You are eligible to take a Class D or motorcycle road test 10 daysafter you pass the knowledge exam. Road exams are given on everyweekday, except Wednesday. DMV offers 2 easy and convenient optionsfor you to schedule your road test when you feel you are ready. Youmay use DMV's online My Road Test scheduler or call your local DMVoffice to speak with a DMV associate.
You will be required to drive for approximately 30 minutes and dosuch things as are usual in normal driving. You will not be asked todo anything that is contrary to the motor vehicle laws or safedriving practices. No tricks will be played on you. Instead, youwill be asked to show that you know how to do such things as thefollowing:
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It is your responsibility to provide the motor vehicle to be drivenin your road exam. All vehicles must be free of debris or notcontain any cargo. Ensure the vehicle has at least a half tank ofgas or the exam may be rescheduled. If a CDL exam, the dieselexhaust fluid (if applicable) must have an eighth of atank/indicator at an acceptable level or the exam will berescheduled.You will be required to show proof of liability insurance and validregistration. The vehicle must be within the license class for whichyou have applied. The examiner will conduct a basic vehicle safetyinspection before the road test begins.
You must refrain from smoking during the exam. No cell phone use orplaying of music is permitted during the road test. Drivers are notauthorized to utilize Intelligent Parking Assist Technology duringthe course of any driving skills or road exam. A vehicle equippedwith such features must have them turned off or disabled during thecourse of the exam.
Unless you already have a legal right to drive in Delaware, you mustcome to the road exam accompanied by a licensed driver over 21 yearsof age, as described for the learner's permit. A licensed driverMUST remain on site to drive the vehicle away is case the applicantis unsuccessful in passing the exam.
One of the purposes of the Class D Driver's Manual will help you prepare totake the driver examination. You should study this manual carefully.Anything which is not perfectly clear, whether contained in thismanual or not, should be discussed with the driver license examinerprior to your examination.
If you plan to apply for a license class other than Class D driverlicense, or for the motorcycle endorsement, or commercial driverlicense, you will also need to study separate manuals which areavailable at the offices of the Division of Motor Vehicles (see backcover for locations where you may pick up these manuals) or visitthe DMV website at www.dmv.de.gov
"Do You Know the Way to San Jose" is a 1968 popular song written and composed for singer Dionne Warwick by Burt Bacharach. Hal David wrote the lyrics. The song was Warwick's biggest international hit to that point, selling several million copies worldwide and winning Warwick her first Grammy Award. David's lyrics tell the story of a native of San Jose, California, who, having failed to break into the entertainment field in Los Angeles, is set to return to her hometown.
The song was released on the 1968 RIAA Certified Gold album Dionne Warwick in Valley of the Dolls. "Do You Know the Way to San Jose" was issued as the follow-up single to the double-sided hit "(Theme from) Valley of the Dolls"/ "I Say a Little Prayer" in April 1968. It became Warwick's third consecutive top ten song in the closing months of 1967 and into 1968, punctuating the most successful period of her recording career.
The song peaked at No. 8 in the UK, Ireland, and Canada. It also charted highly in France, Italy, South Africa, Australia, Germany, Brazil, Mexico, Israel, Lebanon, Japan, and many other countries throughout the world. The single was one of the most successful of Warwick's international hits, selling over 3,500,000 copies worldwide. The flip-side of the single, "Let Me Be Lonely", also penned by Bacharach/David, charted in the Billboard Hot 100 as well and became one of many double-sided hits for Warwick.
The track was the last Dionne Warwick single to be recorded at New York City's Bell Sound Studios. It features a prominent use of bass drum, played by session musician Gary Chester. The engineer was Ed Smith, who devised the famous introduction to the tune by directly attaching a microphone to the head of Chester's bass drum. The electric bass was played by studio musician Lou Mauro.
Warwick did not like "Do You Know the Way to San Jose", and she had to be convinced to record it. In a May 1983 interview with Ebony, she said: "It's a dumb song and I didn't want to sing it. But it was a hit, just like [her recent Top Ten hit] 'Heartbreaker' is. I'm happy these songs were successful, but that still doesn't change my opinion about them."[3] Though she still does not like it, the song remains one of Warwick's most popular chart selections, and she still includes it in almost every concert she performs.[4]
It's baffling. It sounds like calypso, as mentioned in the lyrics, but only kinda. It name-drops Sinatra but doesn't match his music stylistically. It sounds a bit like "Frank's Wild Years" by Tom Waits or even maybe klezmer, I think to myself. I have several musical points of reference I can use to make sense of this wildly imaginative song and band.
But my son is much younger than me. "I've never heard anything like this before," he said. "Where have you been hiding this stuff?" He was having a moment of complete musical discovery. Whereas I was having a Level One discovery, possibly a Level Two, he was having a Level Three, and Level Threes are extremely rare. You only get so many in life. I was happy to have been there for one of his.
The Exquisite Known is when you come across a song that matches a style with which you are already familiar but the song expresses that style in a highly effective way. No preconceptions are shattered, no need to forget everything you thought you knew, but it's a song that you would want to share with someone who has never heard a certain kind of music before and they only have time to hear a little bit of it.
I can think of many of Level One listening experiences over the last few years because they have often involved hearing something while driving and needing to pull over, either to look up the song or to just to let my brain focus on what is inbound. For me, Adele's "Someone Like You" was a Level One experience. I had heard songs of heartbreak, I think I had even heard a bit of Adele before, and I had heard stripped-down arrangements designed to push a good vocal to the front. But this was special. When her voice goes up and cracks just a bit on the "don't forget me" line, my jaw dropped. It reminded me of a similar Level One experience hearing Damien Rice and Lisa Hannigan's "9 Crimes" a year or two earlier.
And I've had Exquisite Knowns outside the painful-heartbreak-solo-vocal subgenre, of course. Beastie Boys' "Pass the Mic" fits the bill as well. I knew the band, I knew hip-hop, I knew all the parts but they somehow added up to way, way more than the sum of the parts. The Exquisite Known is like playing pick-up basketball at the gym and an NBA player shows up.
Shameful admission: I never paid much attention to Modest Mouse until 10 years into their recording career. I had heard a little bit of "Float On" in passing and it was fine but that was it. Then I heard "Dashboard" and "Fire it Up" off the We Were Dead Before The Ship Even Sank album, then I bought the album, then I soaked in the dissonance. I mean, I knew it was alternative-rock music and one could find commonality with that form, but there were ships sinking and vocals that were sort of like singing but also sort of like atonal yelps of pain. Being a native of the Seattle area myself, I was intrigued by the fact that the band was mostly from Issaquah, Washington, a place that is now a schmancy suburb but was once a remote logging town where bears were not uncommon. Modest Mouse had a kind of woodsy, bears-are-all-around-us angle to the alt-rock substructure that sounded like a reinvention.
I've had fewer Level Two experiences than I've had Level Ones but still quite a few. Open Mike Eagle's music was a Level Two in that he takes hip-hop through tunnels I never knew existed and the songs come out all weird and pointy and fascinating. Ani DiFranco was a Level Two moment for me. The Twisted Known is when you know what something is but it's still not that. The Fables of the Reconstruction album is another one. The Decemberists, too.
My son had The Unknown with The Avalanches. He's never been the musichead that I was even at his age, and my periodic pop quizzes administered whilst listening to FM radio in the car have not moved him much in that direction, so he's primed for Level Threes. Over the course of that song, he had brushed up against The Unknown. And loved it. And is now doing a deep dive into the band, the likes of which I haven't seen since his Level Two Lou Reed discovery.
Later on, I had a Level Three with Tom Waits (maybe something about atypical voices guides me up a few levels) on "The Piano Has Been Drinking" and De La Soul on "Eye Know." Just finding roads that weren't even on the map, looking at your hand and spotting a new finger, running across a room in your house that you had somehow never entered. I think we only get a few examples of Level Three in our lives. Only very rarely do we truly stumble upon The Unknown. I could maybe come up with five of those experiences in my life, tops.
I haven't had any of those experiences in the last several years. Decades, really. But really most of the artists with whom I went through discoveries are still in my permanent rotation, especially the Level Two and Level Threes. I listened to Kate Bush's Lionheart album today. It still blows my mind.
What about you? What are examples of your three levels?
John Moe is heard every Wednesday on Oake & Riley in the Morning, commenting on the latest Internet trends. He also co-hosts the podcast Conversation Parade (with Open Mike Eagle) on the Infinite Guest network, and is an author of a number of books, including The Deleted Emails of Hilary Clinton: A Parody and Dear Luke, We Need To Talk, Darth: And Other Pop Culture Correspondences. 152ee80cbc
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