Pictured above: Music Alive volunteer David Watkins, Struthers Director of Bands, Joshua Hawkins, and Summit FM General Manager Tommy Bruno

The Summit FM is making music possible for Struthers with the station's latest donation, which brings their total contributions to nearly 75 musical instruments for local middle and high school students.

Summit FM General Manager Tommy Bruno and Music Alive volunteer David Watkins recently presented another round of donated instruments to Struthers City Schools, continuing a remarkable tradition of community support for music education.

A Legacy of Musical Opportunity

Since 2008, The Marilyn Stroud Music Alive Program has been a beacon of hope for underfunded music programs, focusing on school districts in Struthers, Akron, and Athens. The program's mission is simple yet powerful: collect, repair, and donate musical instruments to students who might otherwise never have the chance to explore musical education.

Your Forgotten Instrument Could Be a Child's Dream

Do you have an old, unused musical instrument gathering dust in your attic, closet, or basement? Those forgotten instruments could be the key to unlocking a young student's musical potential. Many families struggle to afford the cost of musical instruments, and your donation could make a life-changing difference.

How You Can Help

- Donate gently used instruments

- Support local music education

- Give a child the gift of music

Contact The Summit FM to learn how you can contribute to keeping music alive for the next generation. They will thank you for it, and so will we!

By Dave Swanson - Summit FM Contributor

Ahh Memphis! The rich musical heritage of Memphis, Tennessee, is something to behold, ponder, and study. From Sun to Stax and everything in between and beyond, music rides in the air, runs in the water supply, and grows in the earth. The legacy of great records and artists to have come from Memphis is amazing, but it's not just a piece of history; it is ongoing, as proven by acts like Southern Avenue.

Formed in 2015, it was clear from the start that they were genuine as they effortlessly combined the gritty soul groove of the past with a modern flair that was enriched by what came before, not buried by it. Drawing on blues, soul, and gospel with nods to rock and roll, pop, and jazz, the group was signed to the legendary Stax label, which released their self-titled debut LP in 2017 and their sophomore effort, 'Keep On,' in 2019.

The band quickly gained a reputation for those stellar recordings and the dynamic live shows they routinely put on. The dynamic vocals of Tierinii Jackson gave a powerhouse front to the rock-solid band. In 2017, the band signed with Renew/BMG Records for their third album, “Be The Love You Want,” which gathered up more rave reviews due to such songs as the funk driven 'Control,' the soulful glory of 'Push Now' and the hard driving 'Pressure.' The band covers a variety of moods and moves on this album, with nothing out of reach.

Their second album was nominated for a Grammy, adding to their fuel. The album was produced by friend and multi-Grammy-winning producer Steve Berlin of Los Lobos fame. Plenty of acts of any given genre can easily imitate sounds from the past, but it is the act that can take in all those influences and re-deliver them with their own stamp. Southern Avenue is one that can and does so in full on 'Be The Love You Want.'

After wrapping up a summer tour with Willie Nelson, Bob Dylan, and John Mellencamp, Southern Avenue is back on the road once again, taking their message to the people in a natural setting.

By Chad Miller - Summit FM Music Director

What's everyone been listening to out there? So much new music coming at us, so little time... However, these songs that might fly under the radar to most are what I've been diggin' these past few weeks!

Like what you hear? Please email me at chad@thesummit.fm and let me know what you think!

By Dave Swanson - Summit FM Contributor

A long time ago, in a forgotten chapter in the rock and roll tale, there was a band called Split Enz. This wacky art-pop combo was formed in the early 1970s by Tim Finn and Phil Judd. These New Zealand popsters had a very colorful vision of what pop music could be and could look like. After a series of albums that failed to make a dent anywhere but in their homeland, Judd left to form his own band, the Swingers (cue ‘Counting The Beat’), while others shifted in and out as well. In the process, Tim asked his little brother Neil if he'd jump on board. Thankfully for all, he did.

Their kinetic, sometimes hyper approach to rock/pop caught the ear of a few; Roxy Music's Phil Manzanera was one who not only produced an early LP but would enlist Tim Finn as vocalist for some of his own solo projects. Soon enough, brother Neil proved Tim was not the only talent in the family, and by the time of 1980's 'True Colors' had given the band their first hit in the form of the classic single 'I Got You,' which had just the right amount of classic pop coupled with the then current 'new wave' vibe that people worldwide took note. The record became the band's first number-one hit at home, while, thanks in part to the video, also introduced the band America. The album also topped the charts in New Zealand, and it started a run of No. 1 LPs at home.

By the time of their 1983 LP, 'Conflicting Emotions,' Tim's involvement in the band had nearly dropped off the map due to a tandem solo career. Nearly all of the songs on that LP were penned by Neil. The following year, the band delivered one final album with Tim now completely absent, and the band was put to rest. During the Split Enz farewell tour, Neil began to put together his next chapter in the form of Crowded House. While Tim was no slouch in the song department, Neil was simply a natural, reeling off classic after pop classic. The proof was found very easily in the Crowded House debut, which would catapult the band to worldwide fame and hit records, which Split Enx never managed to do. The stripped-down, more polished approach did the job.

A second album, 'Temple Of Low Men,' followed, and then the trio, Neil Finn started to work on a side project with brother Tim called the Finn Brothers; this idea would be temporarily shelved when it seemed better for Tim to join Crowded House. Released in 1991, 'Woodface' saw elder brother Tim Finn back in action with his brother, giving Crowded House another angle from which to write. Most of the tracks were co-written by the Brothers Finn, and, for the moment, at least, all seemed well in Crowded House. Tim and Neil wrote very well together, complimenting each other's style and the entire album benefits from it.

The album is loaded with top-shelf songs. 'Chocolate Cake,' 'It's Only Natural,' 'Fall At Your Feet,' There Goes God,' and 'Weather With You' alone stamp this as a classic, hard-to-top LP, and that's barely half the tracks. "Brothers! You're just brothers," said Tim Finn in a documentary on the album. "It's hard sometimes, but there's so much good about it. It you start talking too much, it'll never end. There'll be grievances going back to birth!" The album came together organically, according to Neil, calling it "a very effortless and fruitful session. Every day we felt we were coming up with something. Some of them came out in one go, from thin air, and others were drawn from a verse here and a chorus there." The album was a major hit in their homeland and a top ten showing in the UK, and although it got great reviews and college airplay, it failed to catch fire in the US. During the tour for the band, Tim left.

The band maintained the constant status of huge at-home, less severe returns worldwide, but that's sales. Artistically, Crowded House maintained a strong level throughout and ultimately has a wonderful catalog to prove that. So where does 'Woodface' fit in the large scheme? While lacking the hits of the debut, it is as strong an album as they ever made, and if you are a fan of great Pop music, Crowded House and 'Woodface' in particular are rightfully marked as essential.

By Dave Swanson - Summit FM Contributor

1978 was truly one hell of a year for rock and roll! With the rise of bands like The Clash, Sex Pistols, Ramones, The Cars, Blondie, Tom Petty, Cheap Trick, and countless more issuing landmark albums, to the stadiums filled by Fleetwood Mac, ELO, and The Rolling Stones, to the wayward souls like Warren Zevon and Tom Waits, it was a colorful landscape, all ripe for the taking.

Bruce Springsteen would enter that year riding high from a constant upward trajectory that started back at the start of 1973, with his classic debut, 'Greetings from Asbury Park, N.J.,' one of the most engaging and significant first albums ever. Here was a new voice, ignoring the trends of the day, to deliver his own vision. After following that with 'The Wild, the Innocent & the E Street Shuffle,' at the end of the year, it was obvious the man was on a roll, but no one could have predicted the leap he would make with in 1975 with 'Born To Run,' the album that would thrust him into mass consciousness. A number three charting LP, praised to high heavens by music critics, and worshiped by his ever growing fan base, 'Born To Run' firmly put him on the map, now where would he go?

Released in the summer of 1978, 'Darkness On The Edge Of Town' not only solidified Springsteen's status, but delivered what may be his most loved album by hardcore fans, and his greatest statement overall. The wide eyed optimism of 'Born To Run' had been replaced, in part, by a more mature and ragged awareness of his surroundings, and his approach to songwriting. From the opening kick of 'Badlands,' it's obvious he is taking no prisoners. The anthemic tone of this driving rock and roll drives home that he was there to stay. His blistering guitar solo within encapsulates all the fire, venom, and angst, in one 16 second burst. Everything about the song shows him to have put all his pieces together to create the 'Bruce Springsteen' we know and love. 'Adam Raised A Can' is a dark, raw piece of rock and roll that startles as it shines. The production throughout, by Bruce and Jon Landau, has the right amount of polish coating, and the perfect amount of a raw beast, he never quite captured on wax again.

One after another, the album delivers these perfect songs, drawing on influences from the past as well as the then present. 'Something In The Night' may be a ballad, but it's heart is bursting at every vessel while 'Candy's Room' begins as an unassuming rocker, that explodes about halfway through, shattering into pieces before setting the stage for the magnificent 'Racing In The Street,' that even upon first listen, sounded like some lost classic. The album reached number 5 on the Billboard charts, and continued to cement his status.

Need I go on? And that's only side one! 'Promised Land,' ‘Factory,' 'Prove It All Night,' 'Streets Of Fire,' and the title track are yet to come, all on fire and burning bright some 46 years later. I have always respected Springsteen, and been what you might call a casual fan, but something about this album always struck me deeply. You can argue into oblivion as to what any artist’s best album is, and while many will side with 'Born To Run,' or possibly 'The River' as his greatest moment, for my money, it's always belonged to 'Darkness On The Edge Of Town.' It is essential, and it is a masterpiece.

By Dave Swanson - Summit FM Contributor

Pop culture is one crazy beast! It reflects as it creates and in many cases, ultimately represents a moment in time or an era. So many great films, records, books, television programs and so on are so deeply tied to the time frame from which they came, they are simply part of the landscape. Sometimes they transcend the years and remain a living, breathing creature, ready for ingestion by a generation yet to come. It seems that, given the 50 years since the Rocky Horror Show first appeared, it is one of those that continues to intrigue and entertain over time.

Perhaps because, though very much ot it's time (it really couldn't have been born in any decade other than the 1970s) it was also quite ahead of its time. A campy horror themed musical complete with sexual tension and freedom, a freak show where the freaks were the heroes, and a rolling and rocking soundtrack to make it all work. The film has inspired more than a few crossdressing adventures as well as the very definition of 'audience participation' which, if you've never been, is the complete experience. You can watch it on streaming, but who are you going to act it out with?

The genius behind this entire adventure was a guy named Richard O'Brian, who not only wrote the original stage play, but also the screenplay for the film and all the songs within. It was his vision and quite likely that singular vision is what made it all work.

As for the songs, at this point in history, it plays like some sort of greatest hits from another planet as the songs are so intertwined with the film and yet, composed, as they were, with classic, vintage pop and rock & roll as inspiration, they work as singular, stand-alone tracks as well. O'Brian assembled an interesting variety of musicians to make his songs come to life including drummer B.J. Wilson and Mick Grabham, both of Procol Harum fame, as well as keyboardist John 'Rabbit' Bundrick, known in part for his associaion with the Who.

Since it was a stage musical to start with, the actors sang the songs here as well, and while Susan Sarandon and Barry Bostwick might not spring to mind when it comes to vocal chops, it was all part of the story, plus, when you've got not only O'Brian but a pre-fame youngster known simply as Meatloaf and the mighty Tim Curry in the lead as Dr. Frank N. Furter, it is hard to think of it in any other way.

Curry's commanding vocal on 'Sweet Transvestite' alone is reason to revisit this soundtrack. Meatloaf's rev'd up take on a 50's rock and roll style on 'Hot Patootie, Bless My Soul' is another signature song that made it all hold together. The non-stop 'hits' continue through the film, and album, but it is, of course, 'The Time Warp' that is most associated with representing the whole ball o' wax. Sung by Richard O'Brian, it is a stomping three chord, traditional rocker that recalled the past while helping to invent the next chapter. The entire Rocky Horror Picture Show had a large influence on the burgeoning punk movement not only in fashion and attitude, but in this case, in song as well.

Funny to think that the original stage production was co-produced by music legend Lou Adler, best known for heading the Dunhill record label and introducing the Mamas and Papas, Grassroots and others to the world. He also co-produced the Monterey Pop Festival in 1967 and went on to establish Ode records, launching the solo career of Carole King among others. In addition to his production involvement, he helped liscene the music for the film thus ensuring a US release.

While neither the film nor the soundtrack were mega hits, their long running cult status has grown immeasurably over the years both in style and content. Though in 2024 it may seem like "what's the big deal" referring to a film with a transvestite scientist as the main character, but the entire premise was anything but mainstream in 1975. From 'Pink Flamingos' to 'Deep Throat' to 'Eraserheard' and 'Taxi Driver,' the 1970s were a massive anything goes when it came to films, and of course music, and 'The Rocky Horror Picture Show' was right in the middle of all that holding a court all its own.

Now, remember, it's just a jump to the left…

By Dave Swanson - Summit FM Contributor

It all goes back to singing in church for many. By the dawn of the 1970s, the Staple Singers, a long-respected and popular gospel/R&B act, had put many miles under their feet. Things were changing everywhere and on a variety of levels. 'Pops' Staples and company had released records since the late 1950s on various labels, jazz, gospel, soul, and mainstream, to universal acclaim but limited commercial success. 'Uncloudy Day' was a signature song early on, their gospel roots fully in command, but with the calling car guitar of 'Pop' leading the charge as the sisters delivered the harmonies.

It was a winning formula, but by the late '60s, they tried incorporating modern rock and roll influences into their sound. They had signed with Epic in 1965, still doing strictly gospel material, but in 1967, they released a cover of Buffalo Springfield's 'For What It's Worth' as a single. The following couple of years found them tackling 'What The World Needs Now' by Jackie DeShannon and Bob Dylan's 'It's A Hard Rain Gonna Fall,' as well as material from the Band and Otis Redding.

Not that any of these became massive hits, but it announced their arrival as a contemporary soul/ r&b act. So, in 1970, they made the full jump, signing with Stax Records and, in early 1971, releasing 'The Staple Swingers, essentially their debut album as a contemporary soul band. Produced by Al Bell and recorded in Muscle Shoals, it was a vibrant statement and fully contemporary with the new sounds of the new decade, which drew heavily from the band's gospel roots while sharing the spotlight with that signature Stax vibe and sound. Three singles were released from the album, all charting high on the US Soul chats, with 'Heavy Makes You Happy (Sha-Na-Boom Boom)' even crashing into the Billboard Top 30. With momentum flowing, a follow-up was recorded, proving this was no fluke—quite the opposite, as it would take the Staple Singers into pop stardom.

'Be Altitude: Respect Yourself' was released in February of 1972, and as fast as it landed, it took off to the top. It was the perfect album for the times, combining elements of contemporary acts like Sly & the Family Stones, Curtis Mayfield and Marvin Gaye both musically as well as in the social commentary department. The production of Bell is as sweet and soulful as it is gritty and funky. Right out of the gate, the singles released gained ground. 'Respect Yourself' hit #12 on Billboard, while the follow-up, 'I'll Take You There,' hit the number one spot on both the Soul and Pop charts.

It was the sound of joy, determination, salvation, and joy, with Mavis' lead vocals taking center stage as Cleotha and Yvonne provided harmonies and the Stax band assembled and laid down the perfect groove. Though they would have continued success, this was the artistic and commercial pinnacle. It was not, however, the end of the music, as the songs from this album live on to this day in a variety of ways, from cover versions to use in films, advertising, and on and on, not to mention the universal message of one world, one people. “You know, Pops would say that sometimes,” Mavis recalled in a 2006 interview, “He’d say, ‘We don’t have to die to go to heaven; heaven could be right here.’ But he said we got to work together. We got to work!”

Even if you don't know the Staple Singers, it's likely that you do, in fact, know the songs. Essential? Absolutely!

By Chad Miller - Summit FM Music Director

What's everyone been listening to out there? So much new music coming at us, so little time... However, these songs that might fly under the radar to most are what I've been diggin' these past few weeks!

Like what you hear? Please email me at chad@thesummit.fm and let me know what you think!

By Dave Swanson - Summit FM Contributor

Once again, it's that time of year. Crazy people get all dressed up, make their presence known, babble some nonsense, and show off in front of their peers. No, not Halloween; I'm talking about the Rock & Roll Hall Of Fame induction Ceremony.

Every year around this time, the powers that be sweep in the latest class of inductees for inclusion into those hallowed halls of rockdom. Then there's a day off; then the arguing about who should or shouldn't be in gets back on track the day after. It's as cyclical as the seasons. The nominees are announced in the spring. People argue. Those nominees are whittled down to the 'select few' for induction. People argue. Managers and band members organize themselves, and a big television special is created! Well, something like that, anyway.

Like any awards ceremony, it's all about the pomp, the circumstance, the fashion, and the sincerity worn proudly by many artists as they are inducted. Many acts are truly honored by the event, while others take a more deserved stance. They get up there and tell their tale, say thank you, smile, and wave, and they're gone. It always seems the elder statesmen accepting are often the most genuine in that it really does mean a lot to them to be acknowledged. Wonderful, I say! On the flip side, there are those who take this moment to air dirty laundry and complain.

There are other speeches and select moments, however, that rise above the occasion to make a truly entertaining moment that adds to their legacy. Or, in the case of Mike Love's infamous speech upon the Beach Boys induction, subtracts from that legacy as Love repeatedly called out members of the Beatles, Billy Joel, Springsteen, and others, daring them to get on stage with him and the Beach Boys. The other members were left a bit confused by all this, and Elton John (who had inducted them) took the mic and said, "Thank f--k he didn't mention me!" We love you, Elton!

John Fogerty was so dead set on his stance as the only significant member of Creedence Clearwater Revival that he not only refused to let the band play with him but tried to stop them from being able to take the mic to say their round of thank yous. In the end, they didn't play, but they did speak, something that was known as the "Forgerty clause," where all are allowed to have their moment. The performances are still an issue for former and current band members and band leaders. When Blondie was inducted, former members Frank Infante, Gary Valentine, and Nigel Harrison complained on stage about not being allowed to play. This led Debbie Harry to inform them her band was about to play, to which Infante said, "I thought Blondie was being inducted." Oh, kids.

Two of the classier moments in this realm came when Elvis Costello and the Attractions were inducted. Bassist Bruce Thomas had long been out of Costello's circle after writing an autobiography that spoke some unkind words about the man. Water under the bridge, Costello acknowledged that though he and Bruce hadn't always gotten along, he was a crucial part of the Attractions and welcomed him, though he didn't play with Elvis and the Imposters (essentially the Attractions without Thomas). Are you keeping track at home?!

Another adult moment came when Cheap Trick were inducted. Though drummer Bun E. Carlos hadn't been a member of the band for several years (long story) they not only let him accept the honor alongside them, but let him play as well, allowing fans to see the original band one more time! That speaks volumes of the pettiness so often fueling this nonsense.

Like I said, many acceptance speeches are essentially cut-and-paste sentiments with a slightly different angle, which is fine, but it's the other ones, good or bad, that make the light shine brighter.

Here then, is a list of the best Rock Hall acceptance speeches.

1988 - Beach Boys
Dennis Wilson was long gone, but Carl and Brian were still on board, each giving a sincere tip of the hat to family, fellow musicians, friends, industry people, and so on. Then Mike Love took the stage. Mike, or as some call him, Satan, had a big chip on his shoulder and just started calling out seemingly anyone he could think of. He complained that Dianna Ross couldn't make time to be there or that Paul McCartney refused to take part due to some lawsuit with Yoko at the time, challenging "the mop tops" to battle it out with the Beach Boys on stage. Huh? Also, wondering if Billy Joel could still "tickle those ivories" good enough to be onstage with Love and Co. He found time to give a shout-out to Muhammed Ali (?) and was gone.

2011 - Neil Diamond
Yes, Neil Diamond deserves to be in the Rock Hall! Following an induction by longtime friend Paul Simon, Diamond took the stage, seemingly a bit disoriented as he explained he had just flown in from Australia to be there. He had no rehearsed speech or crib notes; he just spoke from the heart, regularly addressing the fans in the 'cheap seats,' referring to them as "these are my people" and then criticizing the amount of money the Rock Hall charges the inductees for seats at the tables, thousands of dollars by the way. At one point, he recalled the criticism he received for recording a duet with Barbara Streisand, saying, "I don't give a shit, and you know what, "She doesn't give a shit either." His attitude was genuinely more 'rock and roll' than most, and though he truly seemed happy to be inducted, he seemingly would have been just as happy to stay home.

2013 - Rush
For die-hard Rush fans, it was no surprise our heroes had not been praised by Rock Hall. The most terminally unhip of all rock bands, critics hated them. Many listeners never made it past stage one (the vocals of Geddy Lee), let alone stage two (the lyrics) but Rush was a band truly on their own path, and by their induction in 2013, they had finally started to become accepted, which seems strange to say seeing as how they had sold millions of records. Bassist Lee, a most mellow character, gave his two cents, followed by drummer/lyricist Neil Peart, who, no surprise, took a bit more structured path for his speech. Then, it was guitarist Alex Lifeson's turn. His entire thank you speech consisted of nothing but the phrase "blah blah blah" as he acted out the story of their long journey to the stage that night. It's was brilliant as everyone knew what he was getting at, so why not have some fun with it. And for as cynical as it might seem, it was equally as sincere.

2008 - Leonard Cohen
As to whether Leonard Cohen was "rock and roll" or not is a moot point. He wrote so many great songs, he was right there with Joni Mitchell, Dylan, Phil Ochs and other in the stellar songwriter brigade. More of a balladeer, obviously, his music and songs were able to transcend genre. Just ask Nick Cave, Jesus and Mary Chain, and the countless others who have recorded his songs over the years. Cohen gave one of the cleverest speeches of all by simply reciting the lyrics to his song 'Tower Of Song.' Such genius lines as "I said to Hank Williams, how lonely does it get? Hank Williams hasn't answered yet, but I hear him coughing all night long, a hundred floors above me in the Tower of Song." One of Cohen's finest works, it was a perfect way to say what needed to be said.

2017 - Rick Wakeman - Yes
Hands down, the best Rock Hall speech came from none other than Yes keyboardist Rick Wakeman. For those who think of 'prog rock' as being humorless, stiff, and pretentious, you've never met Mr. Wakeman, have you? Wakeman stepped up to the mic after the other members had their moment and immediately became a standup comedian. Now, the truth is, he has done this as a sidebar gig for many years and is quite adept at it, old-school style. So, when it came time for a speech, he told a fellow band member what he wanted to do. They egged him on, which was perfect and caused more puzzled looks in the crowd than one could count. His timing as a musician is spot on, and that matched his comic timing to the last note while, at the same time, deflating the self-aggrandizing tendencies that so often can be involved. Bravo, Mr. Wakeman.

By Matt Anthony - Summit FM Contributor
 
 
But, hell, I chose it, yeah, I own it 
And it brings me to my knees 
I got lucky. 
“Lucky” -  Elle King 
 
 
It was one-thousand, six-hundred and seventy cubic centimeters of torque-laden mechanical ingenuity.  It was a rare black-and-gold color scheme that prompted instant commentary from onlookers. And it was a machine that commanded respect from the person who climbed onto its saddle. 
 
Donna and I traveled from Akron to Crofton, Maryland, to retrieve it from a dealer. It was a gently-used 2007 Victory Kingpin. I spotted her online and it was lust at first-sight. On that chilly evening, while drooling over photos, I knew instantly that the Honda Shadow Aero in my garage would be relegated to trade-bait status. 
 
But on that March afternoon in 2012, I wasn’t contemplating ‘gratitude’ or ‘thanksgiving’, or ‘luck’. I was sitting on top of that butter-smooth engine and pondering a busy calendar. A small break in the action allowed me to take advantage of a warm day and drop off the ‘Pin for a much-needed oil change. Crossing over Tallmadge Avenue on Brittain Road, I twisted the throttle, marveling at the Victory’s sheer girth and power.  
 
Accelerating towards the light, I suddenly noticed an Akron police cruiser inching past me. And the time that it took me to steal a glance in its direction prohibited me from seeing that green light at the top of the hill flicker to ‘yellow’. 
 
In motorcycle training class, we’re taught to accelerate through a yellow light if possible. ‘Better to get a ticket than to risk a crash,’ they would say. 
 
But on that warm, windy day, I couldn’t get that Akron police cruiser out of my head. What if they start to slow down as the light turns to red, and I soar through it? I couldn’t respond directly because my right hand had already begun squeezing the front brake, and my right boot had already pounded down on the rear brake. 
 
And then I heard the squeal. 
 
To this day, I’m still amazed at how many mental calculations were executed that afternoon in those milliseconds. It was almost as if the left side of my brain were trying to relay to the other side all the possible choices, consequences, and questions to consider: if the crash occurred on the ‘low side, would I slide on the pavement under the light following the same path as my voluptuous Victory beauty, both of us tangled in a heap near the curb? Would my leather jacket and riding trousers offer any protection from Brittain Road’s unforgiving surface? 
 
Or would centrifugal force launch me ‘high side’, hurling me onto the roadway with a resounding thud? How many bones would I break? Would my helmet shatter into a million pieces? (Or would it be my medulla?) How would I get to the emergency room? And what about my bike? 
 
I mean, what in the hell is this going to feel like?! 
 
“Luck is being grateful for what I have.  Gratitude attracts luck and prosperity.” 
 Dr. Martha Beck 
 
But the breezy air of that March afternoon would not be punctured by the sound of shattered plastic, twisted metal, and contorted bones. An ambulance would not have to be called. Rehabilitation and therapy would be avoided. And, I suppose, most importantly, nobody would be required to participate in a life celebration. 
 
Somehow, amidst the complex tasks being performed by the organ inside my Arai helmet, I must have squeezed just the right amount of my front brake. Somewhere within those computations, I pushed down on that rear brake with the exact required degree of pressure.  
 
Because the hideous sound of that squeal ceased. My 2007 Victory Kingpin came to a stop, my front wheel pointed towards the curb, and a red traffic light danced in the breeze directly above my helmet. 
 
I panted. Then, I slowly regained normal respiratory function. While duck-walking my Victory back into a position to start it up again, I felt the most intense stab of gratitude injected into me, initially introducing itself as a blunt-force sledgehammer of ‘luck’.   
 
Oh, and in an almost comical moment of irony, I watched that Akron police cruiser go slowly through that red light and turn left onto Independence Avenue, seemingly ambivalent towards my most fortunate delay with the Afterlife. 
 
Unfortunately, my caregiver status no longer affords me the luxury of participating in one of the most gratifying and life-altering hobbies I’ve ever experienced: motorcycling. In my short 15 years of riding, I’ve seen my share of acquaintances and riding buddies who have not been so lucky. One of my best friends, Brad, continues to suffer the effects of a decision made by a young 19-year-old woman to continue typing her text while her SUV slammed into the rear end of his (newly purchased) 2005 Yamaha FJR. 
 
While the jury may be out as to whether ‘luck’ should be included in the discussion of gratitude, I know which camp I’m in. And while I’m still, to this day, incapable of explaining the physics or the logic behind what I did correctly that day to avoid catastrophe, my ignorance still enables me to be grateful for the outcome.