In 2018, Lincicome was granted a sponsor's exemption into the Barbasol Championship.

(meta data) TITLE: LPGA pro Brittany Lincicome set to play in PGA Tour event on sponsor's exemption - Golf Digest

(meta data) COPYRIGHT: Copyright © Condé Nast 2019

GolfDigest.com NewsletterSign up for our newsletterBarbasol ChampionshipJune 1, 2018

# LPGA pro Brittany Lincicome set to play in PGA Tour event on sponsor's exemption

Victory in the last two editions of the Pure Silk-Bahamas LPGA Classic has opened a new door for Brittany Lincicome—a chance to compete in a PGA Tour event.

An eight-time winner on the LPGA Tour, including two major titles, Lincicome will accept a sponsor's exemption to play in the PGA Tour's Barbasol Championship, held July 19-22 at Keene Trace Golf Club in Nicholsville, Ky., near Lexington.

Golf World first reported on Friday morning that tournament officials planned to extend the invitation to Lincicome, with an official announcement expected to come as early as next week.

A tournament source said it was a virtual certainty that Lincicome would accept the invitation to the tournament that will be held opposite the Open Championship at Carnoustie.

Lincicome, playing this week at the U.S. Women's Open, confirmed her intention to play after finishing up her second round at Shoal Creek.

"I think we'll go into it having fun and try not to put too much pressure on myself," Lincicome said.

"Obviously it's a whole different ball game.

I'm not trying to compete with the guys or prove anything.

I've always thought it would be cool to go try."

Lincicome, 32, will be the fifth female professional to compete in a PGA Tour event, joining Michelle Wie, Annika Sorenstam, Babe Zaharias and Suzy Whaley.

Wie competed in eight events between 2004 and 2008.

Though she never made a cut, a five-time LPGA winner missed by just one stroke in the 2004 Sony Open in Hawaii as a 14-year-old.

Her second-round two-under-par 68 is the lowest ever a woman has ever recorded on the tour.

Prior to that, Whaley, a club professional who is the current vice president of the PGA of America, qualified to compete in the 2003 Greater Hartford Open after winning the Connecticut Section PGA tournament in 2002.

Sorenstam, in the midst of her dominance on the LPGA Tour, received a sponsor's exemption into the 2003 Colonial National Invitation Tournament in Fort Worth.

Zaharias, an LPGA founder and winner 55 women's events, including 10 major titles, competed in the 1938 and 1945 Los Angeles Open at Riviera Country Club.

She made the cut in the latter, still the only woman ever to do so on the tour.

Lincicome's participation on the PGA Tour would continue a recent trend of events using exemptions to invite novel participants.

Already this year former All-Pro Dallas Cowboys quarterback Tony Romo and country-music star Jake Owen have competed in tour-affiliated tournaments.

Romo played in the Corales Puntacana Resort and Club Championship in the Dominican Republic, a PGA Tour event played opposite the WGC-Dell Technologies Match Play, while Owen took part in the Nashville Golf Open Benefitting the Snedeker Foundation.

Last year, Golden State Warriors guard Stephen Curry competed in the Ellie Mae Classic on the Web.com Tour.

He missed the cut with a pair of four-over 74s at TPC Stonebrae in Hayward Hills, Calif.

Perio, Inc., based in Columbus, Ohio, is the maker of both Barbasol and Pure Silk.

It has sponsored the Pure Silk-Bahamas LPGA Classic since 2013 and the Barbasol Championship, played opposite the Open Championship, since 2015.

Lincicome, who is 32nd in the Rolex Women's World Golf Rankings, is a Pure Silk ambassador.

She shot an opening-round 75 on Thursday at Shoal Creek, then followed it up with an even-par 72 on Friday morning.

The Seminole, Fla., resident is not a stranger to playing in men's tournaments.

She has competed in a handful of mini-tour events in Florida during her career in an attempt to tune-up for LPGA starts.

Still, she knows this will be a different animal.

"The golf course sounds like it's pretty wide open.

It's going to be obviously pretty far, but that's nothing I don't think I can't handle," she said.

If I don't play well, it's still going to be a cool week.

Hopefully a lot of people come out and follow and cheer for me because I'll need a little extra support that week."

Since its inception, the Barbasol Championship has given exemptions to top collegiate players, and that tradition will continue.

On Saturday, the Barbasol Shootout, a qualifier for the Barbasol Championship, is being conducted at Scioto Country Club in Columbus that includes the five recipients of the Jack Nicklaus Award, which recognizes the top collegiate golfers in Division I, II, III, NAIA and NJCAA.

This year's winners, respectively, are Norman Xiong of Oregon, John VanDerLaan of Florida Southern, Josh Gibson of Hope, SM Lee of Dalton State, and Callum Bruce of Midland College.

### Cole Hammer wraps up McCormack Medal as top men's amateur in 2019 - Golf Digest

### Can anyone really win the FedEx Cup? - Golf Digest

### In the Year of Young Guns, Sungjae Im stands alone—and in anonymity—at East Lake - Golf Digest

### 2019 Tour Championship picks: Is Justin Thomas' lead enough? - Golf Digest

### Appreciate Rory McIlroy's season for what it is, instead of what it's not - Golf Digest

RelatedGolf News & ToursIn the Year of Young Guns, Sungjae Im stands alone—…Golf News & ToursCole

Hammer wraps up McCormack Medal as top men's a…Golf News & Tours2019 Tour Championship picks: Is Justin Thomas' lea…Accessibility Help

Years earlier, as a 12-year-old, Lincicome had carried the scoring sign for Davies at the JCPenney Classic LPGA event, leading Davies to good-naturedly refer to Lincicome as "Sign Girl."
 In 2009, Lincicome won the Kraft Nabisco Championship, an LPGA major, after making an eagle on the final hole to leap frog Kristy McPherson, who held a one shot lead going into the final hole.
 In August 2014, Lincicome lost a sudden-death playoff with Inbee Park at the LPGA Championship. She had held a one shot lead coming to the 72nd hole, but made bogey to fall back into a playoff. Lincicome lost the playoff at the first extra hole when she could only make a bogey to Park's par.
 Lincicome won her second major championship in April 2015, with a victory at the ANA Inspiration, the second time she had won this major. She moved into a tie for the lead after eagling the 72nd hole in regulation play, just as she had done when winning the title in 2009.  Lincicome prevailed in a sudden-death playoff over fellow American Stacy Lewis, winning with a par on the third extra hole.


The Barbasol Championship is on the PGA Tour.

(meta data) TITLE: LPGA pro Brittany Lincicome set to play in PGA Tour event on sponsor's exemption - Golf Digest

(meta data) COPYRIGHT: Copyright © Condé Nast 2019

GolfDigest.com NewsletterSign up for our newsletterBarbasol ChampionshipJune 1, 2018

# LPGA pro Brittany Lincicome set to play in PGA Tour event on sponsor's exemption

Victory in the last two editions of the Pure Silk-Bahamas LPGA Classic has opened a new door for Brittany Lincicome—a chance to compete in a PGA Tour event.

An eight-time winner on the LPGA Tour, including two major titles, Lincicome will accept a sponsor's exemption to play in the PGA Tour's Barbasol Championship, held July 19-22 at Keene Trace Golf Club in Nicholsville, Ky., near Lexington.

Golf World first reported on Friday morning that tournament officials planned to extend the invitation to Lincicome, with an official announcement expected to come as early as next week.

A tournament source said it was a virtual certainty that Lincicome would accept the invitation to the tournament that will be held opposite the Open Championship at Carnoustie.

Lincicome, playing this week at the U.S. Women's Open, confirmed her intention to play after finishing up her second round at Shoal Creek.

"I think we'll go into it having fun and try not to put too much pressure on myself," Lincicome said.

"Obviously it's a whole different ball game.

I'm not trying to compete with the guys or prove anything.

I've always thought it would be cool to go try."

Lincicome, 32, will be the fifth female professional to compete in a PGA Tour event, joining Michelle Wie, Annika Sorenstam, Babe Zaharias and Suzy Whaley.

Wie competed in eight events between 2004 and 2008.

Though she never made a cut, a five-time LPGA winner missed by just one stroke in the 2004 Sony Open in Hawaii as a 14-year-old.

Her second-round two-under-par 68 is the lowest ever a woman has ever recorded on the tour.

Prior to that, Whaley, a club professional who is the current vice president of the PGA of America, qualified to compete in the 2003 Greater Hartford Open after winning the Connecticut Section PGA tournament in 2002.

Sorenstam, in the midst of her dominance on the LPGA Tour, received a sponsor's exemption into the 2003 Colonial National Invitation Tournament in Fort Worth.

Zaharias, an LPGA founder and winner 55 women's events, including 10 major titles, competed in the 1938 and 1945 Los Angeles Open at Riviera Country Club.

She made the cut in the latter, still the only woman ever to do so on the tour.

Lincicome's participation on the PGA Tour would continue a recent trend of events using exemptions to invite novel participants.

Already this year former All-Pro Dallas Cowboys quarterback Tony Romo and country-music star Jake Owen have competed in tour-affiliated tournaments.

Romo played in the Corales Puntacana Resort and Club Championship in the Dominican Republic, a PGA Tour event played opposite the WGC-Dell Technologies Match Play, while Owen took part in the Nashville Golf Open Benefitting the Snedeker Foundation.

Last year, Golden State Warriors guard Stephen Curry competed in the Ellie Mae Classic on the Web.com Tour.

He missed the cut with a pair of four-over 74s at TPC Stonebrae in Hayward Hills, Calif.

Perio, Inc., based in Columbus, Ohio, is the maker of both Barbasol and Pure Silk.

It has sponsored the Pure Silk-Bahamas LPGA Classic since 2013 and the Barbasol Championship, played opposite the Open Championship, since 2015.

Lincicome, who is 32nd in the Rolex Women's World Golf Rankings, is a Pure Silk ambassador.

She shot an opening-round 75 on Thursday at Shoal Creek, then followed it up with an even-par 72 on Friday morning.

The Seminole, Fla., resident is not a stranger to playing in men's tournaments.

She has competed in a handful of mini-tour events in Florida during her career in an attempt to tune-up for LPGA starts.

Still, she knows this will be a different animal.

"The golf course sounds like it's pretty wide open.

It's going to be obviously pretty far, but that's nothing I don't think I can't handle," she said.

If I don't play well, it's still going to be a cool week.

Hopefully a lot of people come out and follow and cheer for me because I'll need a little extra support that week."

Since its inception, the Barbasol Championship has given exemptions to top collegiate players, and that tradition will continue.

On Saturday, the Barbasol Shootout, a qualifier for the Barbasol Championship, is being conducted at Scioto Country Club in Columbus that includes the five recipients of the Jack Nicklaus Award, which recognizes the top collegiate golfers in Division I, II, III, NAIA and NJCAA.

This year's winners, respectively, are Norman Xiong of Oregon, John VanDerLaan of Florida Southern, Josh Gibson of Hope, SM Lee of Dalton State, and Callum Bruce of Midland College.

### Cole Hammer wraps up McCormack Medal as top men's amateur in 2019 - Golf Digest

### Can anyone really win the FedEx Cup? - Golf Digest

### In the Year of Young Guns, Sungjae Im stands alone—and in anonymity—at East Lake - Golf Digest

### 2019 Tour Championship picks: Is Justin Thomas' lead enough? - Golf Digest

### Appreciate Rory McIlroy's season for what it is, instead of what it's not - Golf Digest

RelatedGolf News & ToursIn the Year of Young Guns, Sungjae Im stands alone—…Golf News & ToursCole

Hammer wraps up McCormack Medal as top men's a…Golf News & Tours2019 Tour Championship picks: Is Justin Thomas' lea…Accessibility Help

Years earlier, as a 12-year-old, Lincicome had carried the scoring sign for Davies at the JCPenney Classic LPGA event, leading Davies to good-naturedly refer to Lincicome as "Sign Girl."
 In 2009, Lincicome won the Kraft Nabisco Championship, an LPGA major, after making an eagle on the final hole to leap frog Kristy McPherson, who held a one shot lead going into the final hole.
 In August 2014, Lincicome lost a sudden-death playoff with Inbee Park at the LPGA Championship. She had held a one shot lead coming to the 72nd hole, but made bogey to fall back into a playoff. Lincicome lost the playoff at the first extra hole when she could only make a bogey to Park's par.
 Lincicome won her second major championship in April 2015, with a victory at the ANA Inspiration, the second time she had won this major. She moved into a tie for the lead after eagling the 72nd hole in regulation play, just as she had done when winning the title in 2009.  Lincicome prevailed in a sudden-death playoff over fellow American Stacy Lewis, winning with a par on the third extra hole. In 2018, Lincicome was granted a sponsor's exemption into the Barbasol Championship.


The selection was based on a vote by the general public.

(meta data) TITLE: National Radio Hall of Fame Announces 2018 Class of Inductees | AllAccess.com

(meta data) COPYRIGHT: All Access Music Group August 23, 2019 All Rights Reserved

All Access Downloads Video Hot Picks Cool New Music Future Releases Artist Info

10 Questions Industry Snaps Contemp Christian Home Net News Forums

Mediabase StreetPulse Hit Music Research

All Access Downloads Video Cool New Music Future Releases Artist Info

10 Questions Industry Snaps Country Home Net News Forums

All Access Downloads Hot Picks Video Cool New Music Future Releases Artist Info

10 Questions Industry Snaps Dance Home Net News

Dance Radio Airplay What's In-Store Music

All Access Downloads Video Cool New Music Hot/Mod/AC Home Net News Forums

10 Questions Industry Snaps News/Talk/Sports Home Net News The Letter Forums

10 Questions Industry Snaps Rock Home Net News Forums

10 Questions Industry Snaps Top 40/M Home Net News Forums

10 Questions Industry Snaps Top 40/R Home Net News Forums

10 Questions Industry Snaps Triple A Home Net News Forums

10 Questions Industry Snaps Urban/UAC Home Net News Forums

10 Questions Industry Snaps Net News Home Email Subscriptions Mobile News Content RSS AA on Facebook AA on Twitter iPhone App Android App Mobile Text Alerts Song Charts Airplay Add Board Nielsen Latest Ratings Recent Markets All Markets Eastlan Job Openings Situations Wanted Stealth Jobs VO/Image/Tracking Voiceover Imaging VO/Imaging Directory VO/Imaging Ad Rates All Forums General Discussion Net Talk Promo/Marketing Internet/Digital Sales & Mgmt Engineering/Tech Research Doctor Formats Alternative Contemp Christian Country Hot/Mod/AC News/Talk/Sports Rock Top 40/M Top 40/R Triple A Urban/UAC Top 25 Markets Industry Directory VO/Imaging/Tracking Voiceover/Imaging VO/Imaging News VO/Imaging Industry Snaps VO/Imaging Production VO/Imaging Directory VO/Imaging Ad Rates Voiceover/Imaging VO/Imaging News VO/Imaging Industry Snaps VO/Imaging Production VO/Imaging Directory VO/Imaging Ad Rates All Access Downloads Alternative Contemp Christian Country Dance Hot/Mod/AC Rock Top 40/M Top 40/R Triple A Urban/UAC Cool New Music Alternative Contemp Christian Country Dance Hot/Mod/AC Rock Top 40/M Top 40/R Triple A Urban/UAC Hot Picks Alternative Country Dance Hot/Mod/AC Rock Top 40/M Top 40/R Triple A Urban/UAC Future Releases Alternative Contemp Christian Country Dance Hot/Mod/AC Rock Top 40/M Top 40/R Triple A Urban/UAC Artist Info Alternative Contemp Christian Country Dance Hot/Mod/AC Rock Top 40/M Top 40/R Triple A Urban/UAC Email Subscriptions Music Scene Concert Reviews Artist Interviews SongDish Passport Approved WWRS Podcast Podcast News AM/FM/Podcast Broadcaster Meets Podcaster Perry

On Podcasting Industry Directory VO/Imaging/Tracking Voiceover/Imaging VO/Imaging News VO/Imaging Industry Snaps VO/Imaging Production VO/Imaging Directory VO/Imaging Ad Rates Power Player 10 Questions Alternative Contemp Christian Country Hot/Mod/AC News/Talk/Sports On The Beach Rock Top 40/M Top 40/R Triple A Urban/UAC VO/Production/Imaging Industry Snaps Alternative Contemp Christian Country Hot/Mod/AC News/Talk/Sports Rock Top 40/M Top 40/R Triple A Urban/UAC Voiceover Our Staff Power Player 10 Questions Alternative Contemp Christian Country Hot/Mod/AC News/Talk/Sports On The Beach Rock Top 40/M Top 40/R Triple A Urban/UAC VO/Production/Imaging NuVoodoo Media Radio Rally Point The Letter Pollack Media Urbanizing #IBelieveInMiracles Raising The Bar Morning Show Prep Ross Brittain Talk Topics CPR She Prep Career Coaches Corner Consultant Tips Research Doctor The Performance Playbook The Talent Pool Sales & Management Joe GM FCC Uncensored Lessons In Leadership Stock Index Digital Technology Merge RadioFuturescope Webinars Country I'm Here All Week… Rumbles From The Row Mediabase BuzzAngle RateTheMusic StreetPulse

Welcome to AllAccess.com, the web's largest radio and music industry community.

# National Radio Hall of Fame Announces 2018 Class of Inductees

Voting results for the 2018 NATIONAL RADIO HALL OF FAME's 24 nominations in six categories are in.

Four of the categories were decided by a voting participant panel comprised of nearly 1,000 industry professionals.

The other two categories were voted on by the public.

Listener voting was administered by VOTEM and overseen by the accounting firm of MILLER KAPLAN ARASE.

They report an unprecedented level of listener participation with more than a half million votes cast for the two voting categories, Music Format On-Air Personality and Spoken Word Format On-Air Personality.

The increase is attributed to the competitive and creative campaigning waged by nominees.

Spoken Word Format On-Air Personality: MARK LEVIN, THE MARK LEVIN SHOW; syndicated by WESTWOOD ONE

Music Format On-Air Personality: KID KELLY, BACKTRAX USA WITH KID KELLY; syndicated by WESTWOOD ONE, on-air host and programmer, SIRIUS XM HITS 1

The inductees by the industry panel are:

Active Local/Regional, 10+ years: JONATHON BRANDMEIER, THE JONATHON BRANDMEIER SHOW, CHICAGO

Longstanding Local/Regional, 20+ years: JIM KERR, Rock and Roll Morning Show, WAXQ (Q104.3)/NEW YORK

Active Network/Syndication, 10+ years: MIKE GOLIC and MIKE GREENBERG, MIKE & MIKE, ESPN AUDIO

Longstanding Network/Syndication, 20+ years: Dr. LAURA SCHLESSINGER, DR. LAURA, SIRIUS XM STARS 109

Additionally, the NRHOF nominating committee voted to induct four individuals for their contribution to the industry.

NANCI DONNELLAN, THE FABULOUS SPORTS BABE, a pioneering voice in local and national sports talk radio.

MIKE FRANCESA, longtime afternoon drive host on WFAN A/F (THE FAN)/NEW YORK.

JOAN HAMBURG, host of THE JOAN HAMBURG SHOW on WABC-A and prior, WOR-A, and known as NEW YORK's "First Lady of Radio."

FRED JACOBS, a creator of the Classic Rock music format, as well as a consultant to both commercial and public radio stations.

NRHOF Chairman KRAIG T. KITCHIN comments, "It's our mission to recognize the most impactful personalities and individuals to our medium and honor them.

We're proud to induct these individuals for their contributions into the NATIONAL RADIO HALL OF FAME in 2018, our 30th year."

The induction ceremony takes place NOV. 15th at NEW YORK CITY landmark GUASTAVINO's located in midtown MANHATTAN.

Tickets are now available at www.radiohalloffame.com.

A portion of ticket purchases is a tax deductible charitable donation to the Museum.

##### Chuy Gomez And Victor Zaragoza Exit KRBQ (Q102.1)/San Francisco

##### WWRS 2020: If You Stop Promotion & Marketing For Your Station Something Terrible Happens – Nothing!

##### The Stars Still Come Out For The 2019 MTV Video Music Awards

##### WDAS-A/Philadelphia Bets On Flip To Sports As 'Fox Sports Radio, The Gambler'

##### Beasley Hands Out Its Outstanding Achievement Awards

Copyright © 2019 All Access Music Group.

"Backtrax USA" premiered in December 1992 with a two-hour block of hit songs from the 1980s. The 1990s edition launched in January 2003. In March 1998, a special version of the show debuted that aired on board United Airlines aircraft and Air Force One. As of 2012, "Backtrax USA" has aired more than 1,000 episodes.
 In January 2018, "Backtrax USA" hired WASH-FM DJ Toby Knapp as music curator for the 1990s version of the show and substitute host for both the 1980s and 1990s versions. Previously, Knapp and Kid Kelly had worked together at WBHT in Scranton, Pennsylvania in the mid-1990s. In April 2018, Kid Kelly was inducted into the National Radio Hall of Fame under the category of Music Format On-Air Personality.


The vote was for his work with both "Backtrax USA" and Sirius XM Hits 1.

(meta data) TITLE: National Radio Hall of Fame Announces 2018 Class of Inductees | AllAccess.com

(meta data) COPYRIGHT: All Access Music Group August 23, 2019 All Rights Reserved

All Access Downloads Video Hot Picks Cool New Music Future Releases Artist Info

10 Questions Industry Snaps Contemp Christian Home Net News Forums

Mediabase StreetPulse Hit Music Research

All Access Downloads Video Cool New Music Future Releases Artist Info

10 Questions Industry Snaps Country Home Net News Forums

All Access Downloads Hot Picks Video Cool New Music Future Releases Artist Info

10 Questions Industry Snaps Dance Home Net News

Dance Radio Airplay What's In-Store Music

All Access Downloads Video Cool New Music Hot/Mod/AC Home Net News Forums

10 Questions Industry Snaps News/Talk/Sports Home Net News The Letter Forums

10 Questions Industry Snaps Rock Home Net News Forums

10 Questions Industry Snaps Top 40/M Home Net News Forums

10 Questions Industry Snaps Top 40/R Home Net News Forums

10 Questions Industry Snaps Triple A Home Net News Forums

10 Questions Industry Snaps Urban/UAC Home Net News Forums

10 Questions Industry Snaps Net News Home Email Subscriptions Mobile News Content RSS AA on Facebook AA on Twitter iPhone App Android App Mobile Text Alerts Song Charts Airplay Add Board Nielsen Latest Ratings Recent Markets All Markets Eastlan Job Openings Situations Wanted Stealth Jobs VO/Image/Tracking Voiceover Imaging VO/Imaging Directory VO/Imaging Ad Rates All Forums General Discussion Net Talk Promo/Marketing Internet/Digital Sales & Mgmt Engineering/Tech Research Doctor Formats Alternative Contemp Christian Country Hot/Mod/AC News/Talk/Sports Rock Top 40/M Top 40/R Triple A Urban/UAC Top 25 Markets Industry Directory VO/Imaging/Tracking Voiceover/Imaging VO/Imaging News VO/Imaging Industry Snaps VO/Imaging Production VO/Imaging Directory VO/Imaging Ad Rates Voiceover/Imaging VO/Imaging News VO/Imaging Industry Snaps VO/Imaging Production VO/Imaging Directory VO/Imaging Ad Rates All Access Downloads Alternative Contemp Christian Country Dance Hot/Mod/AC Rock Top 40/M Top 40/R Triple A Urban/UAC Cool New Music Alternative Contemp Christian Country Dance Hot/Mod/AC Rock Top 40/M Top 40/R Triple A Urban/UAC Hot Picks Alternative Country Dance Hot/Mod/AC Rock Top 40/M Top 40/R Triple A Urban/UAC Future Releases Alternative Contemp Christian Country Dance Hot/Mod/AC Rock Top 40/M Top 40/R Triple A Urban/UAC Artist Info Alternative Contemp Christian Country Dance Hot/Mod/AC Rock Top 40/M Top 40/R Triple A Urban/UAC Email Subscriptions Music Scene Concert Reviews Artist Interviews SongDish Passport Approved WWRS Podcast Podcast News AM/FM/Podcast Broadcaster Meets Podcaster Perry

On Podcasting Industry Directory VO/Imaging/Tracking Voiceover/Imaging VO/Imaging News VO/Imaging Industry Snaps VO/Imaging Production VO/Imaging Directory VO/Imaging Ad Rates Power Player 10 Questions Alternative Contemp Christian Country Hot/Mod/AC News/Talk/Sports On The Beach Rock Top 40/M Top 40/R Triple A Urban/UAC VO/Production/Imaging Industry Snaps Alternative Contemp Christian Country Hot/Mod/AC News/Talk/Sports Rock Top 40/M Top 40/R Triple A Urban/UAC Voiceover Our Staff Power Player 10 Questions Alternative Contemp Christian Country Hot/Mod/AC News/Talk/Sports On The Beach Rock Top 40/M Top 40/R Triple A Urban/UAC VO/Production/Imaging NuVoodoo Media Radio Rally Point The Letter Pollack Media Urbanizing #IBelieveInMiracles Raising The Bar Morning Show Prep Ross Brittain Talk Topics CPR She Prep Career Coaches Corner Consultant Tips Research Doctor The Performance Playbook The Talent Pool Sales & Management Joe GM FCC Uncensored Lessons In Leadership Stock Index Digital Technology Merge RadioFuturescope Webinars Country I'm Here All Week… Rumbles From The Row Mediabase BuzzAngle RateTheMusic StreetPulse

Welcome to AllAccess.com, the web's largest radio and music industry community.

# National Radio Hall of Fame Announces 2018 Class of Inductees

Voting results for the 2018 NATIONAL RADIO HALL OF FAME's 24 nominations in six categories are in.

Four of the categories were decided by a voting participant panel comprised of nearly 1,000 industry professionals.

The other two categories were voted on by the public.

Listener voting was administered by VOTEM and overseen by the accounting firm of MILLER KAPLAN ARASE.

They report an unprecedented level of listener participation with more than a half million votes cast for the two voting categories, Music Format On-Air Personality and Spoken Word Format On-Air Personality.

The increase is attributed to the competitive and creative campaigning waged by nominees.

Spoken Word Format On-Air Personality: MARK LEVIN, THE MARK LEVIN SHOW; syndicated by WESTWOOD ONE

Music Format On-Air Personality: KID KELLY, BACKTRAX USA WITH KID KELLY; syndicated by WESTWOOD ONE, on-air host and programmer, SIRIUS XM HITS 1

The inductees by the industry panel are:

Active Local/Regional, 10+ years: JONATHON BRANDMEIER, THE JONATHON BRANDMEIER SHOW, CHICAGO

Longstanding Local/Regional, 20+ years: JIM KERR, Rock and Roll Morning Show, WAXQ (Q104.3)/NEW YORK

Active Network/Syndication, 10+ years: MIKE GOLIC and MIKE GREENBERG, MIKE & MIKE, ESPN AUDIO

Longstanding Network/Syndication, 20+ years: Dr. LAURA SCHLESSINGER, DR. LAURA, SIRIUS XM STARS 109

Additionally, the NRHOF nominating committee voted to induct four individuals for their contribution to the industry.

NANCI DONNELLAN, THE FABULOUS SPORTS BABE, a pioneering voice in local and national sports talk radio.

MIKE FRANCESA, longtime afternoon drive host on WFAN A/F (THE FAN)/NEW YORK.

JOAN HAMBURG, host of THE JOAN HAMBURG SHOW on WABC-A and prior, WOR-A, and known as NEW YORK's "First Lady of Radio."

FRED JACOBS, a creator of the Classic Rock music format, as well as a consultant to both commercial and public radio stations.

NRHOF Chairman KRAIG T. KITCHIN comments, "It's our mission to recognize the most impactful personalities and individuals to our medium and honor them.

We're proud to induct these individuals for their contributions into the NATIONAL RADIO HALL OF FAME in 2018, our 30th year."

The induction ceremony takes place NOV. 15th at NEW YORK CITY landmark GUASTAVINO's located in midtown MANHATTAN.

Tickets are now available at www.radiohalloffame.com.

A portion of ticket purchases is a tax deductible charitable donation to the Museum.

##### Chuy Gomez And Victor Zaragoza Exit KRBQ (Q102.1)/San Francisco

##### WWRS 2020: If You Stop Promotion & Marketing For Your Station Something Terrible Happens – Nothing!

##### The Stars Still Come Out For The 2019 MTV Video Music Awards

##### WDAS-A/Philadelphia Bets On Flip To Sports As 'Fox Sports Radio, The Gambler'

##### Beasley Hands Out Its Outstanding Achievement Awards

Copyright © 2019 All Access Music Group.

"Backtrax USA" premiered in December 1992 with a two-hour block of hit songs from the 1980s. The 1990s edition launched in January 2003. In March 1998, a special version of the show debuted that aired on board United Airlines aircraft and Air Force One. As of 2012, "Backtrax USA" has aired more than 1,000 episodes.
 In January 2018, "Backtrax USA" hired WASH-FM DJ Toby Knapp as music curator for the 1990s version of the show and substitute host for both the 1980s and 1990s versions. Previously, Knapp and Kid Kelly had worked together at WBHT in Scranton, Pennsylvania in the mid-1990s. In April 2018, Kid Kelly was inducted into the National Radio Hall of Fame under the category of Music Format On-Air Personality. The selection was based on a vote by the general public.


Burn One credits the experience with teaching him how to "sell" music.

(meta data) TITLE: Beat Construction: DJ Burn One | The FADER

The producer is one of the most crucial yet anonymous figures in all of music.

Every other week, with Beat Construction, an extension of our column in the magazine, we aim to illuminate the role producers are playing in creating some of our favorite music.

For the latest installment we spoke to Atlanta's Burn One.

As a mixtape DJ, Burn One helped to launch the careers of Gucci Mane, Young Dro and Yelawolf before evolving into a producer, lacing the likes of ASAP Rocky, Starlito and G-Side with his signature country rap tunes.

You're one of the few rap producers still focused on doing full length collaborations with artists.

What's the reasoning behind that approach?

I started off in music working at a mom and pop store called Super Sounds in Atlanta, so my whole thought process in making music comes from how I would sell it to somebody.

People used to come in the store ands say "Yo what's hot?" and you'd have to tell them, "This is hot" and why.

So I try to figure out what those selling points are when I'm making my music.

And I think through full lengths I can get my full point across.

I can establish a sound, I can give an artist their own vibe and have them stand out, which is really more important than any type of marketing plan.

If you look at all the big artists—Snoop and Dre, TI and Toomp, Jay-Z and Just Blaze, there's always been a pairing and I think full lengths are probably the best way to expand upon that.

Somebody like SL has been putting out a bunch of tapes but never really defined his sound and now you can listen to a bunch of the records we did on there and get SL Jones.

It puts it in a more concise picture, it narrows the vision and tells the story a little bit cleaner.

Do you ever worry that you're missing opportunities as far as placements by passing so many beats to just one artist at a time?

That's why more recently I've been trying to find a balance between the two and still try to place major [beats].

I was just out there working with Stalley in upstate New York and a couple other people, so I'm trying to get the placements up.

But albums last longer, you're not going to forget [Burn & Starlito's] Renaissance Gangster, but you might forget just a random single that was buzzing at the moment.

Do you usually try to be physically present in the studio with artists when producing for them?

A lot of rappers don't get the whole process of making beats and all that, they just want the finished product and they want to rap on it but there's something that an artist can bring out of you when they are as into it as you are.

With Paraphernalia we did eight records in the first day.

SL's energy made me want to do doper beats and work more.

Getting in the studio with somebody like Starlito brings out another side of him as well, it just makes for a better a product.

You can't really produce somebody through email.

You can send them a beat, but if you don't like the hook when they send it back you can say that but they might've already lived with it and played it a million times.

If I was in the studio with them they might say, "Yo I've got this idea for a hook" and I could say like, Uh… maybe not this, try that.

But once somebody falls in love with a verse or a hook it's kinda hard to change their opinion.

We sequence everything through Ableton but we pull sounds from Logic and Reason.

I've been using a lot of old keyboards, the Rhodes and the Wurlitzer.

I'm trying to go with different synthesizers, too, like the MicroKorg and stuff like that, just finding different sounds.

I think our whole sound is retro-future, a little old, a little new.

You do use a lot of live instrumentation too, right?

I have a production team called Five Points Music Group.

It's me, Ricky Fontaine who plays guitar, Walt Live, he produces, and The Professor, who plays bass and produces among other other things.

Most of the instruments you hear on the records, all the guitars, all the bass, a lot of shakers and tambourines [are played live].

We just dropped an EP in January and we finished our second album, called Indeed Face.

What else are you working on at the moment?

, we put out Summer Dreams last year and got a really good response so we're working on the follow up.

We're working on Rittz's new album, he just signed with Strange [Music].

Tell me a little about this forthcoming Young Dro tape.

We linked back up through my homie and decided to go and do another tape.

I think at the end of the year we're gonna follow it up with a full project that I'm producing.

Dro's another guy who, with the right focus and someone with the right vision behind him, could be amazing.

We're gonna try to get him re-entered into the different sound that we're coming with, kinda like with Lito's Mental Warfare.

I had five songs on there and I'm doing his new album too.

Was convincing artists to give you a look as a producer and not just a DJ a hard sell at first?

I wouldn't even play beats for rappers the first year I did them, I would just play them for friends that were around.

[A mutual friend] heard some stuff and sent some beats to Starlito, like, "Yo I think you'd be perfect on this."

I sent [Lito] like six beats and he rapped on five and then I sent him another five and he finished the tape.

A lot of times a lot of rappers, and I won't say which, they have one certain song in mind that they feel they need to sell to go and do shows and this that and the other.

They don't understand that if they do a dope ass album that'll get them way more fans than just having one hot song for four or five months.

It seems like you put a real emphasis on finding talent, which isn't always a role that's associated with producers.

I think I find talent better than I actually make music.

I guess that comes from that DJ background, the consumer background.

It helps to always be a fan, to feel like, oh I'd love to hear him rap over these super slow samples, or whatever type of vibe I'd want to hear a rapper on.

Now when you do a project like that is that purely promotional for both you and the rapper or is there any exchange of money on either side?

Certain artists will pay me to do their full project and then other times I'll find an artist I like that I think other people will like and it just makes sense [to do for free].

When I met Rittz I was like, damn this dude is dope, and if more people hear him maybe I'll get some money down at the end of the line.

Does that model ever come back to bite you in the ass?

I don't even talk to a lot of the artists I first helped break anymore.

I feel like if I had an A&R job when I did some of the stuff I did [more people would acknowledge it].

But because I was a mixtape DJ and they don't understand what that means it gets looked over a little bit.

But if I did it with Gucci or whoever else I know I can do it again.

And a lot of people have kept in touch, like Yelawolf.

I think it all works out how it's supposed to.

Well it does seem like most listeners have no idea what mixtape DJs do.

What exactly is your role when you host a tape?

Different DJs do different things and it's all on a case-by-case basis.

Somebody like Gucci didn't even really know about mixtapes when I first met him.

He wasn't happy with his label and I was like, "Yo let's get these songs together, do x, y, z and we can put this out."

I picked the songs, I picked the order, I even took the picture for the cover.

It's almost like an executive producer role.

A lot of times it's not that artists don't have the right songs, it's that they don't know which songs are the right songs.

A lot of artists don't have a real perception of their good songs versus their bad songs.

They just have songs and they like them all.

So it's about picking the right records, putting them in the right order and presenting them in the right way.

DJ Burn One was born in Hapeville, Georgia. Although Burn One has said that, growing up, his household wasn't very musical, he did grow up listening to a variety of musical genres -- '80s music with his mother; country music with his father—and also joined the church choir at the age of four years for several years. In high school, DJ Burn One started to work at a mom-and-pop music store in Atlanta called Super Sounds.


The experience taught him how to sell music from a marketing standpoint.

(meta data) TITLE: Beat Construction: DJ Burn One | The FADER

The producer is one of the most crucial yet anonymous figures in all of music.

Every other week, with Beat Construction, an extension of our column in the magazine, we aim to illuminate the role producers are playing in creating some of our favorite music.

For the latest installment we spoke to Atlanta's Burn One.

As a mixtape DJ, Burn One helped to launch the careers of Gucci Mane, Young Dro and Yelawolf before evolving into a producer, lacing the likes of ASAP Rocky, Starlito and G-Side with his signature country rap tunes.

You're one of the few rap producers still focused on doing full length collaborations with artists.

What's the reasoning behind that approach?

I started off in music working at a mom and pop store called Super Sounds in Atlanta, so my whole thought process in making music comes from how I would sell it to somebody.

People used to come in the store ands say "Yo what's hot?" and you'd have to tell them, "This is hot" and why.

So I try to figure out what those selling points are when I'm making my music.

And I think through full lengths I can get my full point across.

I can establish a sound, I can give an artist their own vibe and have them stand out, which is really more important than any type of marketing plan.

If you look at all the big artists—Snoop and Dre, TI and Toomp, Jay-Z and Just Blaze, there's always been a pairing and I think full lengths are probably the best way to expand upon that.

Somebody like SL has been putting out a bunch of tapes but never really defined his sound and now you can listen to a bunch of the records we did on there and get SL Jones.

It puts it in a more concise picture, it narrows the vision and tells the story a little bit cleaner.

Do you ever worry that you're missing opportunities as far as placements by passing so many beats to just one artist at a time?

That's why more recently I've been trying to find a balance between the two and still try to place major [beats].

I was just out there working with Stalley in upstate New York and a couple other people, so I'm trying to get the placements up.

But albums last longer, you're not going to forget [Burn & Starlito's] Renaissance Gangster, but you might forget just a random single that was buzzing at the moment.

Do you usually try to be physically present in the studio with artists when producing for them?

A lot of rappers don't get the whole process of making beats and all that, they just want the finished product and they want to rap on it but there's something that an artist can bring out of you when they are as into it as you are.

With Paraphernalia we did eight records in the first day.

SL's energy made me want to do doper beats and work more.

Getting in the studio with somebody like Starlito brings out another side of him as well, it just makes for a better a product.

You can't really produce somebody through email.

You can send them a beat, but if you don't like the hook when they send it back you can say that but they might've already lived with it and played it a million times.

If I was in the studio with them they might say, "Yo I've got this idea for a hook" and I could say like, Uh… maybe not this, try that.

But once somebody falls in love with a verse or a hook it's kinda hard to change their opinion.

We sequence everything through Ableton but we pull sounds from Logic and Reason.

I've been using a lot of old keyboards, the Rhodes and the Wurlitzer.

I'm trying to go with different synthesizers, too, like the MicroKorg and stuff like that, just finding different sounds.

I think our whole sound is retro-future, a little old, a little new.

You do use a lot of live instrumentation too, right?

I have a production team called Five Points Music Group.

It's me, Ricky Fontaine who plays guitar, Walt Live, he produces, and The Professor, who plays bass and produces among other other things.

Most of the instruments you hear on the records, all the guitars, all the bass, a lot of shakers and tambourines [are played live].

We just dropped an EP in January and we finished our second album, called Indeed Face.

What else are you working on at the moment?

, we put out Summer Dreams last year and got a really good response so we're working on the follow up.

We're working on Rittz's new album, he just signed with Strange [Music].

Tell me a little about this forthcoming Young Dro tape.

We linked back up through my homie and decided to go and do another tape.

I think at the end of the year we're gonna follow it up with a full project that I'm producing.

Dro's another guy who, with the right focus and someone with the right vision behind him, could be amazing.

We're gonna try to get him re-entered into the different sound that we're coming with, kinda like with Lito's Mental Warfare.

I had five songs on there and I'm doing his new album too.

Was convincing artists to give you a look as a producer and not just a DJ a hard sell at first?

I wouldn't even play beats for rappers the first year I did them, I would just play them for friends that were around.

[A mutual friend] heard some stuff and sent some beats to Starlito, like, "Yo I think you'd be perfect on this."

I sent [Lito] like six beats and he rapped on five and then I sent him another five and he finished the tape.

A lot of times a lot of rappers, and I won't say which, they have one certain song in mind that they feel they need to sell to go and do shows and this that and the other.

They don't understand that if they do a dope ass album that'll get them way more fans than just having one hot song for four or five months.

It seems like you put a real emphasis on finding talent, which isn't always a role that's associated with producers.

I think I find talent better than I actually make music.

I guess that comes from that DJ background, the consumer background.

It helps to always be a fan, to feel like, oh I'd love to hear him rap over these super slow samples, or whatever type of vibe I'd want to hear a rapper on.

Now when you do a project like that is that purely promotional for both you and the rapper or is there any exchange of money on either side?

Certain artists will pay me to do their full project and then other times I'll find an artist I like that I think other people will like and it just makes sense [to do for free].

When I met Rittz I was like, damn this dude is dope, and if more people hear him maybe I'll get some money down at the end of the line.

Does that model ever come back to bite you in the ass?

I don't even talk to a lot of the artists I first helped break anymore.

I feel like if I had an A&R job when I did some of the stuff I did [more people would acknowledge it].

But because I was a mixtape DJ and they don't understand what that means it gets looked over a little bit.

But if I did it with Gucci or whoever else I know I can do it again.

And a lot of people have kept in touch, like Yelawolf.

I think it all works out how it's supposed to.

Well it does seem like most listeners have no idea what mixtape DJs do.

What exactly is your role when you host a tape?

Different DJs do different things and it's all on a case-by-case basis.

Somebody like Gucci didn't even really know about mixtapes when I first met him.

He wasn't happy with his label and I was like, "Yo let's get these songs together, do x, y, z and we can put this out."

I picked the songs, I picked the order, I even took the picture for the cover.

It's almost like an executive producer role.

A lot of times it's not that artists don't have the right songs, it's that they don't know which songs are the right songs.

A lot of artists don't have a real perception of their good songs versus their bad songs.

They just have songs and they like them all.

So it's about picking the right records, putting them in the right order and presenting them in the right way.

DJ Burn One was born in Hapeville, Georgia. Although Burn One has said that, growing up, his household wasn't very musical, he did grow up listening to a variety of musical genres -- '80s music with his mother; country music with his father—and also joined the church choir at the age of four years for several years. In high school, DJ Burn One started to work at a mom-and-pop music store in Atlanta called Super Sounds. Burn One credits the experience with teaching him how to "sell" music.


The experience taught him how to sell music to an interested customer.

(meta data) TITLE: Beat Construction: DJ Burn One | The FADER

The producer is one of the most crucial yet anonymous figures in all of music.

Every other week, with Beat Construction, an extension of our column in the magazine, we aim to illuminate the role producers are playing in creating some of our favorite music.

For the latest installment we spoke to Atlanta's Burn One.

As a mixtape DJ, Burn One helped to launch the careers of Gucci Mane, Young Dro and Yelawolf before evolving into a producer, lacing the likes of ASAP Rocky, Starlito and G-Side with his signature country rap tunes.

You're one of the few rap producers still focused on doing full length collaborations with artists.

What's the reasoning behind that approach?

I started off in music working at a mom and pop store called Super Sounds in Atlanta, so my whole thought process in making music comes from how I would sell it to somebody.

People used to come in the store ands say "Yo what's hot?" and you'd have to tell them, "This is hot" and why.

So I try to figure out what those selling points are when I'm making my music.

And I think through full lengths I can get my full point across.

I can establish a sound, I can give an artist their own vibe and have them stand out, which is really more important than any type of marketing plan.

If you look at all the big artists—Snoop and Dre, TI and Toomp, Jay-Z and Just Blaze, there's always been a pairing and I think full lengths are probably the best way to expand upon that.

Somebody like SL has been putting out a bunch of tapes but never really defined his sound and now you can listen to a bunch of the records we did on there and get SL Jones.

It puts it in a more concise picture, it narrows the vision and tells the story a little bit cleaner.

Do you ever worry that you're missing opportunities as far as placements by passing so many beats to just one artist at a time?

That's why more recently I've been trying to find a balance between the two and still try to place major [beats].

I was just out there working with Stalley in upstate New York and a couple other people, so I'm trying to get the placements up.

But albums last longer, you're not going to forget [Burn & Starlito's] Renaissance Gangster, but you might forget just a random single that was buzzing at the moment.

Do you usually try to be physically present in the studio with artists when producing for them?

A lot of rappers don't get the whole process of making beats and all that, they just want the finished product and they want to rap on it but there's something that an artist can bring out of you when they are as into it as you are.

With Paraphernalia we did eight records in the first day.

SL's energy made me want to do doper beats and work more.

Getting in the studio with somebody like Starlito brings out another side of him as well, it just makes for a better a product.

You can't really produce somebody through email.

You can send them a beat, but if you don't like the hook when they send it back you can say that but they might've already lived with it and played it a million times.

If I was in the studio with them they might say, "Yo I've got this idea for a hook" and I could say like, Uh… maybe not this, try that.

But once somebody falls in love with a verse or a hook it's kinda hard to change their opinion.

We sequence everything through Ableton but we pull sounds from Logic and Reason.

I've been using a lot of old keyboards, the Rhodes and the Wurlitzer.

I'm trying to go with different synthesizers, too, like the MicroKorg and stuff like that, just finding different sounds.

I think our whole sound is retro-future, a little old, a little new.

You do use a lot of live instrumentation too, right?

I have a production team called Five Points Music Group.

It's me, Ricky Fontaine who plays guitar, Walt Live, he produces, and The Professor, who plays bass and produces among other other things.

Most of the instruments you hear on the records, all the guitars, all the bass, a lot of shakers and tambourines [are played live].

We just dropped an EP in January and we finished our second album, called Indeed Face.

What else are you working on at the moment?

, we put out Summer Dreams last year and got a really good response so we're working on the follow up.

We're working on Rittz's new album, he just signed with Strange [Music].

Tell me a little about this forthcoming Young Dro tape.

We linked back up through my homie and decided to go and do another tape.

I think at the end of the year we're gonna follow it up with a full project that I'm producing.

Dro's another guy who, with the right focus and someone with the right vision behind him, could be amazing.

We're gonna try to get him re-entered into the different sound that we're coming with, kinda like with Lito's Mental Warfare.

I had five songs on there and I'm doing his new album too.

Was convincing artists to give you a look as a producer and not just a DJ a hard sell at first?

I wouldn't even play beats for rappers the first year I did them, I would just play them for friends that were around.

[A mutual friend] heard some stuff and sent some beats to Starlito, like, "Yo I think you'd be perfect on this."

I sent [Lito] like six beats and he rapped on five and then I sent him another five and he finished the tape.

A lot of times a lot of rappers, and I won't say which, they have one certain song in mind that they feel they need to sell to go and do shows and this that and the other.

They don't understand that if they do a dope ass album that'll get them way more fans than just having one hot song for four or five months.

It seems like you put a real emphasis on finding talent, which isn't always a role that's associated with producers.

I think I find talent better than I actually make music.

I guess that comes from that DJ background, the consumer background.

It helps to always be a fan, to feel like, oh I'd love to hear him rap over these super slow samples, or whatever type of vibe I'd want to hear a rapper on.

Now when you do a project like that is that purely promotional for both you and the rapper or is there any exchange of money on either side?

Certain artists will pay me to do their full project and then other times I'll find an artist I like that I think other people will like and it just makes sense [to do for free].

When I met Rittz I was like, damn this dude is dope, and if more people hear him maybe I'll get some money down at the end of the line.

Does that model ever come back to bite you in the ass?

I don't even talk to a lot of the artists I first helped break anymore.

I feel like if I had an A&R job when I did some of the stuff I did [more people would acknowledge it].

But because I was a mixtape DJ and they don't understand what that means it gets looked over a little bit.

But if I did it with Gucci or whoever else I know I can do it again.

And a lot of people have kept in touch, like Yelawolf.

I think it all works out how it's supposed to.

Well it does seem like most listeners have no idea what mixtape DJs do.

What exactly is your role when you host a tape?

Different DJs do different things and it's all on a case-by-case basis.

Somebody like Gucci didn't even really know about mixtapes when I first met him.

He wasn't happy with his label and I was like, "Yo let's get these songs together, do x, y, z and we can put this out."

I picked the songs, I picked the order, I even took the picture for the cover.

It's almost like an executive producer role.

A lot of times it's not that artists don't have the right songs, it's that they don't know which songs are the right songs.

A lot of artists don't have a real perception of their good songs versus their bad songs.

They just have songs and they like them all.

So it's about picking the right records, putting them in the right order and presenting them in the right way.

DJ Burn One was born in Hapeville, Georgia. Although Burn One has said that, growing up, his household wasn't very musical, he did grow up listening to a variety of musical genres -- '80s music with his mother; country music with his father—and also joined the church choir at the age of four years for several years. In high school, DJ Burn One started to work at a mom-and-pop music store in Atlanta called Super Sounds. Burn One credits the experience with teaching him how to "sell" music. The experience taught him how to sell music from a marketing standpoint.


As a result, the British tabloids dubbed him "Bonking Boris".

(meta data) TITLE: How playboy tennis legend Boris Becker lost it all

(meta data) PUBLISHER: https://www.facebook.com/nypost

(meta data) COPYRIGHT: Copyright 2019 NYP Holdings. All rights reserved.

# How playboy tennis legend Boris Becker lost it all

Jeffrey Epstein apparently bought women's panties while in jail

New Jersey doctor falls to his death while vacationing with fiancée

Brawl breaks out on delayed JFK flight from hell

Cop-hating mob at Brooklyn housing project injures three NYPD officers

## Bankrupt Boris Becker pulls diplomatic immunity card to protect cash

## Boris Becker's terrible week just got a lot worse

## The mysterious demise of Novak Djokovic

Boris Becker had it all — six grand-slam tennis titles, models hanging off his arm and luxury houses all over the world.

At the height of his career, the German ace had amassed a reported $63 million in prize money and sponsorships, but now the man once known as "Boom Boom" for his ferocious serve has gone from boom boom to bust.

Now 49, Becker was declared bankrupt by a British court Wednesday, capping a fall-from-grace story that saw the one-time wild child go from Wimbledon champ to walking headline by blowing through money, women and business ventures in retirement.

His lawyer pleaded for more time and "one more chance" to make good on debts he has racked up in retirement.

But the judge said, regretfully, the man she had once watched dominating center court has already had plenty of chances.

"One has the impression of a man with his head in the sand," Registrar Christine Derrett said.

Boris Beck holds the trophy after becoming the youngest player to win the Wimbledon tennis championship in London.

London's Bankruptcy Court is just eight miles from the All England Lawn Tennis & Croquet Club, where 32 years earlier, almost to the week, Becker's life was on a very different trajectory.

The 17-year-old threw his fists to the sky and tossed his strawberry-blond mop back as the crowd came to its feet — the unseeded Becker had just become the youngest Wimbledon men's singles champion.

"I'm the first German, and I think this will change tennis in Germany.

They never had an idol, and now maybe they have one," he told a New York Times reporter afterward.

By the time Becker returned home, the radio was already playing a song in his honor: "Boom-Boom Boris (The All Wimbledon Boy)."

And the wins just kept on coming — two more Wimbledon titles, the US Open, two Australian Opens, two Davis Cups for Germany, a world Number 1 ranking.

But the sheen came off tennis' golden boy long before he hung up his racket.

With sponsors and women throwing themselves at him, the millionaire teen quickly earned a reputation for on-court hissy fits and off-court scandals.

"All those girls, hysterical, crazy, already waiting for hours for him outside hotels," former coach Günther Bosch recalled in a biography he wrote of Becker, according to Observer Sport Monthly.

In 1987, Becker flamed out at the Australian Open, losing to a virtual unknown and flying off the handle, spitting at the umpire and smashing rackets.

When he suffered a similar loss to an unknown at Wimbledon months later, rumors swirled that he'd become too distracted by his girlfriend, Benedicte Courtin — the daughter of Monaco's chief of police — and the British tabloids dubbed him "Bonking Boris."

"Too much sex beats Boris" screamed one headline.

Bosch agreed, and the two parted ways forever.

It wasn't the last time Becker's pecker cost him big-time.

In the early 1990s, he appeared to settle down with model wife Barbara Feltus, and they made headlines by posing nude together for a magazine.

Boris Becker returns a backhand to South Africa's Wayne Ferreira to win the match 7-6, 7-5 at Stuttgart's indoor tennis tournament in 1993.Reuters

But it all came crashing down over revelations that he had fathered a love child with Russian model Angela Ermakova after they hooked up in the broom closet at a Japanese restaurant in London — while a pregnant Feltus was in the hospital.

"[The model] looked directly at me, the look of the hunter that said, 'I want you,' " he admitted in his 2003 autobiography, "Stay A Moment Longer."

"There she was again, walking twice past the bar.

A little while later she left her table for the toilet.

I followed behind . . . Five minutes small talk and then straight away into the nearest possible place and down to business."

'One has the impression of a man with his head in the sand.'

lengthy and bitter divorce battle with Feltus — broadcast live on German TV — wound up costing him $25 million, his luxury condo in Miami and custody of their two sons.

He was then forced to cough up another $1.2 million to buy his baby mama a home of her own in London.

Becker's property woes didn't stop there.

After years of investigations, German authorities in 2002 busted him for almost $2 million in tax evasion, revealing that he had been living in his homeland during his years as a pro while claiming to live in Monaco.

Authorities tried to put Becker behind bars, but he got off with a hefty fine and a suspended sentence.

He claimed the ordeal cost him his career.

"Because of this tax business, I have not been able to sleep easily since the first house search [in 1996]," he told the court at the time.

"It is notable that I was unable to win a tournament thereafter."

Becker has tried his hand at a number of other gigs since retiring from tennis — sports commentator, running Mercedes-Benz dealerships, and even as a professional poker player.

Boris Becker signs his tennis portrait book prior to the German Davis Cup quarterfinal against Sweden in Hamburg in 1998.Reuters

He has also been married to Dutch model Sharlely "Lilly" Kerssenberg with no scandal since 2009 — and the pair added another kid to his brood in 2010.

"There comes a time in every man's life when he needs to settle down," he told The Guardian after their wedding in the Swiss resort of St. Moritz.

But the former playboy has also been beset by a series of failed business ventures — a sports website, an organic food business, and more notably, a planned 19-story high-rise in Dubai called the Boris Becker Business Tower, whose backers went bust in 2011.

In 2012, Becker fell behind on debts he owed to contractors for work on his luxury villa in Majorca, Spain, and a judge repossessed the property that he bought in the 1990s — a sprawling, 62-acre complex with a guesthouse, pool, tennis and basketball courts and an orange grove.

### Tennis legend Boris Becker not happy to be declared bankrupt

LONDON — Boris Becker was declared bankrupt by a British...

Becker managed get the property back at the 11th hour, and he's been trying to sell the villa himself ever since.

In court this week, Becker's lawyers tried to argue that he could still satisfy his creditors by refinancing the property for $6.7 million.

"He is not a sophisticated individual when it comes to finances.

I am asking for a real last chance for Mr. Becker to come good . . .

It has just taken longer than anticipated," said his advocate, John Briggs, according to The Guardian.

But with Becker's long history of blowing it, the judge just didn't buy it.

Becker said he's "surprised and disappointed" by the decision, but insists he's hardly broke.

"My earnings are well publicized and it is clear that I have the means to repay this debt," he wrote on Twitter.

"I intend to make an application to have this order set aside immediately.

In the meantime, I will concentrate on my work and in particular my presenting duties at Wimbledon for the BBC and other international outlets."

Russian MMA star invites Trump to Madison Square Garden fi...

##### The Saquon Barkley mistake Giants can't make

##### Hefty challenge awaits these Yankees

##### Amed Rosario saving Mets in 'panic situation' is another sign

### Get the latest odds on all the top sports.

Soaring Deivi Garcia is 'confident' Yankees bullpen possibility

Raiders give Antonio Brown ultimatum over helmet saga

##### Khloé Kardashian says she's focused on 'me' in bikini post

##### Epstein's gal pal gave $1K to hospital that treated alleged sex slave: report

Post was not sent - check your email addresses!

Sorry, your blog cannot share posts by email.

After Becker lost to Peter Doohan in the second round of the 1987 Wimbledon Championships, it was rumoured that he had been too-distracted by his girlfriend, Benedicte Courtin, the daughter of the Chief of Police of Monaco.


The decision was made despite the protests of VanderMeer.

(meta data) TITLE: Racism row over SF novel about black 'Coals' and white 'Pearls' | Books | The Guardian

(meta data) AUTHOR: https://www.theguardian.com/profile/alisonflood

(meta data) PUBLISHER: https://www.facebook.com/theguardian

(meta data) PUBLISHED DATETIME: 2012-08-21T09:14:35-0400

Available for everyone, funded by readers

# Racism row over SF novel about black 'Coals' and white 'Pearls'

Weird Tales magazine's decision to publish an extract from Victoria Foyt's Revealing Eden has provoked widespread outrage

First published on Tue 21 Aug 2012 09.14 EDT

Dark tale ... detail from cover of Revealing Eden

The eminent US fantasy magazine Weird Tales's decision to publish an extract from a young adult novel featuring a minority white race called the Pearls that is dominated by the black race of the Coals, which has been widely described as racist, has been attacked by readers, reviewers and authors.

Victoria Foyt's self-published novel Revealing Eden: Save the Pearls Part One is set in a dystopian future where solar radiation means the Coals (with dark skin) can survive better than the fair-skinned Pearls.

Pearls cover their white skin with dark make-up, and the black love interest of the 17-year-old white heroine Eden – shown in blackface make-up on the front cover and in promotional videos – is described as a "powerful, beastly man".

At one point, Foyt writes: "Eden flinched.

Before she knew it, she blurted out an incendiary racial slur.

'Get your hands off of me, you damn Coal!'"

The novel has been the subject of widespread attacks across the internet, with readers criticising it as "incredibly racist to pretty much every reader.

Especially readers of colour", and as a "white supremacist fantasy

"The coals/pearls contrast is itself offensive: after all, coal is dirty and cheap, whereas pearls are beautiful and valuable," wrote one blogger.

Some readers have said they are considering boycotting the magazine.

Foyt, who self-published Revealing Eden but has previously been published by HarperCollins, has defended herself on Facebook and in blog posts, saying that she "abhor[s] racism", that the book has received many positive reviews, and "if you ask if all these reviewers are white then consider that you have a racist point of view".

When Weird Tales, America's oldest fantasy magazine, ran an editorial by Marvin Kaye last week defending the novel as "a thoroughly non-racist book" and announcing its intention to run an extract, it prompted a huge backlash from readers and writers.

The author Jeff Vandermeer said he would never submit to the magazine again while it was run by the current editorial staff, describing himself as "just quite frankly livid and utterly enraged", as did the writer NK Jemisin, hitting out at Weird Tales' "brave commitment to racism" in a blog post entitled "This is how you destroy something beautiful".

Ann Vandermeer, the former editor of the magazine who was pushed out when it was sold to new editor Kaye, resigned from her current position as contributing senior editor (her husband Jeff said she was "personally devastat[ed] given that the new vision for Weird Tales seems to be so against everything that she envisioned for the future of the magazine").

Now the publisher of Weird Tales has weighed in, removing Kaye's original editorial from the site – it remains cached on Google – and issuing a blanket apology for the piece.

"I deeply apologise to all who were offended by our association with this book.

I fully respect those who have been writing negative things about us today.

"I have not read the novel, but have gone over its online presence today.

I saw the blackface video and read the excerpts the author and publisher chose to make available.

I must conclude that the use of the powerful symbols of white people forced to wear blackface to escape the sun, white women lusting after black 'beast men', the 'pearls' and 'coals', etc., is goddamned ridiculous and offensive.

It seems like the work of someone who does not understand the power of what she is playing with."

Kaye, said Harlacher, believes that "if you read the whole book, [Foyt] explains her use of this imagery, and it ends up as a plea for tolerance".

"And that is the position of Weird Tales — and upon reviewing the video and other materials, Marvin is in full agreement."

Contents and reception.:Wildside Press and after.

The April/May 2007 edition featured the magazine's first all-new design in almost seventy-five years.  During the next few years, "Weird Tales" published works by a wide range of strange-fiction authors including Michael Moorcock and Tanith Lee, as well as newer writers such as Jay Lake, Cat Rambo, and Rachel Swirsky.  The period also saw the addition of a broader range of content, ranging from narrative essays to comics to features on weird culture.  The magazine won its first Hugo Award in August 2009, in the semiprozine category, two Hugo Award nominations in subsequent years, and its first World Fantasy Award nomination, for editors Segal and Vandermeer, in more than seventeen years. In August 2012, "Weird Tales" became involved in a media altercation after the editor announced the magazine was going to publish an excerpt from Victoria Foyt's controversial novel "Save the Pearls", which many critics accused of featuring racist stereotyping.


The decision prompted her to end her association with the magazine.

(meta data) TITLE: Racism row over SF novel about black 'Coals' and white 'Pearls' | Books | The Guardian

(meta data) AUTHOR: https://www.theguardian.com/profile/alisonflood

(meta data) PUBLISHER: https://www.facebook.com/theguardian

(meta data) PUBLISHED DATETIME: 2012-08-21T09:14:35-0400

Available for everyone, funded by readers

# Racism row over SF novel about black 'Coals' and white 'Pearls'

Weird Tales magazine's decision to publish an extract from Victoria Foyt's Revealing Eden has provoked widespread outrage

First published on Tue 21 Aug 2012 09.14 EDT

Dark tale ... detail from cover of Revealing Eden

The eminent US fantasy magazine Weird Tales's decision to publish an extract from a young adult novel featuring a minority white race called the Pearls that is dominated by the black race of the Coals, which has been widely described as racist, has been attacked by readers, reviewers and authors.

Victoria Foyt's self-published novel Revealing Eden: Save the Pearls Part One is set in a dystopian future where solar radiation means the Coals (with dark skin) can survive better than the fair-skinned Pearls.

Pearls cover their white skin with dark make-up, and the black love interest of the 17-year-old white heroine Eden – shown in blackface make-up on the front cover and in promotional videos – is described as a "powerful, beastly man".

At one point, Foyt writes: "Eden flinched.

Before she knew it, she blurted out an incendiary racial slur.

'Get your hands off of me, you damn Coal!'"

The novel has been the subject of widespread attacks across the internet, with readers criticising it as "incredibly racist to pretty much every reader.

Especially readers of colour", and as a "white supremacist fantasy

"The coals/pearls contrast is itself offensive: after all, coal is dirty and cheap, whereas pearls are beautiful and valuable," wrote one blogger.

Some readers have said they are considering boycotting the magazine.

Foyt, who self-published Revealing Eden but has previously been published by HarperCollins, has defended herself on Facebook and in blog posts, saying that she "abhor[s] racism", that the book has received many positive reviews, and "if you ask if all these reviewers are white then consider that you have a racist point of view".

When Weird Tales, America's oldest fantasy magazine, ran an editorial by Marvin Kaye last week defending the novel as "a thoroughly non-racist book" and announcing its intention to run an extract, it prompted a huge backlash from readers and writers.

The author Jeff Vandermeer said he would never submit to the magazine again while it was run by the current editorial staff, describing himself as "just quite frankly livid and utterly enraged", as did the writer NK Jemisin, hitting out at Weird Tales' "brave commitment to racism" in a blog post entitled "This is how you destroy something beautiful".

Ann Vandermeer, the former editor of the magazine who was pushed out when it was sold to new editor Kaye, resigned from her current position as contributing senior editor (her husband Jeff said she was "personally devastat[ed] given that the new vision for Weird Tales seems to be so against everything that she envisioned for the future of the magazine").

Now the publisher of Weird Tales has weighed in, removing Kaye's original editorial from the site – it remains cached on Google – and issuing a blanket apology for the piece.

"I deeply apologise to all who were offended by our association with this book.

I fully respect those who have been writing negative things about us today.

"I have not read the novel, but have gone over its online presence today.

I saw the blackface video and read the excerpts the author and publisher chose to make available.

I must conclude that the use of the powerful symbols of white people forced to wear blackface to escape the sun, white women lusting after black 'beast men', the 'pearls' and 'coals', etc., is goddamned ridiculous and offensive.

It seems like the work of someone who does not understand the power of what she is playing with."

Kaye, said Harlacher, believes that "if you read the whole book, [Foyt] explains her use of this imagery, and it ends up as a plea for tolerance".

"And that is the position of Weird Tales — and upon reviewing the video and other materials, Marvin is in full agreement."

The April/May 2007 edition featured the magazine's first all-new design in almost seventy-five years.  During the next few years, "Weird Tales" published works by a wide range of strange-fiction authors including Michael Moorcock and Tanith Lee, as well as newer writers such as Jay Lake, Cat Rambo, and Rachel Swirsky.  The period also saw the addition of a broader range of content, ranging from narrative essays to comics to features on weird culture.  The magazine won its first Hugo Award in August 2009, in the semiprozine category, two Hugo Award nominations in subsequent years, and its first World Fantasy Award nomination, for editors Segal and Vandermeer, in more than seventeen years. In August 2012, "Weird Tales" became involved in a media altercation after the editor announced the magazine was going to publish an excerpt from Victoria Foyt's controversial novel "Save the Pearls", which many critics accused of featuring racist stereotyping. The decision was made despite the protests of VanderMeer.


By the late 1990s, the bridge was carrying twice as much traffic as it was designed to handle.

(meta data) TITLE: Business | Highway 520: Going Nowhere Fast | Seattle Times Newspaper

(meta data) AUTHOR: Keith Ervin, Peyton Whitely, Sarah Lopez Williams

These crawls are part of an effort to archive pages as they are created and archive the pages that they refer to.

That way, as the pages that are referenced are changed or taken from the web, a link to the version that was live when the page was written will be preserved.

Then the Internet Archive hopes that references to these archived pages will be put in place of a link that would be otherwise be broken, or a companion link to allow people to see what was originally intended by a page's authors.

The goal is to fix all broken links on the web.

Crawls of supported "No More 404" sites.

Collection: Wikipedia Near Real Time (from IRC)

This is a collection of web page captures from links added to, or changed on, Wikipedia pages.

The idea is to bring a reliability to Wikipedia outlinks so that if the pages referenced by Wikipedia articles are changed, or go away, a reader can permanently find what was originally referred to.

This is part of the Internet Archive's attempt to rid the web of broken links.

The Wayback Machine - https://web.archive.org/web/20170902053655/http://community.seattletimes.nwsource.com/archive/?date=19970316&slug=2529058

Advanced Search | Events & Venues | Obituaries

Visit Education Lab for the latest news and conversation on Puget Sound area schools.

Sunday, March 16, 1997 - Page updated at 12:00 AM

By Keith Ervin, Peyton Whitely, Sarah Lopez Williams

Between I-5 and I-405, Highway 520 is woefully overburdened and getting worse.

But arguments abound about how to address the problem - so much so that a solution may not be achieved for years.

Meanwhile, for thousands and thousands, the trip across Lake Washington has become a daily trial by traffic.

Dan Piraino, a 16-year veteran of what has become the daily crawl along Highway 520, can vouch that there was a time when the highway was as clear as August in Seattle and the commute was an easy 15-mile trip.

Today, the research scientist must roll out of bed by 5:30 a.m. to beat traffic and has joined a van pool to capitalize on car-pool lanes.

If he were to drive his own car, he would be in congestion for an hour or more.

"The backups start earlier and earlier," said Piraino, who commutes from Seattle to Physio-Control in Redmond.

"One of these days, it's not going to be tolerable anymore."

Built to standards of the 1950s, the Evergreen Point Floating Bridge routinely carries twice as many vehicles as it was designed to handle.

Traffic backs up to Interstate 5 and east of I-405 almost daily.

Bad as it is, there's no assurance anything will be done about the 520 mess before Piraino's 6-year-old daughter graduates from college.

Yet, despite a long history of failed attempts to improve 520, a new effort to find a solution is raising hopes of proponents.

There are new concerns about the soundness of the bridge and a growing fear that traffic is getting so bad it will strangle economic growth.

-- The state's chief bridge engineer says some $88 million in immediate and long-term repairs are needed if the bridge is to remain safe and usable for another 20 years.

That's about enough time to plan, fund and build a new bridge.

-- An informal coalition of Eastside business leaders, backed by the city of Bellevue, has been meeting with legislators, and Seattle and Eastside residents to drum up support for a $3 million study of how best to move people and freight across the north end of Lake Washington.

Support for the study seems to be growing and includes endorsements last week from the Seattle Chamber of Commerce and the Montlake Community Club.

-- A new Bellevue Transportation Department study shows that cross-lake drivers are overwhelming city streets as they head to Interstate 90 trying to avoid Highway 520 backups.

One thing is sure: A new bridge or bridge improvements won't be built quickly or without a battle.

It took 14 years of planning and argument to build the first 520 bridge.

Thirty years of debate preceded completion of I-90 across the lake.

Among the objections to a larger bridge: concerns of residents at each end that it would add traffic through their neighborhoods, the high cost of construction, and beliefs that expanding capacity isn't a smart way to deal with worsening congestion.

At least seven major studies have looked at ways to cut congestion on 520, the first just nine years after the bridge opened.

Adding rail service or making changes to inspire car pooling were among the ideas studied.

But no proposal from any of these studies was implemented.

The last study, in 1993, by Washington Transportation Partners (WTP), a public-private partnership, suggested spending $550 million to $900 million to either replace the bridge or build a parallel structure with bus and car-pool lanes.

The proposal to finance the job with tolls so angered residents on both sides of the bridge that it was abandoned.

Meanwhile, traffic jams worsened as Microsoft led an employment boom that put thousands more commuters on the road.

Almost as many of Microsoft's 9,000 Redmond employees commute to work from Seattle as from the Eastside.

Last spring, representatives from Boeing, Weyerhaeuser, Bellevue Square and other economic powerhouses met quietly on the Microsoft campus to discuss concerns that the region's economic vitality would wither should highways become so clogged employees couldn't get to work and freight couldn't get to market.

They urged the Regional Transit Authority (RTA) to include a $3 million study of Highway 520 and possible construction of new transit lanes across the lake in last fall's (successful) $3.9 billion ballot issue.

But the RTA board refused on grounds that a bridge study would doom its transit plan a second time.

Business leaders are again pushing for a $3 million study of the "520 corridor."

Half of the money would come from the state through a transportation-revenue package that hasn't yet been funded.

The Puget Sound Regional Council is applying for federal matching funds to pay for the rest.

There's too much growth on the Eastside to ignore it," said Barry Murphy, Microsoft's regional government-affairs manager.

But choosing which options to study is a political hot potato.

John Okamoto, the Department of Transportation's regional administrator, proposes that a broad-based advisory committee decide.

Some ideas already making the rounds: better roads around the north end of the lake; a new bridge farther north; a wider 520 bridge; restricting some lanes to car pools, buses or light rail; and discouraging auto use by imposing tolls or work-site parking fees.

Many activists, including members of "No Expansion of 520," say bigger freeways aren't the answer.

"The era of the single-occupant vehicle, I think, is coming to an end.

It's plain we can't keep on building highways so everyone can go to work in his or her own car and return home in his or her own car," said Cornelius Peck, former UW law professor and co-founder of the Seattle-based group.

Peck's view is supported by a recent state Department of Transportation (DOT) analysis of possible improvements to Interstate 405, which says that even if the state spent $2 billion to add as many as three lanes in each direction, average traffic speeds would still fall to 28 miles per hour by 2020.

Even if a study of 520 were to be done, there's no money in state coffers to carry out its recommendations.

With gas-tax revenue outpaced by construction costs, DOT has only enough money to maintain existing highways.

Highway advocates in the Legislature already face an uphill battle to pass a revenue package that would generate $647 million in new highway funds over the next two years and $869 million the following two years.

DOT's most recent estimates for adding two new transit lanes and making other fixes to the 520 bridge range from $710 million to $890 million.

Winning Eastern Washington legislators' support for using the state's entire highway-building budget on a Seattle-area project would be difficult, to say the least.

It isn't clear whether - or when - the 520 bridge will rise to the top of DOT's priority list.

Unless it were funded with tolls, it would have to compete with other projects such as adding more high-occupancy vehicle (HOV) lanes to the state's freeways, expanding the Tacoma Narrows Bridge and completing Highway 509 through SeaTac.

Just finishing the high-priority HOV system would cost $1.5 billion.

"Highway 520 fits into the highly congested category, but so do numerous other corridors throughout the state," said Randy Hain, DOT's highway-construction manager.

Rep. Karen Schmidt, R-Bainbridge Island, chairwoman of the Legislative Transportation Committee, questions whether it's even worth studying the 520 corridor when there's no money for construction.

Which brings the discussion back to the dreaded subject of tolls.

"People have short memories," notes Jared Smith, project manager of the ill-fated WTP toll proposal.

"There isn't a bridge in the state that wasn't federally funded that wasn't built without tolls."

The I-90 bridge is toll-free, but it was built as part of the interstate highway system.

The original Mercer Island and 520 bridges were both built with tolls.

Alternatively, a 520-bridge project could be funded through a special taxing district, suggests Microsoft's Murphy.

And Senate Majority Leader Dan McDonald notes that a transportation district already exists - the Regional Transit Authority.

For now, advocates of a better bridge believe the first step is a comprehensive study of transportation needs on the north end of Lake Washington.

"Residents along the corridor are really going to need to talk to one another," said Bruce Nurse, vice president of Kemper Development, whose president, Kemper Freeman Jr., has long advocated more freeway lanes.

"We (the business community) feel the initiative needs to come from that level rather than the DOT or the business community."

In the meantime, Piraino gets up before the sun rises to beat the heavy traffic.

He may have to give up the fight and move his family near his job on the Eastside, he said.

As for the future bridge, he has an idea of his own.

"One of my wishes is that we'd turn 520 into transit-only," he said.

"It would probably go over like a lead balloon."

It's expected state road needs will exceed revenues by more than $15 billion over the next 20 years.

Here are some possible sources of additional money and how much they might generate each year:

-- Increase gas tax 1 cent per gallon: $32 million

-- Extend 6.5 percent state sales tax to gasoline: $271 million

-- Raise gas tax in accord with Initiative 601 growth factor: $49 million (reaches $98 million by 2002)

-- Redirect motor-vehicle excise-tax revenues from state general fund: $208 million

-- Increase motor-vehicle excise tax by 0.1 percent: $39 million

-- Exempt the state Department of Transportation from having to pay sales tax on highway contracts: $27 million

-- Impose a $1 toll each way on Evergreen Point Floating Bridge: $36.5 million

Numbers are 1997-2003 averages except for toll revenue (based on approximate 1995 traffic volume).

Source: State Department of Transportation

First bridge across Lake Washington, the Mercer Island Floating Bridge, opens.

Lake Washington Good Roads Association asks State Toll Bridge Authority to survey locations for a second Lake Washington bridge.

Traffic on Mercer Island Bridge approaches its capacity of 20,000 cars per day.

Legislature authorizes study on financing a $13.7 million bridge.

April 1953: Nine hundred Montlake-area residents sign petition opposing a bridge through their neighborhood.

July 1953: Study begins on six alternative alignments, between Juanita on the north and Mercer Island on the south.

Toll Bridge Authority selects Montlake-to-Evergreen Point route.

Construction is scheduled to start in eight months.

Defenders of the UW Arboretum and proponents of a Kirkland-to-Sand Point bridge attack the plan.

State sells $30 million in bonds to finance a floating bridge between Evergreen Point and Montlake.

Gov. Al Rosellini cuts a ribbon on the $34 million bridge.

Rosellini says planning has begun on a toll-free third bridge.

Construction bonds are paid off, and toll is lifted.

A second Mercer Island bridge opens, extending I-90 westward to Seattle and adding three general-purpose lanes and two carpool lanes.

The original Mercer Island floating bridge sinks in a storm during reconstruction.

Montlake-based group, "No Expansion of 520," opposes public-private partnership to fund car-pool and bike lanes through a $1 toll on Evergreen Point Bridge.

Eastside residents join opposition to toll bridge.

Gov. Mike Lowry signs law requiring public vote on toll-bridge proposal.

Representatives of Boeing, Microsoft, Weyerhaeuser and other businesses ask the Regional Transit Authority to fund a study on expanding the 520 bridge.

RTA Board rejects the suggestion for fear it will lose votes on transit plan.

State Transportation Commission asks the Legislature to appropriate $1.5 million to study the Highway 520 corridor between Seattle and Redmond.

-- Sid Morrison - As state transportation secretary, his top priority is to boost the Department of Transportation's depleted funding base.

He doubts the state will be able to afford a major construction project on Highway 520 unless it imposes tolls.

-- Aubrey Davis - King County's representative to the state Transportation Commission isn't sure what to do about Highway 520.

But with a history as regional highway administrator for the federal government and a broker of the deal that built the Interstate 90 bridge, he knows what it takes to get the support and funds for a major project.

He could be an important friend - or obstacle - to advocates of a new Evergreen Point bridge.

-- Sarah Skoglund - The energetic new director of the Bellevue Chamber of Commerce has emerged as a leader of the Eastside's effort to find a solution.

She's won the support of other Eastside business groups and the Greater Seattle Chamber of Commerce and has opened discussions with bridge neighbors on both sides of the lake.

-- Seattle Mayor Norm Rice - He's convinced that the Mount Baker neighborhood was not well treated when Interstate 90 went through.

The mayor wants to make sure the city and Montlake-area neighborhoods have seats at the table before a study is conducted.

Seattle is not promoting or discouraging a corridor study, but insists that any new lanes across the lake be reserved for transit only.

-- Cornelius Peck - A Portage Bay resident, he helped form the activist group "No Expansion of 520," mobilizing opponents from Madison Park to Ravenna-Bryant to kill the 1993 toll-bridge proposal.

-- Daniel Becker - Elected to the Medina City Council after opposing toll-financed bridge expansion, he has been named "point man" on the Highway 520 issue by the cities of Medina, Clyde Hill and Hunts Point.

He supports a study, but not if it focuses only on the Evergreen Point Floating Bridge.

-- Karen Schmidt - Highway 520 isn't high on the radar screen of the chairwoman of the House and joint legislative transportation committees.

But the Bainbridge Island Republican is fighting for new funding sources that could build more highways.

-- Dan McDonald - The Senate majority leader hails from Bellevue and is a strong supporter of a 520 corridor study, but cool to new gas taxes.

He proposes funding construction of a new or improved bridge by levying taxes through the Regional Transit Authority.

-- Bill Gates - Microsoft's co-founder and chief executive officer hasn't personally come out swinging on the issue, but the software giant, along with Boeing and other businesses, supports a corridor study.

Don't be surprised if Gates exerts his personal influence at some point.

Microsoft has a huge stake in improving transportation between Seattle and the Eastside.

On March 18, residents from Medina, Yarrow Point and Clyde Hill will meet with Department of Transportation officials at 7 p.m. at the Clyde Hill Town Hall, 9605 N.E. 24th St. to discuss 520 options.

On April 16, the state Transportation Commission will gather in Bellevue for a meeting that is expected to include a tour of the 520 bridge.

The meeting begins at 8 a.m. at the West Coast Bellevue Hotel, 625 116th Ave. N.E.

What do you think should be done about growing cross-lake traffic congestion?

What else would you like to know about regional traffic trouble spots and possible alternatives?

We'd like to hear your ideas and questions.

Leave a message on our Gridlock Hotline at 464-8473, fax us at 453-0449 or send e-mail to east@seatimes.com.

Letters should be addressed to Gridlock, Seattle Times Eastside Bureau, 10777 Main St., Suite 100, Bellevue, WA 98004.

Seattle Times Company, All Rights Reserved.

History.:Bridge replacement and corridor improvement program.

Since the opening of the Evergreen Point Floating Bridge in 1963, several proposals from local governments have requested the construction of a parallel span or additional pontoons to increase capacity and add infrastructure for rapid transit and bicyclists. Daily traffic crossing the bridge rose from 17,400 cars in 1964 to nearly 100,000 in 1987, making the bridge the worst traffic bottleneck in the state of Washington.