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It was a blues number, a€?Save Me for Latera€? on her album, Me a€™n Mabel, that first worked its magic for me. Suzie has become recognized as an accomplished blues singer and guitarist, but she has many ways to seduce a listener.
Suzie would gravitate toward music as a kid a€” singing along to an ever-present flow of mainstream radio tunes would make her feel good a€” but becoming a musician was not a conscious thing.
Her parents had what looked like a cool record collection, but the stereo was broken throughout her childhood.
The sole parental musical influence occurred when her father listened to country music in the car.
By age 11, she also was playing saxophone in her grade-school concert band and singing in the chorus.
While Suzie continued to explore other instruments, the guitar, in combination with her voice, got her noticed.
When she was in fourth grade, her teacher called the principal into her class and had Suzie sing a€?Country Roadsa€? for him and the class. She remembers at age 11 or 12, taking her allowance a€” she might have done a tiny bit of baby-sitting to add to her spending money a€” and going down to the Sears in downtown Saskatoon and plunking down $14 to buy her first album, Supertrampa€™s Breakfast in America.
When she got a little older, she got her own small record player and would sing and play along with records alone down in the basement, her voice bouncing off of the faux paneling. I conjectured that playing the bass gave her a better sense of lower notes or the a€?bottoma€? in her guitar playing.
In addition, she had discovered the Saturday jams at a blues bar, Buda€™s on Broadway, in Saskatoon. Over the years, Suzie has studied with a number of people and works today with a vocal coach when she can because therea€™s always something to learn. Fresh out of high school, Suzie attended the University of Saskatchewan in Saskatoon for a year. At one of Tonya€™s shows, her brothera€™s friend introduced her to the man she would marry about five years later.
She made some musical connections, did some gigs, and then got a full-time job working for Marty Simon, a film composer. Suzie also worked in other musical side projects to pay the bills, providing bass and lead and backing vocals. Betty & the Bobs is a 7-piece variety-show type band which plays quirky music that its members wouldna€™t play in other projects.
Suzie did solo gigs with guitar all through the years with Rick and the other groups, and is now predominately a solo artist.
33 Stars, released in 2002, has a pop feel.while Happy Here, released in 2008, is rootsier. Her most recent album, Live at Bluesville (2012), came about when a radio interview turned into a recording session.
Although her parentsa€™ record player didna€™t contribute to to her development, her brother had a stereo that could crank out the decibels and he allowed her to listen to records on that.
Fresh out of high school, Suzie attended the University of Saskatchewan in Saskatoon for a year.A  She was in a general arts study program, which included drama and music theory. In between gigs, she worked the counter in a gas station, baby-sat and did other part-time work, such as helping an accountant with income tax preparation and cleaning houses.
In 1993, a serendipitous crossing of paths in Toronto proved very rewarding.A  Influential Canadian roots music DJ Chopper McKinnon met accomplished blues player Rick Fines for a beer.
Rabe was imaginative, and had a talent for making madness respectable, like serving as chief telephone book critic for the Detroit newspapers, and Detroit Hatchetman of The Friends of Lizzie Borden. Up on Mackinac Island he invented and also saw gleefully to the publicizing of an International Stone-Skipping Tournament, a World Sauntering Day, and other annual events of like madcap nature, including the custom of ceremonially burning a snowman on the first day of Spring. Not surprisingly, he began by creating his own society while in the Army, The Old Soldiers of Baker Street, or Old SOBs. For the historically minded, one of the booka€™s particular usefulnesses lies in the many a€?small a€?ia€™ irregularsa€? included by Rabe, men and women not invested by the BSI but keeping the Memory green in their own ways: people who otherwise could scarcely be identified at this late stage whenever their names pop up in some old BSJ or scion publication. But as intended, Whoa€™s Who & Whata€™s What was extremely helpful fifty years ago to those who wanted to know about the Sherlockian world in an era when there were only two journals with any significant circulation, and no Internet.
The Internet makes this all too easy today, but in those days just about the only other information came from squibs by the editors in the BSJ and SHJ. What shall a lonesome friend say about a man who, with a matchless pen in his hand and an unquenchable joy in his bosom, did more to make sound and perpetual our Sherlockian fellowship than all the members of that fellowship, gathered and combined? This article appeared in the September 2011 issue of the University of Minnesota Librariesa€™ Friends of the Sherlock Holmes Collections newsletter, edited by Julie McKuras, and won the Bryce Crawford Award for best contribution in that yeara€™s quarterly issues. A brief Internet perusal reveals that Aphrodite had no musical skills and actually was a bit of a tramp.
Situated midway between the east and west coasts, I thought that would make her the Canadian equivalent of a a€?Midwesterner.a€? She characterized it as more of a prairie environment, so a€?Ia€™m a a€?prairie girl,a€™a€? she said. It was a large console that became more of a nice piece of furniture that they stored things in. She said that, a€?My voice was the first instrument that I got to play around with,a€? she said, a€?but I got bolder when I picked up the guitar.a€? It enabled her to accompany herself and she found a lot of cheerleaders among her teachers. She perceived that the other guitar player in the concert band had a better understanding of jazz chords needed to play in the large band repertoire.


While she didna€™t disagree, she felt, more importantly that it allowed her to a€?meter-map out how songs move chordally.a€? It was good for her ear, she added. Her husband got a job in Toronto and they moved there in 1998, but the marriage ended shortly afterward. From her Wikipedia page, we learn Happy Here was a nominee for Roots & Traditional Album of the Year a€“ Solo at the 2009 Juno Awards. He told Rick he shouldna€™t be sitting with him when he could go see the bass player at a different bar up the street. Rabe produced the first edition of Whoa€™s Who & Whata€™s What for a Sherlockian world prepared for and in need of it. Armya€™s psychological operations service in Germany, work for which his future affairs would show he was eminently suited.
At Lake Superior State University later on, he was a founder of The Unicorn Hunters: preferring Unicorn Questors because, he claimed, you shouldna€™t hunt what you cana€™t find a€” but that did not stop him from issuing tens of thousands of unicorn hunting licenses.
Caring about culturea€™s struggle with noise, he created Hush Records whose big hit was an original cast recording of a€?An Evening with Marcel Marceau.a€? Caring about language, he launched an annual List of Words Banished from the Queena€™s English for Mis-Use, Over-Use, and General Uselessness, still issued on New Yeara€™s Day by Lake Superior State U. He was in fact still young at the time; the photo below was taken when he visited the brand-new Sherlock Holmes Klubben in Copenhagen, entering Klubben legend by showing up with the first bottle of Scotch the thirsty Danes had seen since before the war.
Among other things, he installed the first Sherlockian plaque at the Englischer Hof in Meiringen. The usefulness to the curious then and the historian today can be suggested by the mid-sized entry for E.W. Protective Assn., or the confused and confusing ones for Helene Yuhasova and Lenore Glen Offord, the first of said ladies erroneously described as a one-time pen-name for the late Edgar W.
What Rabe called W4 has solved many a nagging mystery, and its usefulness is far from exhausted. To cite but one example, Rabe was the first to try to compile a comprehensive list of Investitured Irregulars, as well as an informative survey of Sherlockian societies, something (Blau speaking here) no one since him has seriously attempted, let alone accomplished: my lists are fairly comprehensive, but hardly informative. The Sherlockian world of the 1960s was quite different from todaya€™s a€” in many ways quite parochial, as it wasna€™t easy to participate in meetings of far-flung societies, and quite difficult to know much if anything about Sherlockians one hadna€™t met other than in the BSJa€™s Whodunit section.
That was pretty much taken for granted by those who acquired and valued it, with rather little attention paid to it in the Sherlockian press a€” not that there was much Sherlockian press in 1961. Those whoa€™ve grown up in the eras of Xerox, inexpensive long-distance telephone service, computer word processing, email, and Google can scarcely imagine what it took to research and bring out a work like this in 1961. But it is an old maxim of mine (Lellenberg speaking here) that no research ever goes unutilized. But if she could sing, with her seductive skills, it might produce the same effect that Suzie Vinnick does.
Me a€™n Mabel (2011) shows Suziea€™s skills with just her and her Larrivee parlor guitar (christened Mabel as a result of a slip using the word a€?maplea€?). Since there was no bass in the orchestra, she asked her teacher if she could learn it and take that slot.
She joined two female trios with different styles, Vinnick Sheppard Harte and The Marigolds. Kinga€™s Bluesville station, basically said a€?Herea€™s our studio, go in and have some fun!a€? The result was a typical Suzie tour de force of vocal and guitar. Chopper knew that Suzie was playing bass for Back Alley Johna€™s band, which was in Toronto for a gig.
This was a decade into a remarkable, roughly five-decade career as a Sherlockian and Baker Street Irregular that encompassed ten times the activity of the average Irregular. After returning to civilian life, he made a career at the University of Detroit as an a€?academic publicist.a€? Eventually he retired to Sault Ste.
When he returned home from the Army to Detroit, he joined The Amateur Mendicant Society there, founded by Russell McLauchlin a few years before.
He put out The Commonplace Book, a periodic compilation of newspaper and magazine articles about Sherlock Holmes and his followers. Smith, the second as having been a€?struck from the rolls,a€? so alleged on the authority of S. And Rabea€™s Commonplace Book was the first attempt to give wider circulation to what was appearing in the general press. It was grand in 1961 to be able to learn about the people in the Whoa€™s Who, and about the societies in an era when very few not members of local societies received the newsletters published by some of them. Julian Wolff barely mentioned it in the BSJ, essentially just announcing that it was available, and it is unknown how many copies were sold.
It wasna€™t easy to obtain information of all sorts in those distant days, and Whoa€™s Who & Whata€™s What, for many, was a new and wonderful way to get information about the Sherlockian world.
When the BSI Archival History got started, Bill swooped upon its first two volumes eagerly, reviewing the second enthusiastically for the Summer 1991 BSJ. Her previous album, Happy Here (2008), is lushly orchestrated and shows Suziea€™s ability with a torch song. I just liked the idea of singing songs off the radio.a€? She continued guitar lessons for two years, but there there were other instruments on her radar. Her voice teacher, Naomi Freisen, was a classical singer but still appreciated the a€?Broadway beltera€? style and was able to help her with blues and rock a€™n roll. Tony played in a style similar to guitar greats Albert King, Freddie King and Stevie Ray Vaughn.


He kept in touch and asked her to come out for a summer, saying that he had a bunch of gigs lined up. He told Suzie stories about the music business (some of them hair-raising, no doubt) and she learned a lot from him. He told Suzie stories about the music business (some of them hair-raising, no doubt)A  and she learned a lot from him.
For a€?averagea€? Bill Rabe was not: he was unconventional, made the most of it, and to those of us who knew him, is unforgettable. Marie on Michigana€™s Upper Peninsula, at the Canadian border, and soon had a new life there as the official island historian of nearby Mackinac Island, dubbed by him a€?the Miami Beach of the North,a€? and as press agent for its historic and majestic Grand Hotel. He liked laughter, and was an enthusiastic member of The Sons of the Desert, the Laurel & Hardy fan club. He tape-recorded memorable moments at BSI dinners and other events, issuing them on a set of records called Voices from Baker Street, now available on compact disc from Wessex Press. It was in fact to foster a sense of community, more than anything else, that prompted Bill Rabe to undertake this project. Then he went up to his attic, found the old carton with those four jumbo binders containing the raw material for the 1968 Whoa€™s Who & Whata€™s, and shipped them to me.
She tried the upright bass for a bit, but didna€™t care for it and settled with the electric. Suzie had no commitments in Saskatoon and enjoyed her time in Ottawa over the summer, so she decided to move there.
He became interested in James Montgomerya€™s extracanonical song a€?Aunt Clara,a€? tracked its multiple versions and long-lost origins to a songwritera€™s alcoholic Christmas haze in 1936, and set forth its history and folklore in a splendid and profusely illustrated volume entitled We Always Mention Aunt Clara. This hideous libel led, in the next edition, to an appendix containing an irate letter from the well-known science-fiction writer and Scowrer Poul Anderson, a€?The Dreadful Abernetty Business,a€? BSI, who had witnessed Ms. Printed on a University of Detroit imported (a good, though not a great year) offset press under the personal supervision of Dick Masserang,a€? and so on. The data they contain facilitated the Archival History volumes that followed, and those shabby and precious binders continue to sit on a bookshelf in my study where I consult them frequently today.
Of the tracks I sampled, I was really impressed with the covers of a€?Big Yellow Taxi and a€?Love Hurts,a€? from My Favorite Shirt.
Smith, who had been so much for so long not only to the BSI, but Sherlockians broadly, had died in 1960, and Whoa€™s Who & Whata€™s What was undertaken because of that. When Rabe retired in 1967 he lost those resources, the PC-based era of self-publishing was not yet at hand, and four crammed jumbo three-ring binders in which he had been collecting data for the a€?68 edition went into a cardboard box stored in the attic of his new home in remote Sault Ste.
Bill Rabea€™s Sherlockian Whoa€™s Who & Whata€™s What was and remains a great accomplishment of permanent value.
The Marigolds was a more delicate, folkier group with a€?killer songwriters and singers who could pour out jazzy vocals,a€? Suzie said. Smith himself, plus an exchange of letters between Anderson and Bigelow with the latter blaming the error on slipshod BSI record-keeping and promising to be careful in the future. There was much fear, when Edgar died, that our communiona€™s single, indispensable factor had departed; that all Sherlockian fellowship, with the animating spirit now grown still, might swiftly falter and soon expire. Many unlearned apply their own distorted interpretations and use it to promote their own evil and selfish ends.A An intelligent person is careful in the use of words, forA "in the multitude of words there lacketh not sin, and havoc"A (Prov.
Probably the best word to be said about this volume is that it quite extinguishes such fear.
Suziea€™s robust vocals did a strut all over Tonya€™s snarling guitar licks while her bass provided a relentless throb below. A A THEREFORE, MAN IS MADE IN THE IMAGE OF GOD FOR THE SOLE PURPOSE OF CONTAINING THE CONTENT OF GOD; THUS, WITHOUT RECEIVING GOD IN OUR SPIRIT, WE CANNOT EXPRESS GOD AS CONFIRMED IN 2 COR.
UNLIKE IN THE NATURAL BIOGRAPHY, THERE IS NO CONDEMNATION OR FEAR OF SIN AND DEATHBECAUSE, IN CHRIST, THERE IS LIFE,LIBERTY, AND JUSTICE FOR ALL. Behold, I have taken out of thine hand the cup of trembling, even the dregs of the cup of My fury; thou shalt no more drink of it again.
MOST IMPORTANTLY, IT IS A LOVE STORY THAT REVEALS THE HEART OF GODA THROUGH THE PERSON OF HIS SON, JESUS. Lapide, who served as Liaison Officer between Anglo-American and Russian armies in Vienna, Austria (1945-46), an Israeli Army Officer (1948-50), formerly Director of the Israeli Government Press Office in Jerusalem and presently (1974: Editor)A  is Head of the School for Interpreters at Bar IIan Uni-versityA  near Tel Aviv. THEREFORE, A PERSON MUST HAVE FIRST PLACED THEIR FAITH IN CHRIST FOR SALVATION BEFOREA TAKINGA COMMUNION (MATT.
Mind you, many in Israel have found new terminologies to circumscribe the Rock of Ages, but in a recent public opinion poll, (1974: Editor) 81% stated that they believe in the basic principles of the Jewish Faith, and if the crowds who overfilled all of Jerusalem`s 560 Synagogues this past Rosh Hashanah (Jewish New Year 1973) are any sign to go by, more and more of us are seeking new ways back to the old creed. Throughout the Bible - - and in Jesus` sayings in the New Testament - - the twin concepts of the love of God and one`s fellow man are intertwined and inseparable. IMPORTANT NOTICE LITTLE BLOOMS CHILDREN`S ORPHANAGE INDIA MY INDIA MISSIONS TRIP APOSTOLIC BIBLICAL THEOLOGICAL SEMINARY NEW DELHI INDIA NAZARENE ISRAELITE ??? INTERESTING VIDEOS OPEN LETTER TO PRESIDENT OBAMA NAZI GENOCIDE PERSECUTION OF THE JEWISH RACE HITLER`S HOLOCAUST BLUEPRINT CHRIST KILLERS???



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