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David Silveria

David Randall Silveria is an American drummer, best known as the drummer for the band Korn from 1993 until leaving the band in 2006. He became the drummer for INFINIKA, formed in 2012, but disbanded in 2015; as of 2019, David is now the drummer of a band called “BIAS”. Born in San Leandro, Silveria was raised in Bakersfield, California, he was one of the original five members of the nu metal band Korn. Bandmates Brian Welch, James Shaffer and Reginald Arvizu took up pseudonyms, while Silveria and singer Jonathan Davis remained using their real names. Korn proceeded to popularize the alternative metal subgenre in the music industry, selling over 40 million albums worldwide. Silveria sat out a part of the "Sick and Twisted 2000" and "Summer Sanitarium" tours due to injury, with Mike Bordin from Faith No More filling in on drums. Silveria returned for the album recording of Untouchables, Silveria's own explanation for the issue was that he "hits too fucking hard". On December 13, 2006, after the tour in support of See You on the Other Side, it was announced that Silveria would be going on hiatus, Jonathan Davis said Silveria would "probably not" appear on their next album.

Silveria has since started running his restaurants. In 2009, after working with several different temporary drummers, Ray Luzier was announced as the official replacement. For the first time in three years David appeared promoting Lil' Kim in Dancing with the Stars, he introduced himself as "David Silveria from Korn". In May 2010, Silveria appeared as a model for Remetee clothing. Since January 2012, Silveria has become vocal about his time in Korn, has spoken negatively about the band, its members and in some cases its outspoken fans, during conversations on Korn fansite Kornspace. Although David maintains no relationship with his former bandmates, he has stated that he has no hard feelings towards guitarist James Shaffer. However, Silveria has spoken less fondly of singer Jonathan Davis and bassist Reginald Arvizu, such as calling Arvizu a "cowardly little bitch". Silveria states that his relationship with Korn was flawed due to them not letting him back in the band after his long absence from music.

Silveria mentioned during his conversation with fans on Kornspace.com that he had contacted then-former band member Brian Welch about a Korn reunion tour but Head refused the offer. David confirmed his comments that he left Korn due to "negative attitudes" and that he "couldn't take it anymore", he mentioned at that point that he has not spoken with Jonathan Davis since November 2006. However, after it was announced that original guitarist Brian Head Welch would be returning to Korn for two shows at Rock am Ring and Rock im Park in 2013, David Silveria commented on his Facebook page that he would be open to a reunion if all five original members were involved. On January 7, 2013, David Silveria updated his status on his official Facebook page stating,'Korn fans need to flood the Korn site telling them Korn isn't Korn without the original five!!!' He went on to say in a status that fans should'Flood Jd's and Munkys twitter to bring the original 5 back together" and commenting that he had'made contact', after which fans began predicting that a full reunion would happen.

On January 7, 2013, guitarist Brian Head Welch stated in an Interview that "David has said some crazy things online about personal things and he's not in a place where people would want him around. That happened before I talked with them but I guess the things he said were crazy; those guys were in a band together for so long so I don't know, but for now it's just not going to happen."On August 11, 2013, Silveria took to his personal Facebook account to state that "here are a lot of things I did for the band that they don't like to admit I did." He went on to say in a post that he blamed the band's "cookie cutter" musical direction after Follow the Leader for his lack of interest from that point. On August 17, 2013 Silveria responded to the repeated misquoting of his post on Ray Luzier and Korn with "To be clear I am NOT talking bad about Ray. My posts have been about my work with Korn during our early years during our first three records." Silveria has claimed that he could restore Korn's original sound, says that he would like to have a discussion with the band about their early days, the future of the band and Korn's original sound.

However, Jonathan Davis stated on Twitter that "I will never never play with him again,". On February 27, 2015, Silveria stated that he was suing his former bandmates in Korn for money owed after the band declined to allow him back in the group following a lengthy break. According to TMZ, Silveria is suing the other four original bandmembers in an effort to reclaim the money owed to him and his "ownership interest" in the band since his departure. If Silveria is repaid what he believes he is owed from the past 9 years, he will dissolve his partnership with the group. On January 24 it was announced on YouTube that Silveria is playing drums for the experimental rock band INFINIKA alongside the founding member of ANYONE, Riz Story. On January 27 it was confirmed with an article on Blabbermouth. Silveria stated that he wished to expand his musical scope with INFINIKA adding that it was technically the most advanced drumming of his career. On January 30, fan site Kornspace.com confirmed that David Silveria had in fact joined the site, with a picture of Silveria holding a Kornspace banner.

This confirmed previous comments, made by the drummer on the site earlier that week. David stated that he would be touring

Nordic combined at the 1936 Winter Olympics

At the 1936 Winter Olympics, one individual Nordic combined event was contested. It was held on Wednesday, February 12, 1936 and on Thursday, February 13, 1936; the 18 kilometre cross-country skiing race was held on Wednesday, February 12, 1936, as part of the special 18 kilometre cross-country race. The race started at 10:01 a.m.. There was a gap of 30 seconds between each starter; the highest point was at 1010 metres and the lowest point was at 735 metres. The conditions were good with temperatures between -4.8° to -2° Celsius. Oddbjørn Hagen the winner of this Nordic combined cross-country skiing race won for his performance a silver medal in the competition of the specialists. In total 16 competitors participated in both events and were placed in the separate 18 kilometre race. A total of 51 Nordic combined skiers from 16 nations competed at the Garmisch-Partenkirchen Games: Austria Canada Czechoslovakia Finland Germany Great Britain Hungary Italy Japan Latvia Norway Poland Sweden Switzerland United States Yugoslavia International Olympic Committee results database Official Olympic Report Wudarski, Pawel.

"Wyniki Igrzysk Olimpijskich". Retrieved 16 May 2008

Freddy Maertens

Freddy Maertens is a Belgian former professional racing cyclist, twice world road race champion. His career coincided with the best years of another Belgian rider, Eddy Merckx, supporters and reporters were split over, the better. Maertens' career swung between winning more than 50 races in a season to winning none and back again, his life has been marked by alcoholism. It took him more than two decades to pay a tax debt. Maertens was the son of what his wife, described as a hard-working middle-class couple: Gilbert Maertens and Silonne Verhaege, his mother was the daughter of a shipbuilder in Nieuwpoort harbour. She had a newspaper shop, which delivered newspapers. Gilbert Maertens, the son of a self-employed bill-sticker, was a flamboyant and restless man, a member of the local council and on the committee of the town football club, he ran a laundry with a staff of four behind his wife's shop. Maertens is one of four brothers: he, Mario and Marc. Marc rode as a professional. Maertens went to the St-Bernadus college in Nieuwpoort.

He showed a talent for languages. He could make himself understood in French and English as well as his native Dutch by the time he turned professional, he went to the Onze Lieve Vrouw college in Ostend. Maertens and Carine Brouckaert met at a cycling club dance when she was 15, she had been sewing shoes for a cobbler, since the previous year. The two were introduced by his wife, Annie. Carine was Annie's niece, she had never heard of Maertens. They rented a house in Lombardsijde, she said: "I got to know a young boy, more adult than his years and who knew what he wanted: to be a professional bike rider. I fell for him. Not because I thought he could become a great rider but because I felt straight away that I could play a role in his life, that he needed me. Three years we were married. Our dream had started. We didn’t know that it would turn into a nightmare". Maertens rode his first race at Westhoek when he was 14, in 1966; the field included riders of 18, including some from France. The race was open to riders who did not have a licence from the Belgian federation, the BWB.

He had trouble riding in a group. His second race went better. Among the riders he beat was Michel Pollentier a friend and a team colleague as a professional. Maertens continued to ride unlicensed races in 1967. In 1968 he took his first licence from the BWB, riding in beginners' class, he came second 19 times to a rider named Vandromme. Maertens asked his father permission to leave school in his second year as a junior, or under-19, rider, he won 64 times as a junior. His father made. Gilbert Maertens gave his son his first bike, which Freddy Maertens described as "a second-hand thing that he’d got from a beach business for a bargain". Not until he won a race on that would he get a better one; the author, Rik Van Walleghem, said: "The training school that Maertens went through with his father was hard. Horribly hard. Gilbert never lost sight of anything, he knew how much and how his son trained, what he ate and drank, how much he slept, who he went around with. He imposed a merciless regime, and he had an eye open for the slightest thing.

He worried, for instance, that Freddy’s male hormones would get the better of his son and drive him into the arms of bewitching young girl who’d put the slides under his mission. Women were the devil’s work. Gilbert took revenge by cutting his racing bike in half, he intervened with the army, when his son was called for national service, to ask that he not be given an easier time because of his reputation. Maertens' relationship with his father affected the rest of his life, he rode well only when he had a dominant figure behind him: first his father Briek Schotte and Lomme Driessens. His wife described him as trusting and vulnerable, that he needed care because otherwise he would be "like a bird waiting for a cat". Maertens won 50 times including the national championship at Nandrin. In 1970 he came second to Régis Ovion, in the world amateur championship, he competed in the individual road race at the 1972 Summer Olympics. He turned professional in 1972; the frame-maker Ernest Colnago and the former champion Ercole Baldini came to his house with an offer to join their SCIC team.

They offered to support him in his last year as an amateur and take him as a professional. Gilbert Maertens was more impressed by the Belgian businessman, Paul Claeys, who had inherited the Flandria bicycle company. Flandria sponsored Maertens' club, SWC Torhout, Maertens rode a Flandria bike. Claeys came to the Maertens house with Briek Schotte, a legend in Belgian cycling. Claeys offered Gilbert Maertens a concession for Flandria bikes, allowing him to sell them without first buying them. Maertens pushed his son to sign a contract for 40,000 francs a month as an amateur and double in his first full year as a professional; the family closed her shop. Maertens said: "I would have preferred to go to SCIC and Colnago but my father said,'You have to do something for us too.'"Colnago and Baldini had promised more money and a gentle start as a professional. But with Flandria Maertens rode more than 200 road races a year and on the track and in cyclo-cross in the winter, he suffered what he called the poor organisation and pe

Clifton Country Park

Clifton Country Park is a local nature reserve in the Irwell Valley at Clifton, Greater Manchester, North West England. Situated next to a double bend in the River Irwell, it is north east of the Manchester to Preston railway line and the A666, Manchester Road, Clifton where it is accessible via Clifton House Road opposite Clifton Cricket Club. Junction 16 of the M60 motorway is only about ¼ mile away to the south east; the park comprises 119 acres of wooded area and lakes. Industrial heritage is a feature of the park, the remains of Wet Earth Colliery can be found in the woods, along with Fletcher's Canal; the park features two sculptures from the Irwell Sculpture Trail. There is now a fairytail trail around the lake where wooden carvings are situated with a full size gruffalo standing proud. Clifton House Farm, Clifton Marina and Wet Earth Colliery together form the strategically important site of Clifton Country Park, providing a focal point within the Croal/Irwell Valley and on Salford's Recreation Routes network.

An action plan was drawn up to help establish several improvements to the area. The action plan identifies two Sites of Special Scientific Interest for their biological diversity; the marina has been cited as a place to plant trees and develop a green area along the western edge of the Greater Manchester conurbation. Clifton Marina, a gravel pit developed during the construction in the 1960s of the M62 across the Irwell Valley, is popular with walkers and fishermen, there is a surfaced path around the lake providing a circular walk, accessible for disabled users including those in motorised wheel chairs. A visitor centre is accessible with both sex toilet facilities. For the angler, the marina is well stocked with carp, roach, tench and perch. Many of these species running into specimen weights. In October 2006 this venue produced the Lancashire record carp with a 41 lb 7oz mirror carp caught by Jason Clarke. Green Flag Awards Salford City Council Website link

Trixy Aviation Products

Trixy Aviation Products GmbH is an Austrian aircraft manufacturer based in Dornbirn, founded by Rainer Farrag. The company specializes in the manufacture of autogyros. Trixy Aviation Products was founded in late 2010 with the aim of developing a roadable aircraft. Farrag recognized that most past roadable aircraft designs were not practical because they did not operate well on roads, due to the bulk of wings or rotors, parking problems, mechanical complexity and the high price tag associated with a dual use vehicle. Furthermore, one vehicle cannot fill all missions and aviation regulations restrict the operation of aircraft to airports, not permitting flying from residential driveways. Farrag's approach was instead his project TRIXYZ, an electric motorcycle that could be docked to create an airplane, helicopter, wagon train or personal water craft; the first stage of this project was to create an autogyro design, designated the Trixy G 4-2 R. The company's roadable aircraft project is the modular Trixy Trixformer, an electric motorcycle and autogyro.

The flying components are modular and can be swapped, with airplane and helicopter packages under development in 2015. Farrag established Trixy Aviation Products as the research and development facility and Letalstvo Farrag d.o.o in Slovenia as the production facility. Trixy Aviation Products first publicly exhibited at AERO Friedrichshafen in Germany in April 2011, showing its newly designed Trixy G 4-2 R; the autogyro was noted for its full two year warranty. The company exhibited the Trixy Zero motorcycle-style autogyro at AERO Friedrichshafen in April 2012, with the prototype first flying in June 2012. Official website

Something/Anything?

Something/Anything? is the third album by American musician Todd Rundgren, released in February 1972. It was his first double album, was recorded in late 1971 in Los Angeles, New York City and Bearsville Studios, Woodstock. Three quarters of the album was recorded in the studio with Rundgren playing all instruments and singing all vocals, as well as being the producer; the final quarter contained a number of tracks recorded live in the studio without any overdubs, save for a short snippet of archive recordings from the 1960s. Rundgren had become confident enough at other instruments beyond his standard guitar and keyboards that he had tackled in earlier releases, this, coupled with a general dissatisfaction with other studio musicians, led him to temporarily relocate to Los Angeles in an attempt to record an entire album single-handedly. After he had created more material than would fit on a standard LP, an earthquake struck LA, he decided to head back to New York for some live sessions, with the help of Moogy Klingman, to lighten the mood.

The final sessions were in Bearsville, where the remainder of the recording and mixing took place, this created enough material for a double album. The album peaked at number 29 on the Billboard 200 and was certified gold three years after its release. A single taken from the album, "Hello It's Me", was a top-five hit in the US in late 1972, it contained a further hit, "I Saw the Light". Something/Anything? Attracted critical acclaim as one of the most significant records of the 1970s. In 2003, the album was ranked number 173 on Rolling Stone magazine's list of the 500 greatest albums of all time, maintaining the rating in a 2012 revised list, it was voted number 797 in the third edition of Colin Larkin's All Time Top 1000 Albums. After Something/Anything, Rundgren moved away from the straightforward pop ballads present on this album to more experimental territory and progressive rock in releases, beginning with the following A Wizard, A True Star. By the time Rundgren started recording the album, he had achieved commercial success as a solo artist and producer, this increased his self-confidence.

He had become dissatisfied with other musicians playing on his recordings, recalling, "I'd never played drums or bass before, though I would hector those that did." This led him to decide to record the entire album by himself using multi-tracking. He wrote the material for the album at a prolific rate, he attributed his productivity to Ritalin and cannabis, stating that the drugs "caused me to crank out songs at an incredible pace." He found some of the other songs quick to write, noting "they were all starting out with C Major 7th, I'd start moving my hand around in predictable patterns until a song came out." The majority of backing tracks on the first three sides of the album were recorded at I. D. Sound Studios, Los Angeles, engineered by James Lowe with assistance from John Lee; the studio was one of the first independent units in LA, Lowe believes Rundgren chose it due to the ability to work hands-on without record company interference and having all the latest technology and equipment. Rundgren played every instrument in turn, starting with the drums, noting it "was the logical place to start," with the others individually laid down on top.

While recording the drums, Rundgren would try and hum the song in his head to remember where he was, but "if I would screw up I would change the song afterwards, to fit the mistake that I had made, because it was easier than going back and fixing it." In retrospect, Rundgren felt he might have performed better with a click track, being a novice drummer at the time, but concluded that the end result "sound like a band". He didn't think his lack of technical proficiency on the instrument was a particular handicap, saying that "people comprehend what you're playing, it has a greater impact." Engineering the album, Lowe recalled he was "mostly working in the dark", that Rundgren would leave spaces for instruments during recording, spontaneously developing a song as it was being recorded. "I was never sure where the song was going until we'd put down about four or five tracks."In addition to recording at I. D. Sound, Rundgren took an 8-track recorder and some studio equipment, installing it at his rented home on Astral Drive, Nichols Canyon.'Intro' and'Breathless' were recorded here, along with various guitar and keyboard overdubs.

A version of'Torch Song' was recorded, but was scrapped due to excessive background noise. Rundgren recalled that recording at home meant he could spend time working on pieces of technology or production, such as programming a VCS3 synthesizer, at his leisure without wasting anyone else's time; the artwork on the original gatefold sleeve was shot in this apartment. Despite working long hours each day in both I. D and at home, with minimum breaks for sleeping and eating, Rundgren said he enjoyed the recording experience, "wouldn't have had it any other way." Rundgren contemplated recording more tracks to make up a double album in a similar manner, but following an earthquake, he decided to relocate to New York City and hold a live recording session at the Record Plant with session players. The basic idea was to create songs with sing-along choruses. Rundgren did not pre-plan who would play on the sessions, but wanted anyone who happened to be in or near the studio to turn up and learn the material.

Rundgren contacted Moogy Klingman, who would appear on several tracks and co-found Utopia with Rundgren. Rundgren instructed Klingman to find the best session players possible for the recording. Klingman recalled getting a phone call from Rundgren late on a Friday evening asking him to find a full band by Sunday morning: "He wanted horns, everyt