Brownie mclean biography sample

Memories from Staff and Performers

BILL KLING, PRESIDENT EMERITUS OF MINNESOTA PUBLIC RADIO AND AMERICAN PUBLIC MEDIA

The beginnings of a “live” Keillor show occurred at 6:30 a.m. one weekday in the early 1970s, broadcast on classical music station KSJN. I remember waking up to somebody singing “Old Shep,” followed by the ear-piercing sound of a “glass harmonica” (someone rubbing wine glasses). Bad morning.

Garrison and I had talked about a time slot when the show might work (6:30 a.m. wasn’t the answer). We settled on Saturdays at 5 p.m., allowing a live audience, already out and about, to come and see it. It was also a time of the week when public radio had a very small listenership so there wouldn’t be an uproar if classical music was interrupted. And we further limited the damage by broadcasting only once a week.

I recall early regular broadcasts of what became A Prairie Home Companion, when the show performed in an abandoned (at least I think it was) skyway between the Mears Park building in Saint Paul and the building next door. That space accommodated about 50 people. And thanks in no small part to producer Margaret Moos’s vision of the possibilities, the show kept going. Amazing.

After a nomadic tour of available, rentable auditoriums, the show made a deal with the Dworsky family to rent the World Theater, a movie house that had long been closed. Volunteers drained water out of the basement and scraped the gum off the seats. The rent was paid by the sale of popcorn and a sub-rental to a group that wanted to show Asian-language films on weeknights.

Once the show had matured and was airing locally every week, I got a call from my friend Don Forsling — who ran WOI radio, a powerhouse FM station in Ames, Iowa — asking if they could get tapes of the show and broadcast them in Iowa. We agreed and mailed them a tape each week. That was the beginning of Prairie Home’s “network.” By 1980, I had managed the plan to conne

Call Number: TT505.H55 A3 2016 (Library West, On Order)

ISBN: 9781101886212

Publication Date: Ballantine, 2016. $30.00

In this tale of grit and glamour, setbacks and comebacks, business and pop culture icon Tommy Hilfiger shares his extraordinary life story for the first time.   Few designers have stayed on top of changing trends the way Tommy Hilfiger has. Fewer still have left such an indelible mark on global culture. Since designing his first collection of "classics with a twist" three decades ago, Tommy Hilfiger has been synonymous with all-American style--but his destiny wasn't always so clear. Growing up one of nine children in a working-class family in Elmira, New York, Tommy suffered from dyslexia, flunked sophomore year of high school, and found himself constantly at odds with his father. Nevertheless, this self-described dreamer had a vision and the relentless will to make it a reality. At eighteen he opened his own clothing store, parlaying his uncanny instinct for style into a budding career as a fashion designer. Through decades of triumph and turmoil, Tommy remained doggedly optimistic. To this day, his approach to commerce is rooted in his positive view of the world. American Dreamer brims with anecdotes that cover Tommy's years as a club kid and scrappy entrepreneur in 1970s New York as well as unique insights into the exclusive A-list personalities with whom he's collaborated and interacted, from Mick Jagger and David Bowie to Ralph Lauren and Calvin Klein. But this is more than just a fashion icon's memoir--it's a road map for building a brand, both professionally and personally. Tommy takes us behind the scenes of every decision--and every mistake--he's ever made, offering advice on leadership, business, team-building, and creativity.  This is the story of a true American original, told for the first time in his own words,

British Jamaican photographer and artist (born 1951)

Vanley Burke (born 1951) is a British Jamaican photographer and artist. His photographs capture experiences of his community's arrival in Britain, the different landscapes and cultures he encountered, the different ways of survival and experiences of the wider African-Caribbean community.

Life and work

Vanley Burke was born in St. Thomas, Jamaica, in 1951. For his 10th birthday, he was sent a "Box Brownie" camera—a Kodak Brownie 127—by his mother, who in the late 1950s had gone to live in England, while he remained with his aunt in St.Thomas. In 1965,at the age of 14, he went to join his parents in the UK, leaving his radio to his aunt as a parting gift but taking his camera with him.

Burke seriously started photography around 1967, making a conscious decision to document the black community and lifestyle in England. His first studio was in Grove Lane, Handsworth, Birmingham.

His photographs capture experiences of his community's arrival in Britain, the different landscapes and cultures he encountered, the different ways of survival and experiences of the wider African-Caribbean community. His photography sought to counteract any perception of negative or stereotypical imagery of black people found in mainstream media. His photographs represented members of the black community back to themselves in intimate portrayal and were taken from his perspective as an integral member of the community as opposed to basic documentary images perceived from "outsiders". Burke's interests have expanded to include other communities in the city and their experiences.

Burke's first notable exhibition, Handsworth from the Inside, was held at Ikon Gallery in Birmingham, and then the Commonwealth Institute in London in 1983. Since then his work has been exhibited at Light House, Birmingham Museum & Art Gallery, The Black