and studio outtakes over a number of years and sessions.
chum Doran Beattie replaced Abbott shortly after the LP's release. He recalls:
"I started as a folksinger…won the Alberta Music Festival in 1967 (the category
was "Modern Folk"). I was in a few local bands of little status…The Time
Watchers, then formed Size 5…a rival band to Danny's 49th Parallel."
down their instrumentation, and veered onto a heavier course. They also decided
to relocate to their "promised land" – the U.S.. Billboard continued to take an interest in them, and reported in
July 1969 that: "The 49th Parallel, a western Canadian rock band,
has moved from Alberta city to live in Hollywood. The group, on Venture Records
in Canada, recently had a nation-wide hit single "Twilight Woman."
do a proper album, returning to Canada and recording several sessions worth in producer
Don Grashey's DMG Sound Studio in Port Arthur (now Thunder Bay), ON where they
had recorded most of their singles. Unfortunately they could not find a label
who believed in the package, and it was never issued. Even so the sessions gave
birth to the single "I Need You" b/w "Goodtime Baby" released in 1970 on Quality
Records in Canada and Barry Records stateside. Feeling somewhat discouraged, Lowe
finally decided to jettison the Parallel name that summer and, upon the advice
of his friend Randy Bachman, settled on the name Painter.
Painter of 1970 consisted of Lowe on guitar, Doran Beattie on vocals, Alf Cook
on bass and Paul Burton on drums. With a new name, it meant they had to start
from scratch again. Scratch in this case meant they had to return to play the
high school circuit in Edmonton and Calgary, and then slowly make their way out
of town and across the prairies. The last six months of that year saw them
gigging in such desirable watering holes as Sylvan Lake, St. Paul, Grande
Prairie, Fort St. John, and even Waskatenau – with a population of 200 on a
good night.
first 45 rpm offering in 1970 on Bachman's Molten label. Recorded in Chicago's
RCA Studio, the disc featured "Daybreak" (a song originally recorded by The
McCoys and written by Rick Derringer) b/w "I Do the Best I Can." It sunk like a
stone, and a rearrangement of personnel soon followed. Burton was replaced by original
49th Parallel drummer Terry Bare, and fellow Calgarian Wayne Morice
joined as bassist and co-writer in January 1971.
equally impressive musical lineage. He was a founding member of the legendary
(at least for Calgary) Centurians. In 1965 he relocated to the west coast where
he played in numerous bands, and just prior to moving back to Calgary was a
member of the ensemble with the highly suggestive name of Sweet Beaver. They
were the house band at the Vancouver nightclub Diamond Jim's. He remembers
was still playing in Vancouver when one night I heard a song on the radio which intrigued
me. It was the original "Daybreak" by Painter from Calgary. I didn't recognize the
players or singer but I thought it was a great song and good band. Two
weeks later I went to Calgary to visit family and friends over
Christmas. One night a friend and I went for pizza, and "Daybreak" came on the Juke
box and my friend said it was Dan and
Dorn with Alf Cook on bass. I first met Dorn in 1962 at his parent's house. His sister had a party and my band
was playing there. I met Dan in 1963 as we went to high school
together. I knew Alf from his days with the Esquires.
with Lowe and Beattie he recalls:
Sometimes when you start playing, it takes a minute, sometimes a week, sometimes a month (sometimes it never happens) where someone else catches your groove or you catch theirs – you gotta link up. You can play together for 10 years, but if
you don't sync up, it doesn't work. Well, we linked right away!
with Morice was an appearance on CTV's
nationally syndicated program Come
Together where they did a smoking version of Grand Funk's "Aimless Lady." He
continues: "After three months we were really starting to write – we were
getting more sophisticated…but it wasn't quite working – it needed something
else." In particular they needed a drummer who could play around Lowe's power
chording and alongside Morice's stomach-rumbling heavy bass.
into a musician friend just at that point who suggested they contact Bob Ego. This
was Bob "Herb" Ego, an Edmonton drumming powerhouse who had established an
enviable reputation amongst western Canadian percussionists – especially with
his versatile work in the Saskatoon-based Witness Inc. which had just broken
up. That band had jammed with Lowe in Calgary in February 1971 the day after
their own appearance on Come Together. The session gave rise to
exciting visions of a strong new Witness band. They were awed by Lowe's prowess
– Ego still remembers "Danny came out with some really monster licks at that
session!" It was not to be however, as Lowe opted to continue on with Painter.
The meeting of Lowe and Ego though would prove significant.
Calgary the last week of April, auditioned, and was welcomed on board. Morice
rehearsal hall to see if it would work. We weren't sure what to play – he didn't know our material. So Danny said "what should we play?" and I said "Oh Well" [the Fleetwood Mac tune]. So we started and Bob came right in with me, no hesitation. Danny stopped playing but Bob and I kept going – it sounded great! We looked at each other, this little fart on the drums,
and we knew it was right. And we were both snorting drunk at the time!
into May 1971, the group felt complete. As a unit they continued to build a
solid repertoire of original songs. As Ego muses:
very special. Our rehearsals were more
like concerts. The songs arrived in a natural progression. Rarely did we discuss a format or get writers
block. We were young, competitive and very aggressive. The words formula or
dissect were not part of our vocabulary. Whatever came out was natural and
spontaneous. We just rocked. At the same time it was very musical, technical
and melodic.
would rehearse every day for about four hours and during that time we would write, arrange and
finish a song, even many of our five or seven minute
anthems. Occasionally Dorn or I would bring in an almost completed
song and then we'd all go at it and finish it. All in one day. The next
day we'd try it and refine it if necessary.
months Painter went in many musical directions – trying to find their niche.
They brought in folk, a tinge of country and western, touches of jazz, a bit of
British-style blues, some leftover freak-out psychedelia from the 1960s, and a
whole lot of hard rock into the stew. It was extremely interesting, but felt
disjointed, and none of their original material seemed to advance their profile
or satisfaction. Their live performances were also evolving. Beattie lost his
folk earnestness and started strutting in a most un-folk manner. Lowe, on the
other hand, started to experiment with the dark side. As Cam Henderson – a long
time Calgary fan – remembers:
Fowler High School gym …the lights were out, the strobe was flashing, the drummer was soloing and Danny Lowe took off his big Gretsch guitar. He and the bass player staged a mock fight on stage in the midst of the cacophonous rock tune they were playing. It was downright mesmerizing as well as perplexing for it was the tail end of the peace and love era … the slow motion illusion of the strobe and violent, fragmented fight will remain fixed in my memory. We all thought it was extremely cool – quite anarchistic for the time.
tape delay and playing things silently,removing his guitar, walking away from his amp, turning around andcommanding it with forceful gestures to play loudly, as if he was a rock and roll wizard. The sound tore into us and he wasn't even touching hisinstrument. Black magic …
their first taste of hometown press criticism in the first week of August 1971.
They opened for the British superstars Procol Harum, and irritable reporter Don
Percifield of the Calgary Herald had
absolutely nothing favorable to say. Indeed he gave proof to the old adage "If
it's too loud, then you're too old." His preamble:
the Big Four Building
Wednesday as Procol Harum and Painter perpetuated a classic farce. The
only good thing about the show was that it started on time. An audience of 2,500 young people paid
up to $4.50 a ticket to get acquainted with the Big Four's sweltering heat and
decidedly uncomfortable floor. Since when have chairs become extinct?
attention to Painter:
accomplished four songs and forty-five minutes later, Painter retired as
blasted minds wrestled
with the havoc blown by the group from banks of unrestrained amplifiers.
infuriatingly long (and unexplained) forty-five minute wait in the huge
"sweat-lodge", the headliners finally appeared:
predecessors Painter. Those praying for Power Failure got it – a song from the group's
latest album…Otherwise Procol Harum was pretty nondescript.
1971 Painter felt the time had finally arrived to record their new material.
They – like many other Canadians – felt that if they left themselves to the
vagaries of the domestic music industry at that time, they would likely remain
small regional players. Painter felt more ambitious than that; and they wanted
to find their place in the larger North American music industry. In their minds
the key to getting their feet in the door was to sign with an American label with
global connections. Ego recalls:
up demo appointments with Columbia
and RCA. We brought our own gear which we would set up, play a song or two for the high
ranks, then tear down and move on to the next studio. Those were the days when a
record executive would pull up a chair a few feet from
you and say "OK, show us what you've got." Some of the record
companies were excited enough to record our performances. There was no record deal in place
yet but we knew we were getting closer.
relocated to California to continue making label connections and recording
several high quality demos. In Los Angeles they recorded two tracks at RCA
Studios – "Stone Hill" and "Slave Driver" in anticipation of a contract signing
with RCA. That fell through. A month later they booked time at Wally Heider's Studio
in San Francisco. Two of the tunes recorded there on 16 track, produced by Lowe
and staff engineer Jim Gaines, were released on London Records "Country Man"
b/w "Lost the Sun."
at this point. The band's hard work was paying off, their songwriting and
performances started to gel, the distillation of the various genres started to
make sense, and their confidence expanded. They returned to Canada for a full
slate of live performances across the prairies and B.C. for the summer,
represented by the Spane International booking agency. For much of May and June
of 1972 they opened for the Five Man Electrical Band's western tour as that
group played in Lethbridge, Calgary, Edmonton, Saskatoon, Regina and Winnipeg. There
were many in the audience who thought they should have been the headliners.
undertook what seemed to be countless demo sessions at Edmonton's Park Lane
Studios and continued to do so well into the fall and winter. One session
resulted in another inspiring demo. The song was "For You", written by Ego
(although a later reworked version on their first album was credited to the
entire band) and engineered/mixed by Barry Allen. Another memorable session
took place in the fall when the band drove up from Calgary for a twelve hour
marathon. They laid down three original tunes "Follow Me", "Summer Song" and
"Long Nights" – none of which has ever seen the light of day. Again Allen was
behind the board, and he and Lowe would co-produce. Although their booking agent
(and unofficial manager) Wes Dakus started hyping these new tracks to various
Canadian labels, interest in all their demos was lukewarm at best.
period of constant work, a close and sympathetic musical relationship was
established with Allen who in turn had a rather impressive musical history
himself. He was a founding member and guitarist of the pioneering Alberta rock
and roll band Wes Dakus and the Rebels which was founded in 1958. Their early singles
were simple, swampy, twangy instrumentals recorded at Norman Petty's studio in
Clovis. Allen remembers:
were touring with Jimmy Gilmore and The Fireballs, who were from Clovis, New Mexico, and
they convinced us to record there. We
would play a gig Saturday night and make a brutal 36-hour drive straight there
and start recording on the Monday night. One memory from Clovis really stands out. It was pretty cool
when Buddy Holly's mom and dad came by to meet us and watch us record.
intriguing – the best included "El Ringo", "Creepy", "Pink Canary", "Hobo",
"Honeybun", and "Sour Biscuits."
discovered that Allen possessed a singing voice, and it was a voice like no
other. Their live repertoire changed and expanded to include pop vocal tunes.
This immediately increased their popularity and saleability, and in January
1965, Paul White, Head of A&R at Capitol Records Canada signed both Dakus
and the Rebels, and Barry Allen to contracts. The Rebels were, for a five year
period in the mid-1960s, the coolest of bands certainly in Western Canada, and
arguably throughout the country. Much of that was due to Allen's good looks,
and his relaxed yet compelling stage presence.
and this was exceptionally rare in the 1960s – Allen was also a highly
successful solo artist releasing seven singles (such as "Easy Come Easy Go",
"Turn Her Down", and "I Know You Don't Want Me No More"), and two LPs on
Capitol Records (Goin' Places and Lovedrops – both 1966). He was a
celebrity whenever he appeared in Canada's music capital. Billboard reported in May 1966:
of the hottest Canadian
singles around, came east for two weeks of promotional radio and TV appearances
this month, touching as many as four cities per day and hitting key national and
local shows in Ontario and Quebec.
the Top Male Vocalist Award at the Gold Leaf Awards (predecessor to the Junos,
Canada's equivalents to The Grammys), and shortly after was approached by Randy
Bachman to replace the Guess Who's original vocalist Chad Allen. Recalls [Barry]
Allen: "It is true. I still
have the letter from their manager and they wanted me bad. I got to know Randy
playing shows on the Exhibition Grounds, but it was at the time when we were
just releasing Lovedrops. I decided
to stay, but it makes for a good story. Randy ended up producing a solo album
for me – Wednesday in Your Garden –
which we cut in Chicago, where the Guess Who were recording." That third album was
cut in 1970 and released on Bachman's Molten Records.
1968, and went on to front several of his own bands – The Southbound Freeway,
then Purple Haze, and finally Cheyenne Winter with whom he cut Wednesday in Your Garden. At the same
time, thinking of a longer and more stable career in music, he became fully
engaged in the studio engineering side of music production, working in
Edmonton's Park Lane Studios.
the club was really good. A lot of the musicians who were off that night came to see
us and were impressed. The second night, Tuesday, the club was packed and then
at midnight The Chambers Brothers who
were playing the Cave, came to hear us. At the end of our last set, their
manager, Bob Zimmerman introduced himself and said he wanted to meet the next day. We did meet with him and
gave him a demo tape to take to LA. We
played Wednesday to another packed house and then stayed for a couple extra days to meet with Bob. We then
returned to Calgary and two weeks later Bob Zimmerman called Dan.
them that if they signed a management contract with his company – Clean Air
Productions – he could guarantee them a recording contract with a major U.S.
label. They needed no convincing.
perform at Pharaohs Retreat and to meet Zimmerman plus Ron Stone and Marlin
Greene from Elektra. Within a day we had a contract done. That night Dan,
Dorn and I called Bob Ego and he said he was coming back. We
also called Barry Allen and ask him to join the group. At the end of the
week the band, including Bob, Barry and families, moved to Seattle …to begin
recording. The first song we recorded was "West Coast Woman".
recording, they decided to add a second guitar, powerful backup vocals, and additional
credibility in the person of the aforementioned Barry Allen. Allen had not only
acquired his studio smarts, but had never really given up his urge to be a live
performer. Thus brought to peak strength, Painter signed with Zimmerman's
management company in May 1973. After further discussions, they signed a
recording contract with the Los Angeles-based Elektra Records for their initial
single, followed by an album. Their signing fee: $50,000 (U.S.). The Canadian
correspondent for Billboard was
alerted, and in its August 25th issue duly reported:
Painter, just signed with Elektra Records in the U.S. and a single "West Coast Woman" is being rushed out both here
and the U.S. The group, which now works out of Seattle, consists of Doran
Beattie, Danny Lowe, Wayne Morrice, Barry Allen and Bob Ego. Allen had a big hit in Canada several years ago with "Love Drops" on Capitol.
Advertisement for Barry Allen concert, Edmonton Journal, September 1966
founded as a small alternative label in 1950 by Jac Holzman. By 1970 it was a cornerstone
of the Warner Communications empire called WEA (Warner Elektra Atlantic). By
tradition Elektra was home to an assortment of artists: in the folk arena it
had Tim Buckley, Carly Simon, Fred Neill, Harry Chapin, Tom Rush, Judy Collins
and Tom Paxton. In the rock arena it had the MC5, the Doors, the Stooges, Love,
the Paul Butterfield Blues Band, Atomic Rooster, Queen, the Wackers, Crabby
Appleton and Uncle Dirty.
1973, when Holzman left the company, the label was taken over by David Geffen,
then head of Asylum Records. He merged the labels, cut the roster from 45 to 13
acts, and started looking for new blood. The label's new A&R man in Los
Angeles in 1973 was Ron Stone, a close associate of Geffen and Elliott Roberts
whose management clientele included Neil Young, Joni Mitchell, Crosby, Stills
& Nash, and the Eagles. He listened to Zimmerman's pitch, and the band's
demos, and recommended they be signed.
the record label's premises on La Cienaga Boulevard in Los Angeles boded well –
Bob Ego recalls:
staff asked if I would like to be the first one to hear Joni Mitchell's
new album. I said "I would be honored." Elektra had just completed the
mastering of the album and they were so proud. And rightly so. This ended
up being a classic album for her…
Seattle and initiated the recording of their first album at Kaye-Smith Studios.
It was co-founded by actor/singer Danny Kaye and Lester Smith who also ran
Concerts West Promotions and a string of radio stations. This was to be the
band's first experience with 24 track capability, and they took to it with
pleasure. Elektra was not too sure how to "guide" the band, but wanted to team
them up with one of their best producers, and thus Marlin Greene enters the
picture. Greene had been in the music business since the late 1950s. He had
released a string of 45s as a teenager, then joined the loose grouping of
southern musicians known as The Alabama State Troopers. However he was also a
session guitarist and trumpeter, an engineer, a songwriter (both solo and with
such partners as Dan Penn, Eddie Hinton, Wayne Perkins and Spooner Oldham), and
even a graphic artist. He rose to prominence as the producer of Percy Sledge's
single "When a Man Loves a Woman" in 1966, and remained Sledge's producer
through the 1960s. Through his connections with Muscle Shoals, he established
an admirable reputation by also producing Jim Reeves, John Hammond, Mavis
Staples, Herbie Mann, Leon Russel, Lonnie Mack, and Boz Scaggs' shining debut
solo album. Greene was lured to Elektra Records as both an artist and producer by
Jac Holtzman in 1971, and the following year they put out his solo album Tiptoe Past the Dragon.
an influential pilot at the helm, but that is not the way it developed. Morice
with Ron Stone signed us to Elektra Records. Marlin was to be the "company"
producer. As I was very involved in writing charts, vocal arrangements and
other music issues, I'm not exactly sure what happened but, Marlin was more country
than heavy rock and roll so about a week into our sessions in
Seattle, Elektra turned production over to Dan, Jim and to some degree
important influence on the "Painter Sound" was the new Kaye-Smith engineer and
co-producer Jim Gaines, whose acquaintance the band had already made at Wally
Heider's. Originally from Memphis, Gaines started his career in the recording
business in 1961 with the largest and most prestigious jingle company in the U.
S. – Pepper-Tanner. In 1965 he was managing their studio facilities, and by the
next year he was moonlighting by dipping his feet into the pure music recording
at Stax. In particular he worked closely with the ultimate session band Booker
T. & The MG's.
Pepper-Tanner to go full time into album production, and became the chief
engineer at Trans-Maximus Studio in Memphis, co-owned by Steve Cropper, Ronnie
Stoots and Jerry Williams. A year later the lure of the burgeoning west coast
scene overtook him, and he moved out to San Francisco to join Wally Heider's
Studio. While there he helped to launch the recording careers of numerous bands
such as Tower of Power, the earliest Doobie Brothers line-up, and the revamped Jefferson
starting in 1973 Gaines relocated to Seattle to work exclusively for Kaye-Smith
Studios. During this "sabbatical" he worked on three major projects: Steve
Miller's Fly Like An Eagle LP, the Tower of Power's second
LP entitled Back To Oakland, and the
Painter debut. The first single, written by Lowe and Beattie in an hour, was
recorded on July 2nd and released in late August of 1973 in Canada and the U.S.
It was the exceptionally catchy number entitled "West Coast Woman." Within ten
days it saw regular rotation on radio stations in Seattle, Atlanta and Houston,
and then hit the Billboard charts. It
entered the Canadian R.P.M. charts in
the second week of September peaking at #16 in November. Altogether it stayed
on the Canadian Top 40 chart for ten weeks. It also played for several weeks
running on Dick Clark's American
Bandstand. It was panned for the "Pick to Hit" by the studio audience
because it was not danceable. Morrice remembers a quote from an irritated Barry
Allen who sputtered "So our career is going to be ruined because some kids can't
dance to it?" Elektra loved it though, and thought it was ripe for
international exposure. Accordingly "West Coast Woman" was issued in the U.K.,
Australia, Germany, and Japan shortly after.
band to finish the album quickly. Lowe recalled that "We used about 210 hours
of studio time for the album, working 14 to 20 hours a day." Ego elaborates on
the fact that although they had more than enough songs, they were continually
jamming and writing more:
together within minutes. For example,
during the session we had just finished recording "Goin' Down the Road" and our associate producer
Marlin Greene said "that's great guys, however we need one more song
to complete the album." Without a word being said, Dan started a
cool riff. I then came in with a syncopated shuffle. Wayne and Dorn came in
with their paint brushes and "Crazy Feeling" was born. This was the last
song recorded on the Painter album."Crazy Feeling" was literally created and recorded within 10 minutes.
"West Coast Woman" – 45 rpm Japanese picture sleeve, 1973
"West Coast Woman" – 45 rpm Germany picture sleeve, 1973
notable also for their studio mates – Bachman Turner Overdrive – who were in
the midst of recording their most popular album – Not Fragile – in the adjacent studio. Again Ego remembers:
in the morning and asking him if he could use his bass as his had
blown up! That day Fred recorded "Taking Care of Business", "Ain't Seen Nothin'
Yet" and "Let it Roll".
Wayne Morice, bassist, concert at McMahon Stadium, Calgary, 1971 (photographer unknown)
group portrait was taken of Painter by famed Los Angeles-based rock
photographer Ed Caraeff in the lobby of the Paramount Theatre in Seattle just
before they were about to go onstage. Caraeff already had "the" reputation, having
captured the famous image of Jimi Hendrix on his knees straddling a burning
guitar at Monterey Pop Festival in 1967. Caraeff had been hanging around
Elektra/Asylum shooting LP covers for Carly Simon and Linda Ronstadt, as well
as stockpiling images of Bob Dylan for possible use on his upcoming Planet Waves album.
of October 1973 and titled simply Painter,
their LP was a much awaited event, and for good reason. Its eleven songs blend their
wide spectrum of genres – the countryish and jazzy segments are all brought
together by powerful harmonies and Lowe's rock guitar, all underpinned by one
of the heaviest (no other word seems to fit) of rhythm sections – Morice and Ego.
Seattle were delighted, and took the expatriate Canucks to heart. Patrick
MacDonald, writer for the Seattle Times
enthused about the record:
nationally-known rock band very soon. Painter, who had a regional hit last summer with "West Coast Woman" will be releasing their first album… Monday on Elektra. The company seems to have a lot of faith in Painter and yesterday I listened to a
test pressing with several members of the band and found the album to be on first listening, one of the best "commercial" rock albums I've heard in years.
sharp writing, especially in the lyrics. "The album sounds just like the band wanted it to" Bob Zimmerman, manager of the group says, "That's because of Jim Gaines, the engineer. He's not like some of these guys who put themselves in an album. He did what the band thought was best…."
Seattle" Danny Lowe, lead guitarist said, "I knew him down in Los Angeles when I was there and followed him up here when he joined Kaye-Smith Sound Studios. It seemed like a lot of good things were happening in Seattle in music and we're glad we came. "There's a very fresh atmosphere here for writing and playing" Lowe says, "… we've been a lot more productive since we got here. We wrote "West Coast Woman" in our motel room just after we moved here and all but three of the songs on the album in the first couple of
months were here."
chimed in: "I've been wondering a while which direction to go, but now it all
seems to be working out, the band, the sound, the style we've been looking
for." MacDonald wound up the article by making a prediction: "Things have been
happening very fast for Painter and if this new album becomes a hit – and I
think it will – things will be moving much faster."
Painter's latest single "West Coast Woman", a glance at the hard rockin', gutsy music that these guys are playing.
The foundation is here for more good things to happen with their music, although some of the selections were a touch short and consequently lacked substance. Painter is more west coast talent (polished south of the border) showing us easties up. With the airplay they deserve, we should be hearing more and more. It's a good start.
review as good as anything the band could hope for:
magazine Zoo World: The Music Magazine
also liked it, but found they needed some imaginative word fabrication to
describe the songs. In their January 3 issue they wrote:
"Goin' Home to Rock n' Roll" – 45 rpm label, 1973
October that "WEA delighted with growing U.S. action on "West Coast Woman" by
Calgary group Painter on Elektra…" and in its December 1st issue, it
included "West Coast Woman" in its Recommended Top Single Picks.
the band an extensive American tour to promote the album, and they started to fine
tune their show together by playing throughout the Northwest in December. The
gigs included Lower Columbia College in Longview (December 12), Centralia High
School in Centralia (December 14), The Stable in Eugene Oregon (December
18-20), On Broadway in Seattle (December 21-22), and Gonzaga College in Spokane
(December 29). A second single was released in time for Christmas – the
insanely catchy "Goin' Home to Rock and Roll." The album really started to gain
traction and their reputation grew at an exponential rate, primarily in the U.
S. Recalls Ego "Zimmerman seemed to know somebody important in every city … big
people who knew the business." The tour – partially financed by Elektra – unfolded
from January to March 1974.
their "official" American showcase performance at Los Angeles' Whiskey A Go Go
from January 9 -13th 1974 doubled billed with the American soul band Joe Hicks
and the Team. In the packed audience was the cream of the California music
industry and even included Bob Dylan. Morice remembers driving by Tower
Records, also on Sunset Strip, and seeing the entire front display window
plastered with Painter album jackets and posters. He also recalls that:
Marquee of Whisky A-Go-Go, Los Angeles, January 1974 (photograph by Wayne Morice)
by Richard Cromelin of the Los Angeles
Times on January 11th. Although generally favourable, it hinted at a few live
on his loud noodling:
with three Alberta dates – Calgary's Jubilee Auditorium on January 18 (with
Redbone), Edmonton's Kinsmen Fieldhouse the following night (with Redbone and
Privilege), and the Lethbridge Exhibition Pavilion on January 20th. Even with their new-found fame they were still
not lionized in their home city. Calgary
Herald critic Eugene Chadbourne wrote an ambivalent review entitled "Groups
hide their talents under bushel of noisy trash":
little respect here! Painter then headed east. R.P.M. Magazine reported that "Elektra recording artists Painter
will be performing in the Toronto area from January 25 to February 14." The next
two months of 1974 saw an intensive and impressive run of gigs south of the
border and included Milwaukee, Portland (with Steely Dan), Detroit (with Bob
Seger), Las Vegas (with Brian Auger and Lee Michaels), Chicago (with the Paul
Butterfield Blues Band and J. Geils Band), Atlanta (with the Leslie West Band),
Washington D.C. (the Kennedy Centre with Black Oak Arkansas – that particular
performance in March was captured by their soundman Glen Widgel), Nashville (in
a club next door to the Grand Old Opry), Rawleigh N.C., and New York City (with
Wolfman Jack).
was an experimental live quadraphonic radio performance (aired on WRAS-FM) at
Richard's Nightclub in Atlanta (March 1, 1974). Remembers Ego:
for his own concert at the Fox Theatre, and had caught their previous set.
Painter and guest did two Painter songs: "West Coast Woman", and "Stone Hill"
and then one of Zappa's impromptu dressing room compositions "That's Why I Knew
That It Was Love." These jams could only have happened during this golden era
of touring bands, and Painter found itself on the A level.
They then returned to Canada – to Toronto in particular – for a television program where they performed "West Coast Woman." As Billboard reported on March 16:
the album was issued in the spring – "Song for Sunshine." While it charted, they
failed to capture the air play of "West Coast Woman." In addition to the album
songs, Painter was also skilled in interpreting others songs. Some of their in-concert
covers included "Ohio" by CSN&Y, "Knights in White Satin" by the Moody
Blues (an interesting version since they did not have keyboards), "Carolina in
My Mind" by James Taylor (a nod to Beattie's folkie tendencies), and their old
chestnut – Fleetwood Mac's "Oh Well."
They had their first personnel shakeup in late March when Barry Allen bowed out, returning to Edmonton to get back full time into studio production. Recalls Morice: "During the winter/spring tour of the US east coast and mid west, Barry decided to leave the group, so Dan flew to Florida to meet Brad who was playing there. Brad joined us for the end of the tour and stayed with the band until late '74." Brad Steckel was originally from Easton, Pennsylvania the son of – as he puts it – "a Julliard educated, piano playing Bach fanatic with a stunningly beautiful voice and perfect pitch – Mom. My course was set sometime around then I guess." He attended Berklee College, studied guitar, and then dove headlong into the world of the touring musician. Throughout the late 1960s and early 70s he:
In the middle of that tour, their album finally received the ultimate stamp of American approval in Rolling Stone in June 1974. Reviewer Ken Barnes proclaimed:
At the end of the summer of 1974 Painter severed their ties with manager Zimmerman. He was no longer opening new doors for them – they seemed to be booked into the same arenas, the same markets they had had all year. They were using their own new contacts in the industry, and were essentially back to handling their own affairs. As well the band was increasingly unhappy with unexplained discrepancies between their stated concert and record earnings on one hand, and their take-home money on the other. That contributed to deteriorating personal relations between band and manager, and they felt stalled again. As Morice succinctly puts it: "he had run his course and some stories are better untold." With few regrets, they then hooked up with the rising star of Canadian managers, Bruce Allen of Vancouver, who had booked Morice's former band Sweet Beaver.
That fall Painter
assembled a western Canadian tour. They motored into Regina, and played Darke
Hall on September 22. A local fan – Jeff Wyatt remembered:
guitar sound was BIG and FAT and LOUD. It was so cool… I just forget if
it was a Les Paul…..although I remember it having that full kind of
sound. I think that was Bob Ego on drums. He wore big, studio
style headphones for monitors. That's the first time I ever saw a drummer wearing
headphones on stage. It struck me at the time as being such a
practical idea,… plus it looked a little odd, and got people's attention.
Bob Ego, drummer, (photographer unknown)
unexpectedly, was the hit song "West Coast Woman":
harmony natural and spontaneous, flowing smoothly with Lowe's brilliant work on guitar and Ego's percussion. Mr. Ego provided a solid, guttural beat to keep the whole song moving quickly and conscientiously. They finished it off nicely with a strong guitar-drum combo.
October 20th concert in the Manitoba capital:
one of this country's better hard rock bands, Painter, was in town Sunday for a social in the
Marlborough Hotel. The group, which is managed by Bruce Allen, the man
responsible for guiding Bachman Turner Overdrive's fortunes, put on an energetic,
fast-moving show, comprised chiefly of original songs, although a
medley of Fleetwood Mac's "Oh Well" and The Moody Blues "Tuesday Afternoon"
proved a particularly inspired addition.
rocker, stole the spotlight on most of the numbers with his
intricate, winding solos and combined with rhythm and second lead guitarist
Barry Allen [actually Brad Steckel] for some splendid double-lead
work. The group's two hit-45's "West Coast Woman" and "Going Home to Rock and
Roll", a pair of funky hard-driving rockers, along with a number of selections
from its new album indicate this group may follow
BTO's weighty footsteps in the not-too distant future.
Painter, Calgary, 1971 (photographer unknown)
welcomed into the songwriting mix immediately, and Ego recalls recording an
incredibly complex tune that had been developed in their live concerts "Yes I
Will." The new album was given the working title Down To Earth. Three songs were completed at Sounds West Studio in
Calgary in July 1975 (during the annual Calgary Stampede which they played at).
Engineering assistance was provided by Peter Bentley.
effort. By this point David Geffen was remaking the combined Elektra/Asylum label
in the image of the soft laid-back California sound. He signed the Eagles,
Linda Ronstadt, Jackson Brown, J. D. Souther, and even the reformed original
Byrds. While an impressive lineup, nothing could be further away from the heavy
Painter sound. During the Kaye-Smith sessions, Geffen sent one of his staff
producers to sit in. Painter played him several of their new tunes. As Morice
remembers: "he obviously wasn't listening… he then seriously suggested that we
do a version of "Cathy's Clown". It was SO absurd that we knew at that point
that our days at Elektra were numbered!" As well, all of Geffen's attention (as
well as that of everybody else at the label) during 1974 was directed to the
time-consuming signing, caring for and feeding of Bob Dylan on his brief hiatus
from Columbia Records. He would release two albums Planet Waves and Before the
Flood for Geffen that year.
their recording contract and went shopping for another label. They did not have to look far. Mercury Records, an eclectic label based
in Chicago, welcomed them with open arms. Founded in 1945, Mercury originally earned
its sterling reputation for several genres of music: classical for the high
brows, and blues, jazz and country for the rest of America. It could boast of
such luminaries as Quincy Jones, Sarah Vaughn, Charlie Mingus, Cannonball Adderley, Max Roach, and Buddy Rich.
his desire known to expand the label's offerings – both with rock music and
with international artists. He initiated the process by signing Rod Stewart as
a solo act. The new direction was further accelerated in 1972 when Mercury came
under the umbrella of Polygram/Phonogram Inc., a truly international record
label headquartered in the Netherlands. Mercury then signed U.K. bands 10 C.C.,
Thin Lizzy, Uriah Heep, and the Sensational Alex Harvey Band.
was not just content to look to Britain. Steinberg's vice-president and Head of
A&R, Charlie Fach turned his eye towards Canada. His first signing in 1973
turned out to be a gold mine for the label – namely Bachman Turner Overdrive,
also managed by Bruce Allen. BTO did spectacularly well for Mercury. Their
debut album from May 1973 went gold, BTO
II from December 1973 went platinum, and Not Fragile from August 1974 also went platinum and ended up #1 on
both the Canadian and U.S, album charts. Fach – previously a staunch supporter
of jazz and funk – definitely sensed the popularity and earning potential of northern
hard rock, and snapped up any recommendations from Allen and Bachman. (Fach
would also sign Toronto bands Rush and Max Webster within the next year).
he wanted to produce the new album by himself. Although he also engineered a
number of cuts himself, he got engineering support from Jim Gaines again, Rod
Durek, Ted Friend, Ron Gangus, Will Kurtz, and Peter Bentley. While it was
replete with classic Painter-like tunes, it also reflected a repertoire in
transition. Ego drummed on seven tracks in total, but left before the new album
was completed. He was replaced by Jim Llewellyn who drummed on the last three
songs which were recorded at Timbre Sound in Vancouver, one of which was a new
version of their first single "Daybreak." Llewellyn, originally from
Drumheller, AB, moved to Calgary as a teenager and played in a number of local
bands including Tyler, Life Line, and most recently Storm. He recalls: "I had
met the guys in Painter before and jammed with them once while playing with a
band called Storm. They were scouting for a drummer as their current one, Bob
Golar, was not what Danny wanted. Bob Ego went back with them and stayed with
them though until I joined."
released, the band's name had been changed to Hammersmith. It was a controversial
suggestion from Charlie Fach and Randy Bachman, and the thinking at the time
was that they needed a name that better conveyed the "heaviness" of their music.
Painter, while an intriguing name, did not carry that heavy connotation.
Hammersmith LP cover, Mercury Records, 1975
Second Hammersmith lineup, 1976 (photographer unknown)
Hammersmith are anxious to move. They feel the time is right and they do have
all the right ingredients."
pressed home the "heavy" theme. The oversize round bas-relief medal depicted a
flexed muscular arm. It was sculpted by Parvis Sadighian, a then-popular artist
who had just completed a similar piece for the cover of The Temptations' Masterpiece album. It was photographed
by Chicago-based David Deahl (of Big Deahl Productions) with two rugged workman's
hands and a large hammer. The impression of the music inside then could only be
forceful and loud – the clang of steel. A powerful motif it was. However it also
bore more than a passing resemblance to the Arm & Hammer baking soda logo.
That unfortunately gave rise to a few chuckles.
Hammersmith on stage, 1976 (photograph by Kwasniewski)
concerts with Rod Stewart & The Faces (Albuquerque on September 14th,
New Orleans on September 23, Bloomington, Indiana on October 3rd,
Notre Dame, Indiana on October 4th, Dayton Ohio on October 5th, and Toledo
Ohio on October 7th), the autumn tour also saw Hammersmith playing
in El Paso, Abilene, Fort Worth, Texas, and Columbus Ohio.
Records released two singles from the album – both were the logical choices:
"Late Night Lovin' Man" and "Funky As She Goes." Recalls Boyne: "when we wrote
"Late Night Lovin' Man" I thought – this is going to do it for us. But when I
heard it recorded, I felt the tempo was too fast and too much echo on the
harmony. I still think that when I hear it. The groove just gets away from you.
You should have heard it the first night we did it live. I was sure we had a
hit." It was not to be however, and neither saw much chart action ("Late Night
Lovin' Man" peaked at #25 on the R.P.M.
"Dancin' Fools" – 45 rpm label, 1976
the next album. In May 1977 Billboard
Magazine reported that: "Hammersmith [is] working on an LP with Dan Lowe at
the board at Sound West, Calgary, AB." These tracks never saw the light of day.
For a short time Lowe, on the advice of Blair, brought in singer Mike Reno to
see if that combination worked. It did not. Hammersmith finally called it a day
in June 1977.
with various groupings of musicians to turn out 451 (1979) and Prototype (1983).
He is probably better known nowadays for inventing Q-Sound, a 360 degree studio
sound enhancement technology. Beattie joined the touring band All The Rage in
Paris in 1978 for several years, then took time out from music. He returned
with his countryish solo album Second
Chance in 1994. Barry Allen returned to Edmonton and joined the production
staff of Century II Studios. In the 1980s he purchased Homestead Studios where
he remains an engineer, producer and manager. Bob Ego joined the highly
successful Canadian band Streetheart and was part of that unit for such albums
as Quicksand Shoes (1979), Drugstore Dancer (1980) and the simply
named Streetheart (1982). They were
awarded a total of four gold records, two platinum records, and a Juno for
"Most Promising Group of the Year" in 1980. Wayne Morice briefly played with a
band called 4 Outa 5, then changed direction and entered the motion picture
industry in Vancouver.
session guitarist for a number of years in Calgary, contributing to the Hammersmith, 451, and Prototype LPs, as well
as to jingles, film scores, and special projects such as music for the 1988 Calgary
Winter Olympic Games. He started working at Danny Lowe's QSound Labs in 1988
helping to develop and demonstrate the process. Steckel currently owns and
operates his own recording studio, Nevin Park Recording and production company,
Nevin Park Productions. Jeff Boyne left the field of music for many years, but
is now back with a resurrected Crosstown Bus. Jim Llewellyn returned to Calgary
where he joined the band Shango for several years, then guested with numerous
bands and taught drumming up to the present. Jim Gaines returned to San
Francisco and ultimately Memphis, working with Journey, Santana, Stevie Ray
Vaughan and Jimmie Vaughan, Huey Lewis and the News, Toto, the Bluesberries,
Luther Allison, and Lonnie Brooks. Bob Zimmerman settled in Kent, Washington,
and continued to manage a number of Seattle-area bands – the most notable being
Magi from 1976-1978. Bruce Allen went on to become one of the most influential talent
managers in North America, guiding the careers of Prism, Loverboy, Tom Cochrane
and Red Rider, Bryan Adams, Martina McBride, Anne Murray, Michel Buble, and
producer Bob Rock.
soon became a collector's item, and was difficult to find for several decades.
Finally in the summer of 2009 – due to a small but dedicated fan base, and the
efforts of drummer Bob Ego – Wounded Bird Records of Guilderland, N.Y. re-issued
the album on CD. A ten date reunion of the famous five man Painter was
discussed to support the re-release, but the various professional schedules
could not, in the end, be coordinated. The Hammersmith albums have never been
re-released on CD.
October 1973
Elektra EKS-75071
recorded at Kaye-Smith Studios, Seattle & Wally Heider's Studio, San Francisco
produced by Dan Lowe, with Marlin Greene & Jim Gaines
Hammersmith – Hammersmith
August 1975
Mercury SRM-1-1040
recorded at Sounds West Studio, Calgary & Timbre Sound, Vancouver
produced by Dan Lowe
Hammersmith – It's For You
October 1976
Mercury SRM-1-1102
recorded at Sundown Recorders, Edmonton
produced by Dan Lowe & Jim Gaines
Molten Records MM-3 14578
recorded at RCA Studio, Chicago
produced by West
"Country Man" (D. Beattie – T. Bare) b/w "Lost the Sun" (D. Beattie)
London Records M-17444 Canada
recorded at Wally Heider Studio, San Francisco
produced by ?
"West Coast Woman" MONO (D. Lowe/D. Beattie) b/w "West Coast Woman" STEREO
August 1973 (D. Lowe-D. Beattie)
*For Radio station Use Only
recorded at Kaye-Smith Studio, Seattle
produced by Dan Lowe
"West Coast Woman" (D. Lowe/D. Beattie) b/w "Space Truck" (Painter)
August 1973
Elektra K12124 Canada
Elektra EK-45862 U.S.A.
Elektra EKM-45862 Australia
Elektra P-1276 Japan
Elektra ELK-12124 Germany
Recorded at: a-side at Kaye-Smith Studio, Seattle & b-side at Wally Heider Studio, San Francisco
produced by Dan Lowe
"Going Home to Rock and Roll" (Painter) b/w "Tell Me Why" (Painter)
December 1973
Elektra 45873
recorded at: a-side at Kaye-Smith Studio, Seattle & b-side at Wally Heider Studio, San Francisco
produced by Dan Lowe
"Song for Sunshine" (D. Lowe-D. Beattie) b/w "Crazy Feeling" (Painter)
Summer 1974
Elektra EK-45886 Canada
recorded at Kaye-Smith Studio, Seattle
produced by Dan Lowe
"Song for Sunshine" (D. Lowe-D. Beattie) MONO b/w "Song for Sunshine" (D. Lowe-D. Beattie) STEREO
Summer 1974
Elektra EK-45886 * For Radio Station Use Only
recorded at Kaye-Smith Studio, Seattle
produced by Dan Lowe
"Funky As She Goes" (D. Beattie/D. Lowe/W. Morice) b/w "Feelin' Better" (D. Beattie/D. Lowe/W. Morice)
February 1976
Mercury M-73717
recorded at Sounds West Studio, Calgary
produced by Dan Lowe
"Late Night Lovin' Man (J. Boyne/D. Beattie/D. Lowe) b/w "Low Ridin' Ladies" (D. Beattie-J. Boyne)
March 1976
Mercury M-73749
recorded at Sounds West Studio, Calgary
produced by Dan Lowe
"Dancin' Fools" (D. Beattie-D. Lowe) b/w "Good Bye, Good Bye" (C. Blair/D. Lowe/D. Beattie)
Spring 1976
Mercury 73874
recorded at Sundown Recorders, Edmonton
produced by Dan Lowe & Jim Gaines
"Cool In the Summer" (D. Beattie-D. Lowe) and "I Love What We Do Together" (D. Beattie-D. Lowe)
recorded at RCA Studio, Chicago during "Daybreak" session
produced by West
"Stone Hill" (D. Beattie/D. Lowe/W. Morice/B. Ego) and "Slave Driver" (D. Beattie/D. Lowe/W. Morice/B. Ego)
February 1971
recorded at RCA Studios, Los Angeles
produced by Dan Lowe
"For You" (B. Ego)
Summer 1971
Recorded at Park Lane Studios, Edmonton, Canada
Produced by Dan Lowe and Barry Allen
"Follow Me" (D. Beattie/D. Lowe/W. Morice/B. Ego), "Summer Song" (D. Beattie/D/ Lowe/W. Morice/B. Ego), "Long Nights" (D. Beattie/D. Lowe/W. Morice/B. Ego)
Fall 1971
recorded at Park Lane Studios, Edmonton, Canada
produced by Dan Lowe & Barry Allen
Live performance
December 1972
contains 6 tracks:
"Kites and Gliders" (D. Beattie/D. Lowe/W. Morice/B. Ego)
"I'm Gonna Be Somebody" (D. Beattie/D. Lowe/W. Morice/B. Ego)
"Song For Sunshine" (D. Lowe-D. Beattie/)
"On The Other Hand" (D. Beattie/D. Lowe/W. Morice/B. Ego)
"Shipwrecked" (D. Beattie/D. Lowe/W. Morice/B. Ego
"Stone Hill" (D. Beattie/D. Lowe/W. Morice/B. Ego)
soundboard tape – recorded at Edmonton Field House, Edmonton
engineered by Les Bateman & Barry Allen
Live performance
contains 2 tracks:
"America" (D. Lowe-D. Beattie), "Take Me Up, Drag Me Down" (D. Lowe-D. Beattie)
soundboard tape – recorded at Kingsway Inn, Edmonton, Canada
engineered by Les Bateman
Live performance
March 1974
contains 14 tracks:
"Follow Me" (D. Beattie/D. Lowe/W. Morice/B. Ego)
"Going Home to Rock and Roll" (Painter)
"Tell Me Why" (Painter)
"Crazy Feeling" (Painter)
"Ohio" (N. Young)
"Oh You" (D. Lowe/D. Beattie/W. Morice/B. Ego)
"Kites and Gliders" (Painter)
"I'm Gonna Be Somebody" (D. Beattie/D. Lowe/W.Morice/B. Ego)
"Song for Sunshine" (D. Lowe-D. Beattie)
"Going Down the Road" (D. Beattie/D. Lowe/W. Morice/B. Ego)
"On the Other Hand" (D. Lowe/D. Beattie/W. Morice/B. Ego)
"Shipwrecked" (D. Beattie/D. Lowe/W. Morice/B. Ego)
"Stone Hill" (D. Lowe/D. Beattie/W. Morice/B. Ego)
"West Coast Woman" (D. Lowe/D. Beattie/W.Morice/B.Ego)
soundboard tape – recorded at Kennedy Center, Washington DC
engineered by Glenn WidgellL
Engineered by Glen Widgell"Kennedy Centrer
July 1975
"Summer Song" (D. Beattie/D. Lowe/W. Morice/B/. Ego) and "Yes I Will" (D. Beattie/D. Lowe/W. Morice/B. Ego)
recorded at Sounds West Studio, Calgary for 2nd album
produced by Dan Lowe
unknown album tracks
May 1977
recorded at Sound West Studio, Calgary
produced by Dan Lowe
"Aimless Lady" (M. Farner)
January 1971
Live performance on Come Together, CTV Network – from Picadilly Square, Calgary Canada
"West Coast Woman" (D. Lowe – D. Beattie)
January 1974
Live performance on Roq, CTV Network – from CFTO Studio, Toronto, Canada
"West Coast Woman" (D. Lowe/D. Beattie), "Stone Hill" (D. Lowe-D. Beattie) & "That's When I Knew it Was Love" (F. Zappa)
Summer 1974
Live performance on WRAS-FM – from Richard's Nightclub, Atlanta
Painter (LP reissue)
August 2009
Wounded Bird Records
Director – Media Commons
University of Toronto
© Copyright Brock Silversides &


text:
"Why Are All The Black Kids Sitting Together in the Cafeteria?": A Psychologist Explains the Development of Racial Identity by Beverly Daniel Tatum
My rating: 4 of 5 stars
I've gotten myself into yet another book club. This one also is a discussion group on race related issues. This was our first book. Let's just say my eyeballs have been rather uncomfortably pried open after reading this book and participating in the group discussions. There's no way I can shut them again and pretend I don't see what's going on in light of recent events. I would highly recommend this book for ANYONE… or rather EVERYONE again given what's going on in the news. I think having this background information will help everyone process, understand the other side's view point and not say or do stupid things. I didn't give it 5 stars, because I had to read this very slowly to digest it appropriately. That was kind of frustrating, because I was on a time schedule for this and I didn't meet my time limit.


text:
Sunday Day
Famous For
"We've got a lot to roast about…"
Sunday should be all about a long table with your nearest and dearest, enjoying heaps of crunchy roast potatoes, meats and trimmings. A family special that no restaurant or pub could ever hope to beat, you say? Well, we're bringing you just that: the home style roast of your dreams - served to share on silver platters.
And no Sunday Roast is complete without a lazy afternoon in our sitting room with a full program of movies, retro gaming, and newspapers, with a complimentary snacks trolley so you never have to leave the sofa… Heaven!
(Flat)mates Rates:
A Complimentary Snacks, Papers and Games Trolley in the Living Room


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Group results for the year to 31 December are announced in March.
The Annual General Meeting is held during the second quarter.
Half year results to 30 June are announced in September.
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