We are indebted to Southeast Polk High School and Jacqui Meunier and Jayson Gerth for making their concert facilities available to festival bands. The auditorium is one of the very finest facilities in the metro area.
The Open Class is designed for schools that enter two or three bands. Second and third bands may elect to participate in this class, however, if they prefer, they may perform in their normal school classification. 9th Grade Bands may enter either the ninth grade class or the open class.
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The Don Marcouiller Best of Class Trophy, given for the finest performance in each of the five classes, will be awarded immediately following the last scheduled performance of the festival. To be eligible this trophy bands must have received a I, I-, or a II+ rating.
The festival provides chairs, music stands, five timpani, a bass drum, a tam-tam, piano, and all mallet instruments (no crotales). Bands must furnish other needed equipment including sticks and mallets. In order to facilitate the schedule, we ask that bands use the SEP percussion equipment. Please contact Robert Meunier if you have questions about equipment availability.
It is recommended that bands arrive at Southeast Polk High School one hour prior to scheduled performance times. To avoid congestion and unnecessary waiting it is requested that they do not arrive earlier. The high school is located at 7945 NE University Avenue in Pleasant Hill, Iowa. Southeast Polk personnel will direct bands to the gymnasium/homeroom and buses to a parking area upon arrival.
A staff crew will set the stage for each performing band using a seating chart provided by directors upon arrival at the festival. When the stage is set, bands will be ushered from the warm-up room to the stage. After performing, bands will be directed back to the homeroom where equipment and cases may be picked up and returned to buses. Bands may either leave the campus or return to the auditorium to hear other ensemble performances.
Bands will be critiqued by a panel of three outstanding conductor-adjudicators selected for their professional qualifications, knowledge of school bands, and their sincere interest in the music education of young people.
Directors of participating bands may now order tickets for students, parents, and chaperones on consignment until March 31 at a cost of $32.99+tax per ticket, less than one-half of the regular price. Payment for these tickets may be deferred until after the festival when payment is due for tickets actually used. Unused tickets may simply be discarded. Ticket order forms are available from Robert Meunier.
Limit in Canada on 30M is 750 watts.....measured at the feed point of the ant.
Other than the US, I can't find any other countries that restrict power on 30m.
I don't see any other services on the 10.100 to 10.150 band....so I don't know what the rational is.
Max BW in canada on 30m is limited to 1khz...so only cw and data modes.
Dunno about FT8. I thought FT8 used a 2.5 khz BW ? I have zero interest at the moment on 30M...ditto with 12m.
17m is a good band...when it's open. Propagation like 20m....and quiet like 15m.
Although the L4B manual sez to use the 15M bandswitch position for 17m band, it will work in the 20M position.
The loaded tank Q when operating 15m on the 15m bandswitch position is too high imo, tank coil runs hot. I would have thought the heat generated would have migrated into the un used portion
of the 1/4" tubing coil next door... IE: the remaining portion used for 20M. Alas it doesn't. Adjacent portion runs at room temp. My conclusion is it's localized heat.
If 15 m bandswitch position used for 17m band, the poor 15m portion of the tubing coil is just about on fire...way too hot for my liking......so 20m position is used instead.
Jim VE7RF
The song "10 Bands" by Drake is a celebration of his success and financial wealth. In the song, Drake reflects on his young adulthood when he was paying his mother's rent, his rise to success in the music industry, and how far he has come. The chorus, "10 Bands, 50 bands, 100 bands, fuck it, man / Let's just not even discuss it, man," is about Drake boasting about the amount of money he makes and living a luxurious lifestyle, with no need to discuss the value of his riches. However, Drake is not just rapping about money and fame; the end of the song emphasizes his family (his mother and his ex-girlfriend) and his struggles that he has gone through to get to where he is. The song encourages listeners to focus on progressing and improving their lives, no matter the obstacles.
Bands and musicians from real life have been shown in Drake & Josh, often as posters and stuff like that. A majority of the real life bands and musicians shown in Drake & Josh are implied to be listened to by Drake Parker because he is very into music and even is a musician himself. This is a list of bands and musicians shown in Drake & Josh:
Ah, here's a movie script just waiting to be made. I'm not going to spend a great deal of time on Steve Drake's (aka Steve Kaczorowski) biographical background. Patrick 'the Lama' Lundborg has written a fascinating piece on the man that will tell you more than you ever wanted to know about his bizarre personal life and recording career. Released by Morris Levy's Roulette Records-affiliated tax scam Tiger Lily label, 1976's "Nature Intended" was Drake/Kaczorowski's third release following 1970's "What Time Are You?" (released under his given name) and "Cold Sweat" (credited to Steve Drake). By any stretch of the imagination this one added a weird twist to what was already a strange recording career. On the first album Drake/Kaczorowski at least went to the effort of re-recording vocals over original performances by obscure English bands. For the second and third projects he didn't even bother with that, instead simply creating what amounted to his own mix tape, but going the extra step of taking credit for writing and singing all of the material. I always wondered how he planned to explain the fact a female singer was clearly handling the vocals on 'Rap On'. I happen to like both Babe Ruth and Stackridge (which is where he copped the majority of the songs on this set - see additional information below), but knowing this material was written and performed by others certainly gave the set s strange feel. And yes, there was clearly something ironic having a tax scam label like Tiger Lily release an album of 'stolen' songs. Kind of the perfect art and business match made in hell ... Lundborg and tax scam expert Aaron Mileski spent considerable time tracking down the original sources of the album's nine tracks. They've figured out seven of the nine. So here's their side-by-side research: "Nature Intended" track listing:
(side 1)1.) Nature Intended rating: *** starsThe song title was actually 'Nature Intended', but credit should go to the British band Nutz. There's actually a parallel story associated with the British band Nutz. If interested you can see the 'No Dice' link above. The song started the album off with an interesting slice of British hard rock. The opening Gregorian chant sound effects were apparently intended to be ominous, but simply came off as being goofy. Hardly the band's most inventive composition, the track seemed designed to give lead guitarist Mick Davenport a change to showcase his hyper speed guitar licks. Okay, the lyrics were actually kind of funny. 2.) Rap On rating: *** starsThe actual song title was 'Lady' recorded by the British band Babe Ruth. I've always liked Babe Ruth lead singer Jennie Haan's voice, but it was certainly kind of strange to hear it plopped down in the midst of this mix-tape LP. The switch from the hard rock opener to this smooth slice of jazzy-funk was a bit jarring. You also had to wonder how Drake planned on explaining the prescience of a female lead singer.3.) Slark rating: *** starsThe song title was 'Slark', though it was written by the British band Stackridge. I've always wondered why Stackridge didn't achieve bigger successes in the States. Admittedly this wasn't there finest moment, but the instrumental segment sounded pretty good with the volume cranked up. 4.) Adam And I rating: *** starsAnother Babe Ruth effort, originally entitled 'A Fistful of Dollars'. Decent enough instrumental with plenty of '70s-styled lead guitar and the nod to 'Rawhide' was cute. (side 2) 1.) Somebody rating: ** starsBack to Babe Ruth for this one which was originally entitled 'Somebody's Nobody'. As displayed by this rocker, Babe Ruth and Jennie Haan could be shrill2.) Dave Ross & Me . rating: ** starsThis remains one of the two unknown performances. The vocal was a bit strained, but musically it was a decent slice of county-flavored folk with a lyric that was actually funny. 3.) Eastern Wind rating: **** starsPerhaps my favorite performance and the other mystery song - 'Eastern Wind'. Nice mix of pop sensibilities, tasty slide guitar, and light psych moves. Someone out there knows where this one came from.4.) Perfect Love . rating: ** stars'Perfect Love' found Drake diving back into the Babe Ruth catalog. This one was originally entitled 'The Duchess Of Orleans'. Haan's prominently featured on this slow, overwrought ballad. Unfortunately this was another one where she mistook shrieking for power. Nice lead guitar from Alan Shalock ... 5.) Jennie's Extravaganza . rating: * star And for the finale Drake went back to Stackridge. Listed as 'Jennie's Extravaganza' the instrumental's titled was actually 'Let There Be Lids'. Way too country for my tastes. Certainly not a 'must own' by any stretch of the imagination, but it made for one weird-ass story. Wonder whether the Babe Ruth and Stackridge members had any knowledge of this one ... Drake/Kaczorowski died in March, 2009 and I happened to stumble across a brief obituary by Erin Schultz written for the Suffolk Times which did a nice job of trying to make some sense of the man's odd life. _Superstar_ES 2351a5e196
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