Home Care In Snider, ON

Oct. 30, 2023 | LITTLE ROCK — The University of Arkansas for Medical Sciences (UAMS) reopened today its newly renovated golf laboratory that has been named in honor of renowned Arkansas golfers Dan Snider and the late Jon Zieske, in recognition of their contributions to golf in Arkansas.

Snider is chief operating officer emeritus of the private Alotian Club in Roland, which is considered one of the best golf courses in the country. Zieske served as director of golf from the time the club opened in 2004 until his death in 2017. The men were close friends and were regarded by Golf Digest magazine as among the top golf instructors in Arkansas. Both are also in the Arkansas State Golf Association Hall of Fame.

The Dan Snider and Jon Zieske UAMS Golf Lab is located inside the 5,000-square-foot UAMS Biomechanics Lab at 1701 Aldersgate Road, where UAMS researchers conduct clinical and biomechanical research to help physicians better understand how patients move before and after orthopaedic surgical procedures and treatments. This helps physicians and researchers generate publications to help inform the field of orthopaedics and develop best clinic practices based on scientific findings.

C. Lowry Barnes, M.D., chair of the UAMS Department of Orthopaedic Surgery, opened the facility as his private laboratory in 2010. When he came to UAMS in 2014, it became the UAMS Biomechanics Lab. Researchers have used the lab in a wide variety of gait, balance and movement studies, including those involving yoga and ballet, with golf-focused research added later.

Earlier this year, a gift by an anonymous donor funded improvements to the UAMS Biomechanics Lab as well as the creation of a separate dedicated space within the building for the golf lab. Previously, all the researchers shared the same space and equipment.

Now, the golf lab has its own motion capture system, complete with infrared cameras that record the research subjects as they perform various movements. Meanwhile, force plates embedded in the floor measure ground reaction forces to create a comprehensive, real-time picture of the mechanics of swinging a golf club.

The new space also includes an interactive golf simulator in which subjects can play many golf courses around the world. Participants hit golf balls from an artificial turf. The system calculates ball speed, launch angle and the distance the ball would travel on a real golf course. The upgrades also include new equipment in the existing gait lab.

“I am very grateful to the anonymous donor for allowing us to upgrade this facility to improve our ability to help current and future patients stay active and live their best lives,” Barnes said. “I’m pleased to name it in honor of Dan Snider, whose name is synonymous with Arkansas golf, and in memory of Jon Zieske, who gave up a professional golf career to share his talents with Arkansas. Golfers across the state owe much of their enthusiasm and skills to these men.”

UAMS is the state’s only health sciences university, with colleges of Medicine, Nursing, Pharmacy, Health Professions and Public Health; a graduate school; a hospital; a main campus in Little Rock; a Northwest Arkansas regional campus in Fayetteville; a statewide network of regional campuses; and eight institutes: the Winthrop P. Rockefeller Cancer Institute, Jackson T. Stephens Spine & Neurosciences Institute, Harvey & Bernice Jones Eye Institute, Psychiatric Research Institute, Donald W. Reynolds Institute on Aging, Translational Research Institute, Institute for Digital Health & Innovation and the Institute for Community Health Innovation. UAMS includes UAMS Health, a statewide health system that encompasses all of UAMS’ clinical enterprise. UAMS is the only adult Level 1 trauma center in the state. UAMS has 3,275 students, 890 medical residents and fellows, and five dental residents. It is the state’s largest public employer with more than 12,000 employees, including 1,200 physicians who provide care to patients at UAMS, its regional campuses, Arkansas Children’s, the VA Medical Center and Baptist Health. Visit www.uams.edu or uamshealth.com. Find us on Facebook, X (formerly Twitter), YouTube or Instagram.

By Linda Sipprelle

Princeton, NJ – Full disclosure, I love listening to classical music and music is a constant companion when I'm home. It was therefore with happy anticipation that I attended the Princeton Symphony Orchestra’s September 10 opening concert of the 2023-‘24 season in Richardson Auditorium.

The intriguing first piece on the program, "Forward into Light" by Sarah Kirkland Snider who grew up in Princeton, sought to portray through music the challenges faced by women suffragettes in their long effort to bring about the 19^th Amendment of the U.S. Constitution, which recognized the right of women to vote. My having been a long-time member of the League of Women Voters, Snider's focus was personally gratifying as the League was founded as the successor to the National American Woman Suffrage Association. Snider's music was strikingly unique, utilizing the harp, violins, and violas. The attentive and supportive audience did its best to understand the turbulent and impassioned piece.

The highlight of the evening was saxophonist Steven Banks. His amazing level of control, virtuosity, full-bodied tone, lyricism as well as an outstanding command of the saxophone demonstrated that the instrument belongs on the symphonic stage as well as in jazz ensembles. Banks played Henri Tomasi's Concerto for Alto Saxophone and Orchestra along with the PSO.

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Unfortunately, the piece provided Banks limited opportunity to display his unique talent. I would have liked to have heard him play one of his compositions such as "Come As You Are." The composition was dedicated to his mother and three sisters and influenced by his journey in music centered on the African Methodist Episcopal (A.M.E.) church in which his grandfather was a pastor and where he learned the "transformative and awesome power of music." As an encore, Banks played "The Lord's Prayer" which gave him an opportunity to demonstrate the full range of his skills and received a well-deserved and enthusiastic standing ovation.

William Dawson's (1899-1990), "Negro Folk Symphony" rounded out the concert. The themes for the three-movement piece, which was emotionally charged and carefully constructed, was taken from the "Negro folk-music" melodies of Dawson's childhood. Each theme is flexibly addressed and evolves seamlessly and, in so doing, creates a musical bridge between the Negro spiritual and the symphony.

The piece debuted in November, 1934, with the Philadelphia Orchestra, led by Leopold Stokowski. It brought the Carnegie Hall audience to their feet and Dawson, then aged 35, was called back to the stage several times to take bows. At the age of 13, Dawson had run away from home to the Tuskegee Institute where he studied music, graduating in 1921. Ten years later, he returned to Tuskegee where he launched its music school.

The Princeton Symphony Orchestra’s next concert will be held on Saturday and Sunday, October 14 and 15. I can't wait to find out what delights and surprises the PSO has in store.

Editor’s note: The Princeton Symphony’s October 14 and 15 program will feature Kenneth Bean, in his third season as assistant conductor, conducting Missy Mazzoli’s Violin Concerto featuring 2022 Grammy Award-winning soloist Jennifer Koh and works by Felix Mendelssohn and Jean Sibelius.

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Concertus interruptus can leave you feeling blue, and even a little despondent. If you happen to be a Todd Snider fan, as I am, you’d better get used to it. And, if you happen to be married to my wife, you’d better get used to a discussion about it whenever it happens. Snider’s abrupt exit from the stage at the AMA awards show last week brought up the sore subject once more, but in my house, the early departure that we hear about most occurred in Jackson earlier this year when Snider walked off stage during recent his book/movie/concert tour. I think the folks in the back of the venue were a little loud, maybe Snider got frustrated during the request-a-song portion of the evening, and just left. The promoter came onstage and apologized (it was unclear whether the apology was on behalf of the rude audience members or Snider), then several members of my family and a few friends sat there and talked about it while we finished our beers.

Snider and my family have a little history when it comes to less-than-complete appearances. I should explain that my three oldest sons and I are big Snider fans, while my wife and daughter could take or leave him. They have generally been properly respectful, sometimes even attentive, as we listened to the story behind the “Ballad of the Devil’s Backbone Tavern” on Near Truths and Hotel Rooms for the 100^th time. A few years ago, we went to Telluride and there was Snider on the bill, and he had a couple of the Yonder Mountain guys playing as his “band.” “This is gonna be great,” said I. Malinda smiled patronizingly, but remained respectful, even attentive, when the time came for Snider to play. If only he had played for the time allotted, but alas, he did not. The Yonder guys talked him into coming back out for a bit more, but he didn’t stay. He didn’t seem to get mad or anything, he just played a song or two, then left again. Oh well.

Back to the discussion after the Jackson show, Malinda was there, but she did not remain respectful, and she was not attentive to our attempts to defend our hero as we basked in the bluish afterglow of the early exit. In fact, we were required to remain respectful and attentive as she not only told us he sucked, but, to use Snider’s words from the “Ballad of the Devil’s Backbone Tavern” story, she just went on and on about it.

Then came the Americana Music Association show. Snider and his Hard Working Americans performed, and apparently he just walked off before the song was over. Here’s what Adam Gold (writing for Rolling Stone) said about it:

One of the night’s weirder moments came midway through the show, when, near the end of a performance by relatively new supergroup Hard Working Americans, member Todd Snider — looking like an Americana Tommy Lee with his sagging trousers and undershirt combo — mumbled some kind of jumbled, profanity-laced banter before picking up a small duffle bag and, looking rather pissed, sauntered off stage with rock star swagger as the band finished the tune “Down to the Well.” Whether he was miffed by something in particular, or it was just a case of “Todd being Todd,” was later a topic of post-show debate in the Ryman lobby.

Gold also writes for Nashville Scene, and posted about the incident there. But in that post, he raised the question of whether Snider might be on acid during shows. In a way, that would be a good thing, because it would explain his erratic behavior. But it just doesn’t ring true to me, even for a guy who wrote a song about a guy who pitched a no-hitter while on LSD. Gold wasn’t making this up or just speculating, though, he was passing along something that Snider told the Washington Post:

“I take acid for the shows,” Snider says by phone from a recording studio in Hendersonville, Tenn., not far from his home in East Nashville. “It’s like having front row. It’s what I would do anyway on my night off, except every eight minutes I have to dive up there and sing.”

After the AMA deal, Malinda said, “Go ahead and defend him, you’d still like him if he spat on you.” Maybe if that happened, it would make it hard, but for now I’m going to keep liking Todd Snider right up until the point of saliva. The guy’s a genius, even if a bit of a stoner-type of genius. I do wish he would take his obligation to the fans at his concerts a little more seriously, and hopefully that will become the norm in the future. Sometimes there are circumstances that make a touring musician want to walk off stage, but the best course is to follow this sage advice: “Even when the beer bottle seems to be coming at you, it’s not yours to know why it’s coming at you. Sing. That’s yours. That’s what you want to do, right? Sing. Don’t be a bitch.” ~ Todd Snider, I Never Met A Story I Didn’t Like.

In addition to having written “We’re Not Gonna Take It,” one of the greatest rock ’n’ roll anthems of the ’80s, Dee Snider was a beloved fixture on Connecticut’s airwaves in the early 2000s as a morning radio host on Radio 104. Observant drivers will still see DEE bumper stickers on cars across the state. After retiring his band Twisted Sister last year, he has embarked on a tour to promote his new solo album, We Are the Ones. He stops at the Ridgefield Playhouse on Sept. 22.

Do you have fond memories of your morning show in Hartford?

The fondest! Three great years in Hartford and then we simulcast out to Richmond for about a year. It was an awesome experience. When you spend that kind of quality time with people, four hours every morning yakking and talking, people really get to know you. The minute that somebody comes up to you and says “I’m a peep from Connecticut,” it’s an instant bond, because I know they really know me. They don’t know me from a movie or an album cover or a video, an appearance on a TV show or a reality show. They know me from that quality time you get to spend talking about your life and sharing life experiences. For three whole years, that’s a long time. ... People come up to me all the time from Connecticut, and go, “Man, that was the greatest. We miss it so much.” It’s so flattering. It was so long ago now, and there’s still fond memories. There’s still the euro stickers rolling around on cars.

So you’re on tour for your new solo album We Are The Ones.

Yeah, Twisted retired in November of last year, and in November of last year I released my first solo album. The intention was not for me to disappear, the intention was to put an exclamation point on the incredible career of Twisted Sister, and I certainly love my former bandmates, my friends, my brothers. After 40 years on and off with the band, I wanted to do some new things. I also wanted to stop headbanging. I can barely turn my head as it is. We Are the Onesrocks. But there’s a lot of things on there I could never do with Twisted Sister. I could never have covered “Head Like a Hole” by Nine Inch Nails. I could never have done an unplugged version of “We’re Not Gonna Take It” with Twisted Sister.

Your most recent music video was filmed at, and very supporting of, the Standing Rock protests against the Dakota Access oil pipeline in North Dakota. How did you come to that struggle?

It’s so strange how things happen. There’s a restaurant we go to regularly. I was with my daughter. Her name is Cheyenne, which is an Indian name. The bus boy came up — I see him all the time, they called him Pony. So Pony goes to Cheyenne and starts speaking in his native tongue. I said, “Are you a Native American?’ and he said, “Yes, I just said a poem.” So we started talking and he said, “I don’t know if you’re aware, but there’s things going on at Standing Rock.” And I had heard little bits and pieces. And he said, “If you could just tweet about it or something, that would be awesome.” So he made me aware of it. And I looked into it and I said “tweet about it?!” I need to do more than a tweet. I spoke with my son, Cody, who is an up-and-coming director. I got a whole crew of guys who are ready to do this for nothing. We tried to capture [the scene in Standing Rock], but it was a warzone. What erupted there was a warzone. It went on for hours and hours. My son was getting teargassed and hosed. And finally the camera guy, literally looking through his lens, the guy turned a gun on him, and fired a rubber bullet and hit him. [The protesters] have had some victories, but it’s an ongoing fight, especially with Trump in the White House. It’s a very different tone out there. There’s a lot of blanket support for corporate America, and they get carte blanche now.

A lot of people will also remember the stand you took against Tipper Gore’s Parents Music Resource Center in the 1980s. Do you think it’s gotten easier or harder to take stands like that?

You realize what your purpose is at different points in your life. In my 20s, my purpose was to be the voice of the unvoiced, the youth of the world who were frustrated and angry, and give them a song to sing. Now at this point in my life, I find myself in the same position, except I have a song, a really lethal song. I could sing it for any cause. When I’m out on the road at these concerts and these festivals, and I dedicate it to the fight against terrorism, against the people that would take our simple pleasures, of listening to music, and that is being targeted a lot. [They’re] not going after military installations, not going after enemies, but going after regular people. I sing that song and the place just erupts. I’ll sing it for Criss Angel’s fight against children’s cancer, and suddenly it becomes the song for that fight. I’m ready to fight whatever. I’ve got my eye on bullying next.

A few years ago, you joined an elite coterie: people who have been fired by Donald Trump.

When you’re doing reality TV, and I was pretty steeped in that world for a while … I was roasted a couple of years ago, and Zakk Wylde got up and said, “Dee, you’re surrounded by friends and family, this isn’t a roast. It’s an intervention. You gotta stop doing all these reality shows.” I laughed so hard. If you’re on that reality TV show thing, making it to Celebrity Apprentice was like the ultimate reality show to be on. Then I was on All-Star Celebrity Apprentice, and I was fired on that. For attention, for re-branding yourself, it was a great thing. On the Trump front, I got along great with the whole Trump family. They were lovely people. We enjoyed their company and became friendly with them. As with most people when you go out for drinks, you don’t talk about politics, sports or religion. And we never did. It turns out we’re not quite as like-minded as I thought. So it’s a whole different ballgame now. It’s not reality TV, it’s f---ing reality. And it’s a little scary what’s going on right now.

Sep 12, 2017

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QUINCY — John Craigie worried that one of his musical heroes, Todd Snider, thought he was a would-be thief, but at the High Sierra Music Festival something happened that showed Craigie just how Snider felt.

Both are folk singer-songwriters with a penchant for humor. While Craigie, 34, has performed in all 50 United States and has made eight studio albums, Snider is more well-established and considered among the very top artists in the genre. This is why Craigie’s 2013 song “I Almost Stole Some Weed from Todd Snider” resonated with so many people.

A video of the song went viral on YouTube, but the story it told didn’t reach a conclusion until Snider made a surprise appearance July 6 upon the Vaudeville Stage.

It all started when Santa Cruz promoter Sleepy John Sandidge spotted the obvious similarities between Craigie and Snider and he put them together on a show at the Rio Theater and then again at the famed music venue the Catalyst.

An ensuing misunderstanding occurred when Snider’s tour manager walked into the artists’ lounge at a most inappropriate time for Craigie, who was standing before a jar full of the headliner’s weed. Details are revealed in the song. Although the two played on the same bill, they did not know each other, and the incident was never truly resolved until High Sierra. Craigie was one of the scheduled performers, but Snider, who played the previous late night show with his band Hard Working Americans, was not. Just before Craigie was going to play the song, he spotted Snider in the crowd.

“It shook me up a little bit,” Craigie said. “He’s a cool guy but he’s a busy man and I was just amazed that he came out to the festival because he wasn’t playing. I was a little nervous.

“Throughout the song I didn’t make any eye contact with him. When I finished the song, I saw he was gone. I thought, ‘OK, well, maybe he had to move on.’ That’s right when I saw him in the corner of my eye coming onstage. It totally caught me by surprise.”

The crowd roared when Snider presented Craigie with a jar, a symbolic passing of the torch to the ascending artist. “Now you don’t have to steal anymore,” Snider appeared to say.

“I think a lot of the people in the audience might have thought that was scripted,” Craigie said. “That speaks to his character and his sense of place in music and in our genre. I never wanted that song to make him look like a bad guy. He really is cool and in that moment it really showed what kind of guy he really is.”

ABOUT Tim Parsons

Tim Parsons is the editor of Tahoe Onstage who first moved to Lake Tahoe in 1992. Before starting Tahoe Onstage in 2013, he worked for 29 years at newspapers, including the Tahoe Daily Tribune, Eureka Times-Standard and Contra Costa Times. He was the recipient of the 2011 Keeping the Blues Alive award for Journalism.