DOCSLIB.ORG

7904 UDJ Highlights

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
7904 UDJ Highlights University of Detroit Jesuit High School and Academy ALSO INSIDE: • The President’s Report • Reunion 2003 Photo Gallery • Saving UDJ’s Past for the Future “What“What aa greatgreat wayway toto spendspend aa year!”year!” Are you interested in using your talentand energies in What are a professional environment? the benefits? Are you interested in being part of the growth at U of D? • Free Housing • Spiritual Development Whether you just miss the good old times at The High or you’re • Work Experience just looking for a professional • Living Stipend challenge, the AVC has an option for you. THE ALUMNI VOLUUNTEER CORPS is a nine interact with the students on a daily basis. month program for graduates of U of D AVC members gain concrete experience while Jesuit. The program is tailored to those working in a familiar environment. On any who are dedicated to service and communal given day, an AVC member may have the activities. Participants, who live in a five opportunity to teach, coach,or sub. They bedroom house adjacent to campus, help fill also work in various offices including the needs of the school while offering young development, pastoral, and admissions. alumni the chance to be “Men for Others.” If interested, please contact During the program AVC members are Gary Marando at (313) 862-5400 ext 2619 linked to the school in a variety of ways. or email [email protected] Those involved will have the opportunity to for further information. develop a schedule which fits their personal interests and also allows them to to directly Winter 2003 Volume 73 Number 1 features President’s Message ..............................................................................................3 Admissions............................................................................................................5 Planned Giving......................................................................................................5 To Give and Not To Count the Cost ........................................................................6 Philanthropist of the Year: Bernard Powell ................................................................9 President’s Report ................................................................................................11 In Memorium ......................................................................................................41 Reunion Weekends ..............................................................................................41 Alumni Alley ......................................................................................................43 A Justice Learns a Trade… and ‘58 Alums Enjoy Reunion Smiles ..............................44 Alumni Notes ......................................................................................................46 Alumni in the News ............................................................................................50 Honduras / Guatamala........................................................................................51 Summer 2003 Reunion Photos ..............................................................................52 Fall 2003 Reunion Photos ....................................................................................57 The Cub Archives ................................................................................................60 See “To Give and Not To Count the Cost” Page 6 See “President’s Report” Page 11 See “Honduras” Page 51 departments STAFF editor 3 President’s Message Mark Grzybowski (’73) managing editor 5 Admissions 3 Ann Steele 5 Planned Giving contributing writers Thomas Boyle (‘58) 43 Alumni Alley 5 James Louisell (‘99) David Sailer (‘02) 46 Alumni Notes/ Stefan Simonetti (‘04) Photo Gallery Michael Van Tiem (‘05) 43 photo credit Cub News Event Photo design Grigg Graphic Services U of D Jesuit’s Highlights is published three times per year and distributed free to alumni, parents, faculty, administrators and friends of U of D Jesuit High School and Academy. Send address changes, Letters to the Editor, Class Memories and other correspondence to: Editor’s Note: Mark Grzybowski, Highlights Editor In the Spring 2003 issue of Highlights, we published a list of alumni U of D Jesuit High School who were members of the clergy. Several alums were missed and are 8400 South Cambridge listed below: Detroit, MI 48221 John Boucher ‘66 Carl Ebey '58 e-mail: [email protected] Reginald Brady ‘83 John Langan, S.J. ‘57 Joseph Bruetsch ‘55 Eugene Simon ‘43 phone: (313) 862-5400 ext. 2304 (800) 968-CUBS Notes Fax (313) 862-3299 Parents, if you are receiving your son’s Highlights although he no longer lives with you, please let us know so we can change our records and send the magazine directly to him. If you enjoy reading your son’s Highlights, let us know that too. We would be glad to send a copy to his new address and continue a copy to you. PRESIDENT’S MESSAGE Fr. Karl J. Kiser, S.J. President Winter 2003 www.uofdhigh.k12.mi.us Highlights • 3 Make Yourself a Permanent Resident of 8400 S. Cambridge The U of D Jesuit Personalized Brick Program The U of D Jesuit personalized brick program allows those who share in the school’s history – whether as alumni, parents or friends – to be remembered in the plaza in front of the Atrium entrance. Ordering Information Sizes You may choose from the three brick sizes that are available: • The 4x8 standard-size brick holds three lines of text with 12 spaces per line. • The 8x8 large brick holds six lines of text with 12 spaces per line. • The 8x16 jumbo brick holds six lines of text with 24 spaces per line. Text All text will be in the Helvetica Light font and centered as shown in the picture. The use of upper and lower case letters is permitted. It will be printed exactly as it appears in the blocks you fill out below. Some characters may not be available. You will be contacted if such a case should arise. U of D Jesuit reserves the right to refuse any message in poor taste. Costs Ordering • 4x8 brick - $100 Please detach the order form below and return to U of D Jesuit • 8x8 brick - $250 Brick Program, 8400 S. Cambridge, Detroit, MI 48221. • 8x16 brick - $700 Orders cannot be placed by phone.Order deadline is May 1st (every year)Please call 1-800-968-CUBS, ext 2328 Availability with any questions you may have. Bricks are sold on a first-come, first-serve basis. Confirmation Checks should be made payable to You will receive a confirmation letter and a commemorative the U of D Jesuit. Contact certification within one month of placing your order. Please 1-800-968-Cubs, ext 2328. review your personalized message very carefully. If you do not receive a confirmation letter or a correction is necessary, call (313) 862-5400 x2328. Name______________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________ Address__________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________ Phone ________________________________________________________________________________________________________________________________________________________________ ■ Friend ■ Parent ■ Parent of Alumnus ■ Alumnus-Class of________________________________________________ ■ 8x8 bricks - $250 ■ 4x8 bricks - $100 ALSO SEND ME INFORMATION ABOUT: Maximum 12 spaces per 6 lines Maximum 12 spaces per 3 lines ■ The Annual Fund ■ The Benefits of Giving Stock ■ Planned Giving PAYMENT ■ Check or Money Order ■ 8x16 bricks - $700, Maximum 24 spaces per 6 lines Make checks payable to U of D Jesuit ■ Visa ■ MasterCard Account No. Exp. Date ____ Signature ADMISSIONS hange always seems to bring push students in their classes and keep student interest in Cskepticism. It seems that as the material. The enlarged number of students has not lost much as anyone tries to fight it, any of the spirit seen in the classes of the late eighties and tomorrow finds something that rais- early nineties. They still develop into a special community es an eyebrow. all united by the traditions of “the High”. The mission of U of D Jesuit has undergone the school is as strong as ever with the emphasis of self- many changes since I doffed my cap examination continuing to push students to take their tal- five years ago. There are new class- ents and make the world better. rooms, new buildings and many, The school has changed quite a bit from when I entered Patrick Duffy ‘98 many new faces. Coming back to U in 1994. Just 112 Seniors graduated in 1995, 173 walked Director of of D, I wondered if I would be able across the stage last year. I was one of 175 Freshmen, the Admissions to recognize the school community biggest class in some time. Last year 235 ninth graders that I knew and cherished as a stu- enrolled, this year 209. The classes are larger but the com- dent. Would the new facilities detract from the academics mitment to excellence still holds. The year U of D will that have always been a hallmark of U of D? Would the graduate 178 young men, the most students since
Load more

Recommended publications
  • In the High Court of New Zealand Wellington Registry
    IN THE HIGH COURT OF NEW ZEALAND WELLINGTON REGISTRY I TE KŌTI MATUA O AOTEAROA TE WHANGANUI-Ā-TARA ROHE CIV-2014-485-11220 [2017] NZHC 2603 UNDER The Copyright Act 1994 EIGHT MILE STYLE, LLC BETWEEN First Plaintiff MARTIN AFFILIATED, LLC Second Plaintiff NEW ZEALAND NATIONAL PARTY AND First Defendant GREG HAMILTON Second Defendant STAN 3 LIMITED AND First Third Party SALE STREET STUDIOS LIMITED Second Third Party Continued Hearing: 1–8 May 2017 and 11–12 May 2017 Appearances: G C Williams, A M Simpson and C M Young for plaintiffs G F Arthur, G M Richards and P T Kiely for defendants A J Holmes for second third party T P Mullins and C I Hadlee for third and fourth third parties L M Kelly for fifth third party R K P Stewart for fourth party No appearance for fifth party Judgment: 25 October 2017 JUDGMENT OF CULL J EIGHT MILE STYLE v NEW ZEALAND NATIONAL PARTY [2017] NZHC 2603 [25 October 2017] AND AMCOS NEW ZEALAND LIMITED Third Third Party AUSTRALASIAN MECHANICAL COPYRIGHT OWNERS SOCIETY LIMITED Fourth Third Party BEATBOX MUSIC PTY LIMITED Fifth Third Party AND LABRADOR ENTERTAINMENT INC Fourth Party AND MICHAEL ALAN COHEN Fifth Party INDEX The musical works ............................................................................................................................. [8] Lose Yourself .................................................................................................................................. [9] Eminem Esque .............................................................................................................................
    [Show full text]
  • Eminem Song Composer: New Zealand Ad Is 'Blatant Rip-Off'
    lifestyle WEDNESDAY, MAY 3, 2017 MUSIC & MOVIES Eminem song composer: New Zealand ad is 'blatant rip-off' he composer of the opening guitar riff for in the courtroom. He said he wrote the song responded. The lawyer asked if it was weaker Eminem's "Lose Yourself" says the sound- with Eminem and Luis Resto over 18 months. because it was different. "It doesn't feel like Ttrack of a New Zealand political ad is a "I picked up a guitar and started playing that 'Lose Yourself""? the lawyer asked. "It doesn't "blatant rip-off." Jeff Bass told the High Court in opening guitar chord," he said. "At that time, I feel like me playing 'Lose Yourself,'" Bass said. Wellington yesterday that the song titled didn't know if it was a song or not." He said The lawyer asked Bass if he'd agree that the Led "Eminem Esque" that was used by the ruling Eminem, aka Marshall Mathers III, put together Zeppelin song "Kashmir" has a similar chord National Party during its 2014 election cam- a drum track but then they got stuck. "It took pattern. paign sounds like "Lose Yourself Lite." But, he him a number of months to author the perfect "No. None whatsoever," Bass responded. added, "It doesn't taste so good, though." lyrics that were just right for the beat," Bass Judge Helen Cull asked Bass if the guitar strum Eminem's music publishers Eight Mile Style sued said. He said they finished as Eminem complet- he'd performed in the courtroom was common.
    [Show full text]
  • Johnny, Be Good Tonight – the 100 Greatest Songs of All Time
    Johnny, Be Good Tonight – The 100 Greatest Songs of All Time Johnny, Be Good Tonight The 100 Greatest Songs of All Time 1st Edition by Eric Mack www.theattackzone.com © Copyright The Attack Zone. You may not copy this book. Johnny, Be Good Tonight – The 100 Greatest Songs of All Time Contents PREFACE........................................................................................................................4 INTRODUCTION.......................................................................................................... 5 CHAPTER 1: #100-91.............................................................................................................. #100: The Verve – “Bitter Sweet Symphony” (1997).........................................................8 #99: Buffalo Springfield – “For What It's Worth” (1967)................................................9 #98: James Taylor – “Fire and Rain” (1970)......................................................................10 #97: Adele – “Rolling in the Deep” (2010)..........................................................................11 #96: Bill Haley and His Comets – “(We're Gonna) Rock Around the Clock” (1954).....12 #95: DJ Shadow – “Midnight in a Perfect World” (1996)................................................13 #94: Dire Straits – “Sultans of Swing” (1978).................................................................... 14 #93: The Mamas and the Papas – “California Dreamin'” (1965)....................................15 #92: Eminem – “Lose Yourself” (2002)...............................................................................16
    [Show full text]
  • High Court of New Zealand 25 October 2017 MEDIA
    High Court of New Zealand 25 October 2017 MEDIA RELEASE - FOR IMMEDIATE PUBLICATION EIGHT MILE STYLE V NATIONAL PARTY [2017] NZHC 2603 This summary is provided to assist in the understanding of the Court’s judgment. It does not comprise part of the reasons for that judgment. The full judgment with reasons is the only authoritative document. The full text of the judgment and reasons can be found at www.courtsofnz.govt.nz What the case is about The key issue for determination by the Court was whether a “sound-alike” production track, called Eminem Esque, used by the National Party in its 2014 election campaign advertising, is sufficiently similar to the 2002 music of Eminem’s hit song, Lose Yourself, so as to constitute a breach of copyright. Lose Yourself was composed by Marshall Mathers III (Eminem), Jeffrey Bass and Luis Resto (all called Eight Mile Style) in 2002. The composition is regarded by Eight Mile Style as the most valuable work in their catalogue and has only rarely been licensed for use, and never as part of a political campaign. Eight Mile Style,1 who own the copyright in Lose Yourself, sought damages against the National Party after Eminem Esque featured in Party advertisements played on television, the internet and at a Party conference in the lead up to the 2014 election. Between 20 to 30 1 Eight Mile Style are the owners of 50 percent and exclusive licensees of the other 50 per cent of the musical work Lose Yourself. August 2014, the advertisements, with Eminem Esque synchronised to them, were played 186 times on New Zealand television.
    [Show full text]
  • 0 Musical Borrowing in Hip-Hop
    MUSICAL BORROWING IN HIP-HOP MUSIC: THEORETICAL FRAMEWORKS AND CASE STUDIES Justin A. Williams, BA, MMus Thesis submitted to the University of Nottingham for the degree of Doctor of Philosophy September 2009 0 Musical Borrowing in Hip-hop Music: Theoretical Frameworks and Case Studies Justin A. Williams ABSTRACT ‗Musical Borrowing in Hip-hop‘ begins with a crucial premise: the hip-hop world, as an imagined community, regards unconcealed intertextuality as integral to the production and reception of its artistic culture. In other words, borrowing, in its multidimensional forms and manifestations, is central to the aesthetics of hip-hop. This study of borrowing in hip-hop music, which transcends narrow discourses on ‗sampling‘ (digital sampling), illustrates the variety of ways that one can borrow from a source text or trope, and ways that audiences identify and respond to these practices. Another function of this thesis is to initiate a more nuanced discourse in hip-hop studies, to allow for the number of intertextual avenues travelled within hip-hop recordings, and to present academic frameworks with which to study them. The following five chapters provide case studies that prove that musical borrowing, part and parcel of hip-hop aesthetics, occurs on multiple planes and within myriad dimensions. These case studies include borrowing from the internal past of the genre (Ch. 1), the use of jazz and its reception as an ‗art music‘ within hip-hop (Ch. 2), borrowing and mixing intended for listening spaces such as the automobile (Ch. 3), sampling the voice of rap artists posthumously (Ch. 4), and sampling and borrowing as lineage within the gangsta rap subgenre (Ch.
    [Show full text]
  • Representations and Discourses of Black Motherhood in Hip Hop and REPRESENTATIONS and DISCOURSES
    Chaney and Brown: Representations and Discourses of Black Motherhood in Hip Hop and REPRESENTATIONS AND DISCOURSES . Representations and Discourses of Black Motherhood in Hip Hop and R&B over Time Cassandra Chaney and Arielle Brown This study will examine how representations and discourses regarding Black motherhood have changed in the Hip Hop and R&B genres over time. Specifically, this scholarly work will contextualize the lyrics of 79 songs (57 Hip Hop songs; 18 R&B songs; 2 songs represented the Hip Hop and R&B genre; 2 songs represented artists who produce music in 5 or 6 genres) from 1961-2015 to identify the ways that Black male and Black female artists described motherhood. Through the use of Black Feminist Theory, and by placing the production of these songs within a sociohistorical context, we provide an in-depth qualitative examination of song lyrics related to Black motherhood. Results gave evidence that representations and discourse of motherhood have been largely shaped by patriarchy as well as cultural, political, and racial politics whose primary aim was to decrease the amount of public support for poor, single Black mothers. In spite of the pathological framing of Black mothers, most notably through the “welfare queen” and “baby mama” stereotypes, a substantial number of Hip Hop and R&B artists have provided a strong counter narrative to Black motherhood by highlighting their positive qualities, acknowledging their individual and collective struggle, and demanding that these women be respected. How has patriarchy influenced the production and release of Hip Hop and R&B songs related to Black motherhood? In what ways has Hip Hop and R&B supported and challenged dominant representations and discourses surrounding Black 1 motherhood? How has Black Feminist Theory validated the experiences of Black mothers in Hip Hop and R&B? This manuscript will respond to these three questions by examining how societal changes have directly influenced how Black mothers in Hip Hop and R&B2 are intellectualized.
    [Show full text]
  • “Where the Mix Is Perfect”: Voices
    “WHERE THE MIX IS PERFECT”: VOICES FROM THE POST-MOTOWN SOUNDSCAPE by Carleton S. Gholz B.A., Macalester College, 1999 M.A., University of Pittsburgh, 2007 Submitted to the Graduate Faculty of The Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2011 UNIVERSITY OF PITTSBURGH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Carleton S. Gholz It was defended on April 11, 2011 and approved by Professor Brent Malin, Department of Communication Professor Andrew Weintraub, Department of Music Professor William Fusfield, Department of Communication Professor Shanara Reid-Brinkley, Department of Communication Dissertation Advisor: Professor Ronald J. Zboray, Department of Communication ii Copyright © by Carleton S. Gholz 2011 iii “WHERE THE MIX IS PERFECT”: VOICES FROM THE POST-MOTOWN SOUNDSCAPE Carleton S. Gholz, PhD University of Pittsburgh, 2011 In recent years, the city of Detroit’s economic struggles, including its cultural expressions, have become focal points for discussing the health of the American dream. However, this discussion has rarely strayed from the use of hackneyed factory metaphors, worn-out success-and-failure stories, and an ever-narrowing cast of characters. The result is that the common sense understanding of Detroit’s musical and cultural legacy tends to end in 1972 with the departure of Motown Records from the city to Los Angeles, if not even earlier in the aftermath of the riot / uprising of 1967. In “‘Where The Mix Is Perfect’: Voices From The Post-Motown Soundscape,” I provide an oral history of Detroit’s post-Motown aural history and in the process make available a new urban imaginary for judging the city’s wellbeing.
    [Show full text]
  • Hip-Hop and R&B Lessons About "Mama"
    Chaney and Brown: Is Black Motherhood A Marker of Oppression or Empowerment? Hip-Ho BLACK MOTHERHOOD . Is Black Motherhood A Marker of Oppression or Empowerment? Hip-Hop and R&B Lessons about “Mama” Cassandra Chaney and Arielle Brown A qualitative content analysis was conducted on the lyrics of 59 songs (40 Hip Hop songs; 17 R&B songs; 2 songs that represented the Hip Hop and R&B genre) from 1961-2013 to identify the ways that Black male and Black female artists described motherhood. The songs were determined by Billboard Chart Research Services, and Black Feminist Theory provided the theoretical foundation on which the themes were identified. Qualitative analysis of the lyrics revealed Black motherhood in R&B and Hip Hop to be based on the following four typologies: (1) Motherhood as Source of Emotional Comfort and Support; (2) Motherhood as Source of Strength and Self-Confidence; (3) Motherhood as Superior to Fatherhood; (4) Motherhood as Teacher and Disciplinarian; and (5) Motherhood Instills Unconditional Endless Love. Supporting qualitative lyrics are provided to support each of the aforementioned themes. For most Black women, the ability to create, nurture, and provide for their progeny holds boundless personal, cultural, and social significance. Although racism, sexism, and classism frequently make motherhood difficult,1 becoming a mother is one of the most salient personal and social identity symbols for many Black women. Several years ago, Shirley A. Hill2 wrote, “motherhood is a significant marker of womanhood. It provides a
    [Show full text]
  • Ameir Debuts a Megastars-Produced EP on June 30Th 2021, Ameir
    NEWS Brown Entertainment Group New Teen on the Block: Ameir Debuts a Megastars-Produced EP On June 30th 2021, Ameir, an eighteen-year-old musical talent and recent high school graduate of Walnut Hill School for the Arts in Natick, Massachusetts released a debut digital extended play album, (EP) entitled 7teen. It was produced by Academy Award and Grammy Award- winning Detroit composer and producer Luis Resto (best known for his work with Eminem). Grammy Award-winning producer Herschel Boone and mixed and mastered by Benny Ibarra De Llano, multi-platinum singer-songwriter, mixer and actor from Mexico. The EP was recorded at Zippah Studios in Boston by renowned audio engineer and producer Brian Charles. It is now on Apple Music, Spotify, and other streaming music platforms. Benny Ibarra said, “It took me about a minute to realize that I was trusted with a very special assignment. Ameir’s ears and the clarity he had in terms of what he wanted the mixes to sound like were impressive.” Herschel Boone notes, “Working with Ameir was not only a pleasure,...him being in Boston while I was in Detroit. It was so rewarding at times, that I forgot that we were doing it via Zoom. Ameir was always extremely focused and very eager to express himself musically. This is a rarity in many cases for someone his age...” This project was an opportunity for Ameir to explore and validate his voice. Luis Resto describes it as, “...a voice that touches your heart and reminds your ears and soul of that stirring within listening to Marvin or Stevie for the first time.
    [Show full text]
  • Journal of Hip Hop Studies
    et al.: Journal of Hip Hop Studies June 2016 Published by VCU Scholars Compass, 2016 1 Journal of Hip Hop Studies, Vol. 3 [2016], Iss. 1, Art. 1 Editor in Chief: Daniel White Hodge, North Park University Senior Editorial Advisory Board: Anthony Pinn, Rice University James Paterson, Lehigh University Book Review Editor: Gabriel B. Tait, Arkansas State University Associate Editors: Cassandra Chaney, Louisiana State University Jeffrey L. Coleman, St. Mary’s College of Maryland Monica Miller, Lehigh University Associate & Copy Editor: Travis Harris, PhD Student, College of William and Mary Editorial Board: Dr. Rachelle Ankney, North Park University Dr. Jason J. Campbell, Nova Southeastern University Dr. Jim Dekker, Cornerstone University Ms. Martha Diaz, New York University Mr. Earle Fisher, Rhodes College/Abyssinian Baptist Church, United States Dr. Daymond Glenn, Warner Pacific College Dr. Deshonna Collier-Goubil, Biola University Dr. Kamasi Hill, Interdenominational Theological Center Dr. Andre E. Johnson, University of Memphis Dr. David Leonard, Washington State University Dr. Terry Lindsay, North Park University Ms. Velda Love, North Park University Dr. Anthony J. Nocella II, Hamline University Dr. Priya Parmar, SUNY Brooklyn, New York Dr. Soong-Chan Rah, North Park University Dr. Rupert Simms, North Park University Dr. Darron Smith, University of Tennessee Health Science Center Dr. Jules Thompson, University Minnesota, Twin Cities Dr. Mary Trujillo, North Park University Dr. Edgar Tyson, Fordham University Dr. Ebony A. Utley, California State University Long Beach, United States Dr. Don C. Sawyer III, Quinnipiac University https://scholarscompass.vcu.edu/jhhs/vol3/iss1/1 2 et al.: Journal of Hip Hop Studies . Sponsored By: North Park Universities Center for Youth Ministry Studies (http://www.northpark.edu/Centers/Center-for-Youth-Ministry-Studies) Save The Kids Foundation (http://savethekidsgroup.org/) Published by VCU Scholars Compass, 2016 3 Journal of Hip Hop Studies, Vol.
    [Show full text]
  • Luis Resto One Small Light
    LUIS RESTO ONE SMALL LIGHT MAYBE (4:58) Luis Resto - vocal, keyboards • Mario Resto - guitar • Paul Nowinski - acoustic double bass, cornet, thai bamboo harmonica • Keith LeBlanc - drums i catch myself dreaming of a time i wasn’t scared a time when you were there we would dare share our secrets no regrets, i swear this dream is all i care about looking at old snapshots hugging you with all i’ve got staring at old snapshots scratching my head a lot and wondering (chorus) maybe, maybe, maybe it could happen again i’d love to be that maybe, maybe, maybe it could happen again i’d love to be that friend you once knew you would be the same to me we grew far apart, it’s true nowhere to start seems we’re dead but still a heart’s a heart a heart’s a heart beating with all it’s might howl like wolf at night looking for one small light just hoping for one small light (chorus) HELLO (4:03) Luis Resto - vocal, keyboards, harmonica • Mario Resto - guitar, backing voice • Paul Nowinski - acoustic double bass, backing voice • Shawn Pelton - drums, loopage you can’t tell what you’re looking for can’t see the jungle for the trees you try so hard it won’t come loose so you float on endlessly said you found it this morning you lost it last night you’ll get to it by mid-afternoon watching time pass me by watch runs slow have to wait a little longer for the light to glow (chorus) hello i try to stand with my arms held out i gotta move like this it makes me scream with a hoot and a shout Did I hit or miss? hey, hey, hello you try to live in shoes too big you
    [Show full text]
  • Student First
    Student First Student Last Work Title for Award Other Educational Educator Educator Educator Educator Educator Educator School Name Name Name Award Received Received Work Category Program Name First Name Last Name First Name Last Name First Name Last Name Big Rapids High School Megan Knuth Honorable Mention Stars Among Us Photography - Amy McGuire Big Rapids High School Lauren Posey Silver Key Under the Sea Painting - Amy Mcguire Big Rapids High School Lauren Posey Gold Key Ouch Drawing & Illustration - Amy Mcguire Byron Center High School Alayna Arms Honorable Mention Moonlight Serotonin Film & Animation - Greg Reinstein Julie VanderLaan Byron Center High School Alayna Arms Honorable Mention Quiet Film & Animation - Greg Reinstein Julie VanderLaan Byron Center High School Alayna Arms Honorable Mention Objects in the Mirror Film & Animation - Greg Reinstein Julie VanderLaan Byron Center High School Harley Cook Honorable Mention Self Expressing Hands Art Portfolio - Janine Campbell Gregory Reinstein Julie VanderLaan Byron Center High School Mallory Corwith Silver Key Autonomy Sculpture - Julie VanderLaan Greg Reinstein Byron Center High School Joshua Hager Silver Key Quarantine Doodles Drawing & Illustration - Janine Campbell Byron Center High School Joshua Hager Gold Key Paint Chip Illustrations Drawing & Illustration - Janine Campbell Byron Center High School Jayden Nguyen Honorable Mention The Titanic Sculpture - Julie VanderLaan Greg Reinstein Byron Center High School Jayden Nguyen Honorable Mention Twin Towers Sculpture - Julie VanderLaan
    [Show full text]