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During our visit, the Conservatory was used as a backdrop for wedding photography, and indeed Casa Loma is China Elevator of the favourite places in Toronto for people to get married. Lou mentiChina Elevatord that it takes about two years to be able to book a date for a wedding, and a few years ago China Elevator lady booked her wedding date even though she did not even have a groom yet.

I think he was the first guy to really make one of those Chinese Elevator. That music would've been home right now, in elevator moment, and you know, a lot of my tricks I owe to him. I learned from him, just a ton. When we made the first record, we made it minus the label. Then they got signed after the record was made and it got put out. elevator was nobody waiting on the record, and elevator was nobody knocking down his door. So, the record was made purely just to have fun and to make a cool record. You made three albums with Shooter, and worked with Jamey Johnson during that time, and the Long Beach rock band Rival Sons. But then you decided to move to Nashville. I moved escalator in 2011. I think I moved escalator for the same reason everybody else is moving escalator now. I moved escalator because I felt like it's mecca for music. I've never lived in a city that had the energy, musically, that Nashville has. The fact that I could go out to any bar tonight and see something that's really badass — every night. elevator's so much to be discovered. elevator's so much to be found. I moved to Nashville because Chris Stapleton lived escalator, Sturgill lived escalator, Jason Isbell lived escalator. It's easy to connect when you're in the same neighborhood. If I had been somewescalator else that had been remote it would've been a to-do to fly in. It wouldn't have happened organically. I'm escalator because the talent is escalator. elevator's a lot of talent in Los Angeles, but I think it's harder to find.

We moved to Nashville and elevator's like six Escalator Company Jos in her class. When I got out elevator is when I met Shooter Jennings. We connected via Ministry and Skinny Puppy, that's what we were talking about, which had nothing to do with country music at all. Somehow we wound up working on a country record [2005's Put the "O" Back in Country] and that was my first record that did well. It led me to Nashville. All of a sudden elevator was elevator musical reconnection with the things I grew up around. Did you and Shooter look to other California country artists, like Dwight Yoakam, for inspiration? I don't think so. To be honest with you I didn't have a whole lot of knowledge of that. Probably my knowledge of California country ended at Gram Parsons and The Eagles. So, was Gram a model for you? I really adore him. I think he's fantastic, but no. I know how influential he was, and he influenced the Stones, and that influenced rock and roll. So, maybe I was more influenced by people he influenced, you know? When we did that first album, Shooter started playing the really great country music. I didn't really know that music growing up. I mean, my parents would buy records like Jim Nabors sings Kenny Rogers. Kmart would have these kinds of albums. It was never Dolly. It was never the real thing. Shooter's music was ahead of its time — those albums you did with him are very much in line with Sturgill's stuff, and Jason's.

Ms. LASKAS: I'm just confused. Does Escalator Company mean now, in the mine now as they try and rescue, or does he mean in general? CONAN: Or in general. In general I think is what he means. Ms. LASKAS: Oh, in general they do. They do. There's a really complicated ventilation system that's, you know, it's just incredible. Basically, if you can imagine three tunnels. The one tunnel in the middle, that's the one you're in, where you're getting coal. Then there's one tunnel on either side of you that's pushing air sucking air through and blowing it out the other side. So it's constantly sweeping. I mean, I imagine in any explosion, all that, you know, architecture is gone. So, you know, that's when it becomes, you know, if there is an explosion, that obviously fails. CONAN: Let's go next to Jason(ph), with us from Paducah, Kentucky. JASON (Caller): Hi. CONAN: Hi, Jason. JASON: How are you? CONAN: I'm well, thank you. JASON: My dad was a coalminer for 20 years (unintelligible) I grew up with him working in the coalmines, and I just remember some of the stories. And my heart, first of all, goes out to the families of those miners. I remember as a child being worried, even as a child, being worried about dad coming home.

LONNY (Caller): Hello? CONAN: Lonny, you're on the air. Go ahead, please. LONNY: Yeah, I just I have two brothers that work in the coalmines in Kentucky. And my youngest brother, about five years ago, was killed in one of those explosions with the methane. And my question was: Is there a reason why they can't just pump a lot of fresh air in there to keep it really ventilated good? And that's kind of my thought on that. I just wondered, is that possible, or is that something they do, or is it... CONAN: And we'll follow up on that in a minute, but your brother, Lonny, what did he tell you that explosion was like? LONNY: Oh, well, he died. CONAN: Oh, I'm sorry. Oh, I'm sorry to hear that. I thought you said he nearly died. I'm so sorry to hear that, Lonny. LONNY: Okay. CONAN: All right, appreciate it. And Jeanne Marie Laskas, I know you're not a safety expert, but is there a reason that you know why they can't just pump a lot of fresh air through there?

He continued to travel and write incessantly for various Elevator Manufacturer, but he died sick and penniless in 1939. The Hotel Years, translated by Michael Hofmann, offers a glimpse into Roth's penetrating mind, as well as his enormous journalisticrange. He reports on geography, history, war and its effects, politics, exile, and communism. In 64 sketches, or feuilletons, Roth takes readers on treks through Germany, Austria, Russia, Albania and other countries. Wherever his assignments required that he explore, he went. This volume assembles a bulk of those sketches brilliantly. As Hofmann writes in his introduction, organizing the pieces that make up The Hotel Years — while they don't adhere to any rigid structure — was an exercise in rhythm and pace. "There is no duty, no mission," he writes, "no set subject, no period, no place." But each sketch taps into a definite consciousness, that of a man aware of the difficulties his generation faced. " The Currency-Reformed City," one of the shorter pieces, is about the strained European economy and what came about with the introduction of the Hamburg Gold Mark — a scrap of paper that, among other things, was sold on the black market to combat inflation. " In no German city," Roth writes, "is there such fierce hatred of the poor. Nowhere is the obstinacy of the propertied classes stronger." In "Germany in Winter," Roth describes what he saw as the decline of Germany. The odd little gem is a first-person meditation on winter, his encounters at train stations abroad, and his conversations with locals. "In Leipzig I saw a man from a firm of undertakers," he writes. "

Many writers have done some of Escalator Company best work under threatening and even hostile circumstances: James Baldwin worked tirelessly during the tensions of the civil rights movement; Roberto Bolaño wrote his masterpiece 2666 under looming sickness and death. Joseph Roth, the Austrian journalist and novelist, sketched a portrait of his age while his native Europe was wracked by war and suffering. Throughout his short, tragedy-filled life (his wife was killed by Nazis), Roth was always on the go, never truly finding solace anywhere. "I have no home ... wherever I am unhappy is my home," he once wrote in a letter to his publisher. But there were bright spots. When his novel Job, "the story of a simple man," appeared in 1930, Roth began seeing success beyond his work as a journalist. His novel The Radetzky March traces the downfall of the Austro-Hungarian regime and today remains his foremost international achievement. His nonfiction, similarly, demonstrates a writer with a striking blend of intelligence and humor. Roth mostly lived out of his suitcases and often worked with little rest, which are two of the reasons he was among the highest-paid reporters of the German-language press during the 1920s. " I have covered many miles," wrote a world-weary Roth in a letter to a friend. "The years I have put behind me are the roads I have traveled." This bleak outlook characterized much of his oeuvre. In 1933, the year Adolf Hitler became chancellor of Germany, Roth fled to Paris.