Dream 11 Crack Version

[Sabel Kantah]

AlecJensen: I've played in bands since high school. Ann Arbor, MI, had this great teen music scene based around a venue called The Neutral Zone. My friends are I were involved in launching the Neutral Zone's label, Youth-Owned Records. I kept writing music while I moved to Chicago and got my teaching degree. I got a job at an elementary school and met Eric, Michael, and our former bandmate Ned, all of whom were teachers there. But it never occurred to us to play music together until we went on strike in 2012. We started spending a lot of time together, and when we all realized we had the instruments for a band, I mentioned that I'd demoed an album worth of songs, but didn't know what to do with them. The songs were all ready to go. It was very casual, but turned into this beautiful thing.

AJ: Initially, the idea was when you describe your dreams and say, "I was at school, but it was, like, a dream version of school." You know the one; it has an infinite number of hallways and doors and you can never find the room your exam is in. Eventually, I started thinking of it as an idealized version of something, like there's the real version of your boyfriend and the dream version that only exists in your head. Sometimes the real version comes over and you end up feeling disillusioned. I think that interpretation fits the band as it exists today a bit better.

AJ: The Beatles and Pavement are so thoroughly ingrained in my DNA that I don't really notice their influence anymore. When Dream Version recorded our debut album, I was listening to lots of Prince, Fleetwood Mac, and of Montreal, but I doubt much of that comes across. Our new album's more rough and scrappy. I tried to avoid thinking about other people's music too much during the process. I think the Pavement influence will come through.

AJ: I usually write the songs and then record a demo to a drum machine. When I get together with Michael and Eric to play the songs, sometimes we play them just like the demo, but sometimes they go through extensive changes. "Firefighter", the first song on Beginners, went through months and months of revisions and now the demo would be unrecognizable. A couple of our newer songs are the same way. We recorded Beginners at Pieholden Suite Sound, but our latest we did at Foxhall Studios in Logan Square.

AJ: TNK was a real joy for us. The privilege of just being heard by Ezra Furman's audience was great - they're the kind of people we'd love to discover our band. Ezra's set really inspired me that night. The songs never lost momentum, but somehow he found time in each of them to forge this personal connection with the audience. It was humbling to get attention from him. Our gut reaction is, "Oh, Ezra, you don't have to say that just to be nice." But it's definitely brought us some new listeners.

AJ: Eric is a music teacher for grades K-7. He gets the kids doing these beautiful choral performances and leads a few a cappella groups. A few times a year, I reluctantly pick up a guitar and sing with my 8th graders. It's flattering when the kids show interest in our music, but my response when they bring up the band is usually a deadpan "I don't know what you're talking about." The last thing I want on my mind when I'm writing a song is, "How would my students respond to this?" That's creative poison.

AJ: Our new album, Fight Fair, is due out in early summer. We've got big plans for it. It's leaner, hungrier, and more angry in spirit, but it's still got the melodies and the background vocals people liked on Beginners. In the spring we'll announce a big summer tour and a release show. This is gonna be a really meaningful year for us.

AJ: I'm assuming this doesn't have to be realistic, so I'm gonna say duet with Kate Bush? More realistically, my high school band opened for of Montreal in 2004 and I'm pretty sure they went out for pizza during our set. So I'd love to get a second chance at that.

AJ: I'm in love with Emily Jane Powers, and highly recommend Jellies, Luno, and Richard Album. We're also big fans of Varsity, In Tall Buidlings, Pool Holograph, and of course, Ezra Furman.

AJ: It's been unreal playing Lincoln Hall, but we've also really enjoyed playing The Whistler, Subterranean, and Constellation. Can't forget Cole's, either. No matter the venue, anything Kickstand Productions puts on has been a great experience for us.

AJ: My dad took me to see the Beach Boys, minus Brian Wilson, in Detroit around 1995. Lots of Hawaiian shirts onstage. I think there was very little Pet Sounds, but plenty of "Kokomo" and that song that was on Full House. I recently saw In Tall Buildings do their TNK performance at Schuba's, and they're always awesome. They create dense textures, but within these really clean lines. I think there's a much bigger audience out there waiting for them.

In the past few years the concept of using visualization as tool to manifest the dream version of our selves has come into vogue in both personal and professional development circles. But author Damian Walsh argues that this idea of manifesting a future self, defined entirely by our current visions of what a fulfilling life would look like and what we imagine we must do to achieve it, as tempting as it may be, presents a problem. Why?

I remember, quite vividly, the drive up to Boston University for my first year of college. My nerves, excitement, and fear had almost reached a boiling point as we passed through Connecticut. I imagined the person I would become in just a few months: a scholar conducting research alongside his professors, a socialite making lifelong connections, and a writer putting the final touches on a manuscript that I had started the past year.

At one time, there were 12 outdoor courts behind the stadium. Then it was decided that parking for football and the stadium area needed to be expanded. Now we have six courts. Kinda tells you where tennis was on the priority list. And this is what it looks like:

No seating, no scoreboard, and the "Tennis House" is a building about, oh, I'm guessing 400 square feet. As for the indoor tennis facility, well, there isn't one. For matches indoors, Rutgers rents court time in nearby tennis clubs. So you know what's coming next.....

We used to have crew, the men's version of this sport. That was cut for financial reasons, despite significant outcries from alumni and others. There have even been efforts to fund it privately, to no avail. But we do have women's rowing and it still uses the Class of 1914 Boat House off Route 18 on the Raritan.

For land workouts, Rutgers offers a 16-person indoor rowing tank which allows rowers to maintain their feel for the water during the winter training portion of the year. We have a total over 50 Concept II rowing ergometers which we use for building cardiovascular endurance and fitness. For weight training, Rutgers rowers receive personal attention from the University's professional strength trainers and use state of the art equipment located in the training rooms on each campus.

The Boathouse is a boat house. Could it be dressed up, expanded? Absolutely - it must, along with better indoor training facilities. Dedicated facilities for the rowing team. And we'll put that on our list. Check.

Tennis is another story. We need a proper practice and competition site. And it can be available to the general public, students, and staff. And we need both an indoor and outdoor set up. So we move it out of the stadium area and over to Livingston to the area by the RAC. Like so:

I'm not putting a timeline or a priority number on this project. And maybe it's one of the last to be built - though I hope not. But somewhere down the line, Rutgers needs to create a sense that there is a desire to be great. Just as Dave White wrote that there needs to be a commitment to basketball, there needs to be a commitment to the other sports, as well. And we're not done.

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"Children" is an instrumental composition by Italian composer Robert Miles. It was first released in Italy in January 1995 as part of the EP Soundtracks on Joe Vannelli's DBX label, but it did not chart.[1] Vannelli brought the track to a nightclub in Miami where it was heard by Simon Berry of Platipus Records. Berry worked with Vannelli and James Barton (of Liverpool's Cream nightclub) to release the composition in November 1995 as the lead single from Miles's debut album, Dreamland (1996).[1] "Children" was certified gold and platinum in several countries and reached number one in more than 12 countries; it was Europe's most successful single of 1996.

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