Ann K. Powers is an American writer and pop music critic, she is a music critic for NPR and a contributor at the Los Angeles Times, where she was chief pop critic. She has served as pop critic at The New York Times and an editor at The Village Voice. Powers is the author of Weird Like Us: a memoir. Powers was raised in Seattle, Washington. During elementary school, her first poem was published in the Our Lady of Fatima school newspaper. Powers earned a Bachelor of Arts in creative writing from San Francisco State University, a Master of Arts in American literature from the University of California, Berkeley. Powers studied literary theory, she wrote about music, feminism and religion. Powers' professional writing career began in 1980 while she was still in high school, when she started writing for the Seattle music weekly magazine The Rocket. After college, in 1986, Powers started writing about popular music and pop culture as a columnist at the San Francisco Weekly. After moving to New York City, she wrote for The New York Times from 1992 to 1993 was an editor at The Village Voice from 1993 to 1996.
From 1997 to 2001, Powers was the pop critic at The New York Times. From 2001 until May 2005, Powers was senior curator at the Experience Music Project in Seattle, which became Museum of Pop Culture. Powers and her husband Eric Weisbard have helped organize the annual EMP Pop Conference since its inception in 2002. After a brief tenure as Blender magazine's senior critic, in March 2006, she accepted a position as chief pop critic at the Los Angeles Times, where she succeeded Robert Hilburn. Powers wrote for Pop & Hiss, the Los Angeles Times' music blog, in addition to other features and news articles, she remained in this position until March 2011, when she departed for NPR, though she continued as a contributor for the Los Angeles Times afterward. Since 2011, Powers has been NPR Music's correspondent. Powers has written for The Record, NPR's blog about finding, buying and talking about music, since April 2011. In 2017, Powers spearheaded a multi-platform project at NPR called Turning the Tables.
The project sought to reconstitute the canon of American popular music by publishing a list of the 150 greatest albums by women and a related series of essays, audio features, events. Powers is the Nashville correspondent for World Cafe recording sessions with local and regional Southern musicians. Powers' work critiques the perceptions of sex and social minorities in the music industry, she has written about topics such as religion and film. Powers co-edited the 1995 anthology Rock She Wrote: Women Write About Rock and Rap, was the guest editor of the Da Capo Press Best Music Writing 2010. In 2000, Powers published; the book focuses on Powers' time living in Seattle, San Francisco, Brooklyn. Joshua Klein of the A. V. Club described the project as "us personal experiences to define how youth culture has changed over the years."In 2005, Powers co-wrote the book Piece by Piece with musician Tori Amos. The book discusses the role of women in the modern music industry and features information about composing, touring and the realities of the music business.
Powers wrote a proposal for a book on Kate Bush's album The Dreaming, slated to be published in 2007 as part of the 33⅓ series. In August 2017, Powers published the book Good Booty: Love and Sex, Black & White and Soul in American Music; the book reconsiders the history of American popular music through the lens of sexuality and eroticism. It was positively reviewed and was chosen as one of the best books of 2017 by The Wall Street Journal, NPR, No Depression, Buzzfeed. Powers has appeared in various TV documentaries, she was in the film The Punk Singer as an interviewee discussing the influence of Kathleen Hanna on punk music. She appeared in the 2005 documentary The Gits and the 2015 documentary Undeniably Donnie. Powers is married to Eric Weisbard, a music critic and professor of American studies at the University of Alabama, they moved to Tuscaloosa, Alabama, in 2009 moving to East Nashville, Tennessee, in 2015. They have a daughter. 2008: Artist in Residence, The Popular Music Project at USC Annenberg Norman Lear Center 2010: ASCAP, Deems Taylor Award for "The Cultural Critic: Lady Gaga, It's Time for Idol to Open the Closet Door" and "My Night with Prince" for the Los Angeles Times McDonnell, Evelyn.
Rock She Wrote: Women Write About Rock and Rap. London: Plexus. ISBN 978-0-859-65233-9. OCLC 35130945. Powers, Ann. Weird Like Us: My Bohemian America. New York: Simon & Schuster. ISBN 978-0-684-83808-3. OCLC 42421011. Amos, Tori. Tori Amos: Piece by Piece. A Portrait of the Artist: Her Thoughts, Her Conversations. New York: Broadway Books. ISBN 978-0-307-49204-3. OCLC 320322936. Powers, Ann, ed.. Best Music Writing 2010. Cambridge, MA: Da Capo Press. ISBN 978-0-306-81925-4. OCLC 548569629. Powers, Ann. Good Booty: Love and Sex, Black & White and Soul in American Music. New York: Dey Street, William Morrow. ISBN 978-0-062-46369-2. OCLC 981576251. Powers, Ann. "Pop Music. The New York Times. Powers, Ann. "Queer in the Streets, Straight in
Phillipston is a town in Worcester County, United States. The population was 1,682 at the 2010 census. Phillipston was first settled in 1751, incorporated as the town of Gerry on October 20, 1786, after separating from Templeton, it was named after Elbridge Gerry. The town's name was changed from Gerry to Phillipston on February 5, 1814, after lieutenant governor William Phillips, Jr. According to the United States Census Bureau, the town has a total area of 24.6 square miles, of which 24.3 square miles is land and 0.4 square miles, or 1.54%, is water. Phillipston is bordered by Petersham to the southwest, Athol to the northwest, Royalston to the north, Templeton to the east, Hubbardston to the southeast, a small portion of Barre to the south; as of the census of 2000, there were 1,621 people, 580 households, 443 families residing in the town. The population density was 66.8 people per square mile. There were 739 housing units at an average density of 30.5 per square mile. The racial makeup of the town was 97.72% White, 0.37% African American, 0.12% Native American, 0.37% Asian, 1.42% from two or more races.
Hispanic or Latino of any race were 0.43% of the population. There were 580 households of which 39.5% had children under the age of 18 living with them, 63.8% were married couples living together, 8.1% had a female householder with no husband present, 23.6% were non-families. 17.6% of all households were made up of individuals and 5.0% had someone living alone, 65 years of age or older. The average household size was 2.79 and the average family size was 3.19. In the town, the population was spread out with 29.2% under the age of 18, 5.2% from 18 to 24, 33.3% from 25 to 44, 24.7% from 45 to 64, 7.5% who were 65 years of age or older. The median age was 37 years. For every 100 females, there were 101.1 males. For every 100 females age 18 and over, there were 106.7 males. The median income for a household in the town was $46,845, the median income for a family was $52,011. Males had a median income of $39,231 versus $25,625 for females; the per capita income for the town was $18,706. About 3.8% of families and 5.8% of the population were below the poverty line, including 8.5% of those under age 18 and 4.0% of those age 65 or over.
"The Phillips Free Public Library of Phillipston was founded in 1860." In fiscal year 2008, the town of Phillipston spent 1.08% of its budget on its public library—some $17 per person. Town of Phillipston
The Type 35 was the most successful of the Bugatti racing models. Its version of the Bugatti arch-shaped radiator that had evolved from the more architectural one of the Bugatti Type 13 Brescia, was to become the one that the marque is most known for though in the ranks of the various Type 35s there were variations on the theme; the Type 35 was phenomenally successful. It took the Grand Prix World Championship in 1926 after winning 351 races and setting 47 records in the two prior years. At its height, Type 35s averaged 14 race wins per week. Bugatti won the Targa Florio for five consecutive years, from 1925 through 1929, with the Type 35; the original model, introduced at the Grand Prix of Lyon on August 3, 1924, used an evolution of the three-valve 2.0 L overhead cam straight-eight engine first seen on the Type 29. Bore was 60 mm and stroke was 88 mm as on many previous Bugatti models. Ninety-six examples were produced; this new powerplant featured five main bearings with an unusual ball bearing system.
This allowed the engine to rev to 6,000 rpm, 90 hp was reliably produced. Solid axles with leaf springs were used front and rear, drum brakes at the back, operated by cables, were specified. Alloy wheels were a novelty. A second feature of the Type 35, to become a Bugatti trademark was passing the springs through the front axle rather than U-bolting them together as was done on their earlier cars. A rare version was de-bored for a total displacement of 1.5 L. There are two of these cars in New Zealand. Dimensions: Length: 3680 mm Width: 1320 mm Wheelbase: 2400 mm Track: 1200 mm Weight: 750 kg A less expensive version of the Type 35 appeared in May, 1925; the factory's "Type 35A" name was ignored by the public, who nicknamed it "Tecla" after a famous maker of imitation jewelry. The Tecla's engine used three plain bearings, smaller valves, coil ignition like the Type 30. While this decreased maintenance requirements, it reduced output. One-hundred thirty nine of the Type 35As were sold; the Type 35C featured a Roots supercharger, despite Ettore Bugatti's disdain for forced induction.
Output was nearly 128 hp with a single Zenith carburettor. Type 35Cs won the French Grand Prix at Saint-Gaudens in 1928, at Pau in 1930. Fifty examples left the factory. For 1926, Bugatti introduced a special model for the Targa Florio race. Called the "Type 35T" it soon became known as the "Targa Florio". Engine displacement was up to 2.3 L with a longer 100 mm stroke. Grand Prix rule changes limiting capacity to 2.0 L limited the appeal of this model at the time with just thirteen produced. Bugatti is'world champion of cars builders' this year; the final version of the Type 35 series was the Type 35B of 1927. Named "Type 35TC", it shared the 2.3 L engine of the Type 35T but added a large supercharger like the Type 35C. Output was 138 hp, 45 examples were made. A British racing green Type 35B driven by William Grover-Williams won the 1929 French Grand Prix at Le Mans; the Type 35 chassis and body were reused on the Type 37 sports car. Fitted with a new 1.5 L straight-4 engine, 290 Type 37s were built.
This engine was produced 60 hp. The same engine went on to be used in the Type 40; the supercharged Type 37A accounted for 67 of the Type 37's production slots. Engine output was up to 60–67 kW, it had larger shrouded brake drums. The Type 39 was identical to the Type 35C except for its engine; this was modified to be smaller at 1.5 L with a shorter-stroked crankshaft. This brought stroke down from 88 mm to 66 mm, a mix of regular and ball bearings were used. Ten examples were produced. An odd 1.1 L version was created by reducing the bore of the engine to 51.3 mm. Bugatti Club France page