All
Sep 2: Irish criminal arrested in Holland
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Jay jogging
Ní fhacha mé aon cheann amháin nó fiú dhá cheann ach trí scréachóg coille, éan párrthas na hEorpa i bhforaois Belvoir go moch ar maidin.
Visitors to the Balcony have asked me, did you learn anything on your journey to TG4. The answer is, "yes". The three most lucrative areas of TV, 'the three Fs' are now in the full control of the satellite broadcasters. And they are, "films, f..ing and football". At least that's one 300-mile journey which wasn't wasted.
Apologies for that.
On a more wholesome note, my interview with Kalena Silva and Keola Donaghy of the University of Hawaii Hawaiian Studies department is now online.
And we're up on the Irish Echo site as well.
Visitors to the Balcony have asked me, did you learn anything on your journey to TG4. The answer is, "yes". The three most lucrative areas of TV, 'the three Fs' are now in the full control of the satellite broadcasters. And they are, "films, f..ing and football". At least that's one 300-mile journey which wasn't wasted.
Apologies for that.
On a more wholesome note, my interview with Kalena Silva and Keola Donaghy of the University of Hawaii Hawaiian Studies department is now online.
And we're up on the Irish Echo site as well.
Categories: All
Tree falls on Train Street, knocks out power to nearby residents, traffic signals
Photo by MightyFineDot.
Even without Earl, a tree fell on Train Street Thursday evening, taking out an electric line that supplied residents and nearby traffic signals.
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Two teens shot in Grove Hall; one dies
09/02/2010 - 12:13am
The Boston Police Department reports that two 18-year-olds were shot shortly after midnight, Thursday, at Blue Hill and Geneva avenues.
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Big Apple Feis to step out in New Belfast!
UnaTeresa Gormley who runs the magnificent Big Apple Feis in New York landed in Belfast this week to drive forward a series of ideas which she has been mulling over since attending the high-octane New York-New Belfast conference in June.
I met her in the Cultúrlann at lunchtime today (she's pictured with, left, Cultúrlann director Eimear Ní Mhathúna, and two interns on the Big Apple Feis initiative Carl and Stacy, right) on her way to bend Jake Mac Siacais' ear about a reverse direction Project Children idea: have young Irish Americans come to Ireland to learn about our culture while undertaking summer activities. Now if we could make that work, we would all be in clover. And she's also resolved to take the Big Apple Feis idea — which filled five ballrooms in the New York Hilton in March of this year — to Béal Feirste.
The really good news is that she hadn't been in the Cultúrlann before but found herself immediately at home and surrounded by people who have the same ambition as herself for Irish culture and dance. Look out for UnaTeresa's dancers at the Discover Northern Ireland, Titanic and More festival in Grand Central Station from 23-30 September.
I met her in the Cultúrlann at lunchtime today (she's pictured with, left, Cultúrlann director Eimear Ní Mhathúna, and two interns on the Big Apple Feis initiative Carl and Stacy, right) on her way to bend Jake Mac Siacais' ear about a reverse direction Project Children idea: have young Irish Americans come to Ireland to learn about our culture while undertaking summer activities. Now if we could make that work, we would all be in clover. And she's also resolved to take the Big Apple Feis idea — which filled five ballrooms in the New York Hilton in March of this year — to Béal Feirste.
The really good news is that she hadn't been in the Cultúrlann before but found herself immediately at home and surrounded by people who have the same ambition as herself for Irish culture and dance. Look out for UnaTeresa's dancers at the Discover Northern Ireland, Titanic and More festival in Grand Central Station from 23-30 September.
Categories: All
It’s time to lay out baseball’s September possibilities
Bearing down on the Labor Day marker signaling the turn into the stretch run of another baseball season, the urgency of the hour is overwhelming. It has been a wacky season. So, with a month to go in what passes for pennant races nowadays we have the following phenomena, ranging from the improbable to the downright silly.
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Safe Summer Streets Boys Basketball Championships
Safe Summer Streets Boys Basketball Championships
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Lynch looks back at Brown win vs. Coakley: I’d have run ‘a lot different’ campaign, he says
By Jim O’Sullivan, State House News Service
When organized labor left his side last summer – underscored by a notably cool reception from a usually friendly room at a Labor Day breakfast in Washington – U.S. Rep. Stephen Lynch knew his chances at the seat opened by Sen. Edward Kennedy’s death had slimmed, likely beyond repair.
“The only opportunity would’ve been to have those people who worked with me for many years on my side,” said Lynch, who worked his way up in politics through the local ironworkers union before winning election to the state House and Senate and then, in 2001, to Congress.
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‘Earl-y’ Warnings put ‘On the Watch’
The first word seized our attention some days before last weekend: A “tropical disturbance” was churning off the coast of Africa, and it could become – maybe – the first hurricane of the season. It would be known as “Earl.”
By Saturday, computer models projected a trajectory through the Caribbean, turning north and targeting the East Coast. It was then that the slow anxiety began to build: If the long-term projections bear out, Earl might mean an end to the tomato-growing season!
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For adult learners, OLLI is the program to join
“When we went on the OLLI program’s first trip to Thailand, we explored parts of the country most tourists never get to see,” exclaims Fields Corner resident Diane McCormack, who chairs the Board of Directors of the UMass-based Osher Lifelong Learning Institute (OLLI), part of a nationwide network of continuing education programs for adult learners.
The UMass OLLI Director, Dr. Wichian Rojanawon, a native Thai, continues to coordinate and co-lead annual trips that go beyond the usual elephant rides and temple visits to cater to individual interests.
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Program on energy efficiency launched in Dorchester
Mike Deehan, Special to the Reporter
Bostonians will have more options this winter to make their homes as energy efficient as possible through to a new city program launched last week in Dorchester’s Meetinghouse Hill neighborhood.
Mayor Thomas Menino announced the Renew Boston Residential Program program on Thursday by showcasing the Potosi St. home of Saithlyn Jones, who cut her heating bill in half by taking advantage of the new program.
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Reporter’s Notebook: Lawton charges opponent with vandalizing his sign; I didn’t do it, says Henriquez
Barry Lawton, one of the four candidates running to replace former state Rep. Marie St. Fleur, is accusing a fellow Democratic candidate of trashing one of his campaign signs. Lawton said that while driving with his children last Thursday he saw Carlos Henriquez putting one of his signs in a trash barrel outside of the Brown Food Market at the corner of West Cottage St. and Dudley St. Lawton’s sign had been up in the store since April, Lawton said.
“I’m disappointed, number one,” Lawton told the Reporter. “I’m just disappointed and I’m just surprised. He can’t deny it.”
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Carpenters say their new center speaks to their community roles
Matthew DeLuca, Special to the Reporter
In the lobby on the third floor of the new Carpenters Center at 750 Dorchester Avenue are sleek black chairs and hardwood floors and the receptionist behind her desk hums along to the radio on this quiet August afternoon. Beside the long counter of the reception desk is a small metal sculpture of a carpenter wielding a hammer that make one think more of a dentist’s office or the Museum of Contemporary Art than Woody Guthrie and Eugene V. Debs.
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UMass-Boston’s WUMB kicks off push to make its renewal a winner
By Tara M. Merrigan, Special to the Reporter
WUMB, the University of Massachusetts Boston’s official radio station ,known for its folk and singer-songwriter music, kicked off its “Preserving the Past, Building the Future” Capital Campaign earlier this month with a fundraising gala.
Since its inception in the late 1960s, WUMB radio has evolved from a closed circuit on-campus collegiate radio station to a five station radio network that reaches most of central and eastern Massachusetts as well as parts of Rhode Island. The station’s web broadcast boasts listeners in all 50 states, 103 countries, and seven continents.
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Education focus at Sixth forum
Four of the five candidates running to succeed retiring state Rep. Willie Mae Allen made their pitch to voters last week at a Grove Hall forum, discussing local jobs policies and education, and why Sixth Suffolk District residents should vote for them.
Russell Holmes, a community activist and certified financial planner with Ameriprise, touted his financial experience, saying his work with families on balancing their budget will help when he gets to the State House, which has faced making $8 billion in cuts to the state budget in the last several years.
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Three Days in a Dream, One Year in Reality
To say that activity has been "constant" for the last few months is a bit of an understatement, but alas... how productive! September is here and my classes at Bridgewater officially start in two hours, so my life very shortly will be consumed with making sure young students understand just how important Big Mama Thornton really was. But in the meantime, Big Mama Lindsay can finally share with you the article she wrote for the September issue of the Boston Irish Reporter, on the newstand today.
Here it is:
From a Dream to Reality,
Making Our Irish Music CD
(Three Days in the Dream … Ten Months in the Doing)
By Susan Gedutis Lindsay
Special to the BIR
We do things differently at the Lindsay household. Last October, when most respectable couples were booking leaf-peeping vacations in Vermont, Steve and I booked three days at Sounds Interesting Studios, a professional recording facility in Middleborough, Mass., to record an Irish music CD. We thought that would be plenty of time to get most of it done. Oh, sure…. Now, it’s ten months later and we’re just about finished! Following is an account of the making of our first studio CD, “From the Green to the Blue,” a world-music-influenced take on Irish traditional and contemporary music.
THE PLANNING STAGE
We began planning for this recording last year, at the release of our first CD. That one was a live recording, but now we yearned for more: the truly creative challenge that only a professional studio presents. So we called our friend, recording engineer Rob Pemberton, who has been at this for 24 years, and in that time has recorded more albums than he can count, in genres ranging from classical, jazz, top-40, to heavy metal. If you are a fan of Celtic Fiddle Festival’s groundbreaking Rendezvous album (Johnny Cunningham, Kevin Burke, Christian LeMaître), then you know Rob’s work. He’s really good.
THE RECORDING
There are many ways to record a CD. Some folks do it live, meaning the musicians play all at the same time, in the same room. Usually, they’ll play the same song numerous times, and keep only the best takes. We tried this approach first, but quickly abandoned ship. “Listening back, you and Steve would find flaws that you couldn’t live with,” Engineer Rob said. “You were actually looking for more perfection than I was – and it made more sense to record you individually so that we could isolate each person’s sound and punch in fixes [correct errors].”
I had expected that since we were going for a natural and edgy sound, we wouldn’t need to be so persnickety about details, but I was wrong. When Rob said “We’re rolling…” it felt like we were positioned precisely between a magnifying glass and the sun’s hot rays: Suddenly, all that heat was focused on us and we were the proverbial leaf, ready to burst into flames. Ouch! Live, one can get away with a few wrong notes, an out-of-tune instrument, a mixed up vocal line. But a recording must stand up to repeated listening, and those little mix-ups can really burn you up over time.
Rob has recorded several Celtic records and he says that recording Irish music is no different than any other style; his job remains to capture the sound that the artist wants. “I like to get the instruments sounding as natural as possible,” he said.
“Whether it’s Celtic Fiddle Fest, the Irish rock band The Prodigals, or more recently,
Cape Cod-based duo Stanley and Grimm, I determine what the musicians want and like and then bring out the best of what they do. Every record ends up sounding different as a result.”
Sounds Interesting Studios is set up like most professional recording operations: The engineer sits at a large mixing console in the control room, amid a wall of musical equipment. The musicians record in the adjacent “tracking room,” and can see the engineer through a double-paned plate glass window. They wear headphones to hear the track and themselves while recording, and communicate to the engineer through their microphones. The engineer gives instruction through a “talkback microphone” that feeds directly into their headphones. Each musician on the track listens through headphones while playing, and adds his or her part to the mix. This is called “overdubbing.”
The recording happens in layers. Because the bedrock of this recording is Steve’s guitar sound, that was done first. This phase included getting a good sound, finalizing the arrangement and song tempos, tuning between every take, and then lining up with a click track to get the rhythm rock solid... and then, of course, the requisite take and retake and retake… because it's not so easy to play perfectly when you have to.
Once we had solid guitar tracks, we recorded "scratch tracks" of vocals and sax/flute. Scratch tracks are placeholders for all other instrumentalists while they overdub their parts. The idea is that these parts will be re-recorded once the full band is present so that the vocalist and soloists can respond to the final “feel” of the piece.
After guitar tracks, we brought in our friends—eleven of them, to be exact. Most tracks have percussion, and that meant studio time with four different drummers: Salil Sachdev on African water drums, dumbek, Pakistani frame drum, and cajon; Brian Haley on conga and djembe; Peter Smith on bodhran; Rob Rudin on bones and washboard. We also added Sean Farias on acoustic upright bass on most tracks, then we added a range of color: Tom Rohde on lead guitar for some gorgeous background lines on one song, Evan Harlan on accordion on four tracks (including a soprano sax/accordion reel set reminiscent of the Dudley Street Irish dance hall sound of the 1950s), Nikki Engstrom on fiddle on some traditional reels and jigs, and Ian Hudson with some elegant grand piano on O’Carolan’s “Si Bheag Si Mhor,” and finally, Chris Barrett, an unexpected guest on one track: trumpet. Chris’s partner Kate Connell added harmony vocals in places where my own voice just didn’t work.
Then, it was our turn. Recording meaningful and musical parts on Irish flute, whistle, and soprano and alto saxophones was frosting on the cake, and believe me, I felt every minute of it.
Finally, it was time for vocals. Steve’s approach to singing is impassioned and real, so it took time just to get the mood right. How can one sing a sultry, peaceful “John of Dreams” at 10 a.m., and then transition coolly into the aggressive, caterwauling “Sixteen Jolly Ravers,” a salty song about sixteen Spanish fisherman who land on Dublin’s shores and hit the nightclubs?
After Steve’s vocals were finished, it was my turn to do the harmony vocals (didn’t realize I sang out of tune ‘til I heard it in the headphones!), and then, ten months later, we were done. But it wasn’t over.
THE MIXING
Then Rob started mixing. That means listening to each track, carefully adjusting the balance between the instruments, adding effects, compression, and doing other technical things that sound very Greek to me. It can take hours to mix a song; multiply that by 13.
Rob says that people don’t listen like they used to. “Most people don’t have a stereo system where they can sit down and devote the time to listen to the music. Now they’ll throw a bunch of songs on an iPod and listen to whatever comes up. But iPod earbuds while jogging is no way to listen to music.”
Despite Rob’s lament, we conceived of this album as more than as a collection of singles. “We wanted this to stand as something bigger than just the duo,” Rob said. “When a band wants to make a record that sounds just like they sound live, to me that’s called a demo. Live, you’re entertaining them because you’re there—the entertainment is in your presence and the interaction between the two of you… There needs to be a lot more in the record, and that’s where the production element comes in. When we put in a variety of instruments and tweak the sound of the record—that’s what makes it entertaining.” That meant that Rob took special care to ensure variety between each track while also maintaining a consistency of sound across the whole.
On this CD, for example, Rob recorded every instrument with two mics, one placed close to the instrument and one placed farther away to also capture some of the “room” sound. He then worked with the two signals on the same performance to create a sense of physical space around the instruments. To oversimplify: When he wants an instrument to appear on the left in the mind’s eye, he will put more of the sound in the left speaker. To adjust front to back spacing, also referred to as depth of field, he’ll bring down the volume of the close mic and bring up the volume of the room mic. Then, he adjusts the frequency of the vocal signal to add a lot of “air” so that the vocals soar over everything else. One of the problems for an engineer who takes such care to create both depth and breadth in his recordings is that most people listen to music as MP3s, smaller files that get that way because some elements of the original sound have been removed. Still, Rob’s passion for recorded sound means that he’ll cut no corners.
And that’s where we are at this writing. All the songs are mixed, as of 8:00 last night.
THE MASTERING
We’ll listen to all of the tracks one more time, and decide on the order of the songs. Once everything is just as we want it, the recording gets sent away for mastering. The mastering engineer listens to each track and ensures consistency in volume and sound between each track so that the overall record sounds like a connected whole. Like the final proofreader on a book, he also notes anything that the engineer might have missed.
THE PHYSICAL PRODUCTION
In the meantime, we’re working on writing the liner notes for the CD, having photo shoots, and creating a cover design, as well as securing permissions for songs we perform. (Oh, and, by the way, tending to our daughter, working our day jobs, and occasionally sweeping the kitchen floor. Occasionally.) Soon, we’ll listen to a copy of a master and approve it. Then, we’ll send the graphic files and the mastering engineer will send the final master directly to a duplication house. The CD duplication house will put it all together and press 1,000 CDs while we fidget nervously with our credit card. And all of this will happen within the next two weeks, Lord willing and the creek don’t rise.
We feel so grateful to Rob Pemberton and the musicians who appear on the record for helping to make this recording even better than we dreamed. Buying a paintbrush doesn't make you an artist; an expensive canvas doesn't make a better painting. Still, for artists who want a great painting—and great materials that they hope will stand the test of time—some expenses are just worth it.
We hope you'll agree when you hear the result, “From the Green to the Blue,” from The Lindsays. Coming this September… or so… Visit our website irishmusic.us to find out more. For more information on Sounds Interesting Studios, visit soundsinterestingstudio.com.
Here it is:
From a Dream to Reality,
Making Our Irish Music CD
(Three Days in the Dream … Ten Months in the Doing)
By Susan Gedutis Lindsay
Special to the BIR
We do things differently at the Lindsay household. Last October, when most respectable couples were booking leaf-peeping vacations in Vermont, Steve and I booked three days at Sounds Interesting Studios, a professional recording facility in Middleborough, Mass., to record an Irish music CD. We thought that would be plenty of time to get most of it done. Oh, sure…. Now, it’s ten months later and we’re just about finished! Following is an account of the making of our first studio CD, “From the Green to the Blue,” a world-music-influenced take on Irish traditional and contemporary music.
THE PLANNING STAGE
We began planning for this recording last year, at the release of our first CD. That one was a live recording, but now we yearned for more: the truly creative challenge that only a professional studio presents. So we called our friend, recording engineer Rob Pemberton, who has been at this for 24 years, and in that time has recorded more albums than he can count, in genres ranging from classical, jazz, top-40, to heavy metal. If you are a fan of Celtic Fiddle Festival’s groundbreaking Rendezvous album (Johnny Cunningham, Kevin Burke, Christian LeMaître), then you know Rob’s work. He’s really good.
THE RECORDING
There are many ways to record a CD. Some folks do it live, meaning the musicians play all at the same time, in the same room. Usually, they’ll play the same song numerous times, and keep only the best takes. We tried this approach first, but quickly abandoned ship. “Listening back, you and Steve would find flaws that you couldn’t live with,” Engineer Rob said. “You were actually looking for more perfection than I was – and it made more sense to record you individually so that we could isolate each person’s sound and punch in fixes [correct errors].”
I had expected that since we were going for a natural and edgy sound, we wouldn’t need to be so persnickety about details, but I was wrong. When Rob said “We’re rolling…” it felt like we were positioned precisely between a magnifying glass and the sun’s hot rays: Suddenly, all that heat was focused on us and we were the proverbial leaf, ready to burst into flames. Ouch! Live, one can get away with a few wrong notes, an out-of-tune instrument, a mixed up vocal line. But a recording must stand up to repeated listening, and those little mix-ups can really burn you up over time.
Rob has recorded several Celtic records and he says that recording Irish music is no different than any other style; his job remains to capture the sound that the artist wants. “I like to get the instruments sounding as natural as possible,” he said.
“Whether it’s Celtic Fiddle Fest, the Irish rock band The Prodigals, or more recently,
Cape Cod-based duo Stanley and Grimm, I determine what the musicians want and like and then bring out the best of what they do. Every record ends up sounding different as a result.”
Sounds Interesting Studios is set up like most professional recording operations: The engineer sits at a large mixing console in the control room, amid a wall of musical equipment. The musicians record in the adjacent “tracking room,” and can see the engineer through a double-paned plate glass window. They wear headphones to hear the track and themselves while recording, and communicate to the engineer through their microphones. The engineer gives instruction through a “talkback microphone” that feeds directly into their headphones. Each musician on the track listens through headphones while playing, and adds his or her part to the mix. This is called “overdubbing.”
The recording happens in layers. Because the bedrock of this recording is Steve’s guitar sound, that was done first. This phase included getting a good sound, finalizing the arrangement and song tempos, tuning between every take, and then lining up with a click track to get the rhythm rock solid... and then, of course, the requisite take and retake and retake… because it's not so easy to play perfectly when you have to.
Once we had solid guitar tracks, we recorded "scratch tracks" of vocals and sax/flute. Scratch tracks are placeholders for all other instrumentalists while they overdub their parts. The idea is that these parts will be re-recorded once the full band is present so that the vocalist and soloists can respond to the final “feel” of the piece.
After guitar tracks, we brought in our friends—eleven of them, to be exact. Most tracks have percussion, and that meant studio time with four different drummers: Salil Sachdev on African water drums, dumbek, Pakistani frame drum, and cajon; Brian Haley on conga and djembe; Peter Smith on bodhran; Rob Rudin on bones and washboard. We also added Sean Farias on acoustic upright bass on most tracks, then we added a range of color: Tom Rohde on lead guitar for some gorgeous background lines on one song, Evan Harlan on accordion on four tracks (including a soprano sax/accordion reel set reminiscent of the Dudley Street Irish dance hall sound of the 1950s), Nikki Engstrom on fiddle on some traditional reels and jigs, and Ian Hudson with some elegant grand piano on O’Carolan’s “Si Bheag Si Mhor,” and finally, Chris Barrett, an unexpected guest on one track: trumpet. Chris’s partner Kate Connell added harmony vocals in places where my own voice just didn’t work.
Then, it was our turn. Recording meaningful and musical parts on Irish flute, whistle, and soprano and alto saxophones was frosting on the cake, and believe me, I felt every minute of it.
Finally, it was time for vocals. Steve’s approach to singing is impassioned and real, so it took time just to get the mood right. How can one sing a sultry, peaceful “John of Dreams” at 10 a.m., and then transition coolly into the aggressive, caterwauling “Sixteen Jolly Ravers,” a salty song about sixteen Spanish fisherman who land on Dublin’s shores and hit the nightclubs?
After Steve’s vocals were finished, it was my turn to do the harmony vocals (didn’t realize I sang out of tune ‘til I heard it in the headphones!), and then, ten months later, we were done. But it wasn’t over.
THE MIXING
Then Rob started mixing. That means listening to each track, carefully adjusting the balance between the instruments, adding effects, compression, and doing other technical things that sound very Greek to me. It can take hours to mix a song; multiply that by 13.
Rob says that people don’t listen like they used to. “Most people don’t have a stereo system where they can sit down and devote the time to listen to the music. Now they’ll throw a bunch of songs on an iPod and listen to whatever comes up. But iPod earbuds while jogging is no way to listen to music.”
Despite Rob’s lament, we conceived of this album as more than as a collection of singles. “We wanted this to stand as something bigger than just the duo,” Rob said. “When a band wants to make a record that sounds just like they sound live, to me that’s called a demo. Live, you’re entertaining them because you’re there—the entertainment is in your presence and the interaction between the two of you… There needs to be a lot more in the record, and that’s where the production element comes in. When we put in a variety of instruments and tweak the sound of the record—that’s what makes it entertaining.” That meant that Rob took special care to ensure variety between each track while also maintaining a consistency of sound across the whole.
On this CD, for example, Rob recorded every instrument with two mics, one placed close to the instrument and one placed farther away to also capture some of the “room” sound. He then worked with the two signals on the same performance to create a sense of physical space around the instruments. To oversimplify: When he wants an instrument to appear on the left in the mind’s eye, he will put more of the sound in the left speaker. To adjust front to back spacing, also referred to as depth of field, he’ll bring down the volume of the close mic and bring up the volume of the room mic. Then, he adjusts the frequency of the vocal signal to add a lot of “air” so that the vocals soar over everything else. One of the problems for an engineer who takes such care to create both depth and breadth in his recordings is that most people listen to music as MP3s, smaller files that get that way because some elements of the original sound have been removed. Still, Rob’s passion for recorded sound means that he’ll cut no corners.
And that’s where we are at this writing. All the songs are mixed, as of 8:00 last night.
THE MASTERING
We’ll listen to all of the tracks one more time, and decide on the order of the songs. Once everything is just as we want it, the recording gets sent away for mastering. The mastering engineer listens to each track and ensures consistency in volume and sound between each track so that the overall record sounds like a connected whole. Like the final proofreader on a book, he also notes anything that the engineer might have missed.
THE PHYSICAL PRODUCTION
In the meantime, we’re working on writing the liner notes for the CD, having photo shoots, and creating a cover design, as well as securing permissions for songs we perform. (Oh, and, by the way, tending to our daughter, working our day jobs, and occasionally sweeping the kitchen floor. Occasionally.) Soon, we’ll listen to a copy of a master and approve it. Then, we’ll send the graphic files and the mastering engineer will send the final master directly to a duplication house. The CD duplication house will put it all together and press 1,000 CDs while we fidget nervously with our credit card. And all of this will happen within the next two weeks, Lord willing and the creek don’t rise.
We feel so grateful to Rob Pemberton and the musicians who appear on the record for helping to make this recording even better than we dreamed. Buying a paintbrush doesn't make you an artist; an expensive canvas doesn't make a better painting. Still, for artists who want a great painting—and great materials that they hope will stand the test of time—some expenses are just worth it.
We hope you'll agree when you hear the result, “From the Green to the Blue,” from The Lindsays. Coming this September… or so… Visit our website irishmusic.us to find out more. For more information on Sounds Interesting Studios, visit soundsinterestingstudio.com.
Categories: All
State House Watch: Gabfest time, and the usual cliches apply
By Jim O'Sullivan, State House News Service
The huddled masses of the People’s Chamber gathered last Thursday in the Omni Parker House Hotel, discussing reelection strategies and, to borrow a phrase, the good and the bad, the ecstasy, the remorse, and sorrow, the people and the places and how the weather was. There were pollsters on hand.
It is election season. Or, more precisely, it’s almost election season. The usual clichés apply.
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Our community needs a voice
By Divo Rodrigues Monteiro
My name is Divo Rodrigues Monteiro. I was born in Cape Verde Islands. First of all, there is a large Capeverdean community in Boston; and I now believe it is time for us to have our own voice at State House. Secondly, I want to run because I want to get involved in the political process.
I have been a resident of the Sixth Suffolk District for the past eight years. As I go around the district, I have met some district residents who are struggling to pay their bills and make ends meet because of the lack of jobs; and they are desperately looking for jobs.
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Sep 1: Death of actor Mick Lally
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