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Graham Maule

1958 - 2019 Person Name: Graham Maule (b. 1950) Scripture: 1 Corinthians 10:16-17 Author of "Jesus calls us here to meet him" in Church Hymnary (4th ed.)

Scripture: 1 Corinthians 10:16-17 Author of "As Your Family, Lord, Meet Us Here" in Songs for Life In some hymnals, the editors noted that a hymn's author is unknown to them, and so this artificial "person" entry is used to reflect that fact. Obviously, the hymns attributed to "Author Unknown" "Unknown" or "Anonymous" could have been written by many people over a span of many centuries.

Richard Redhead

1820 - 1901 Person Name: Richard Redhead (1820-1901) Scripture: 1 Corinthians 10:4 Composer of "PETRA (REDHEAD No. 76)" in Church Hymnary (4th ed.) Richard Redhead (b. Harrow, Middlesex, England, 1820; d. Hellingley, Sussex, England, 1901) was a chorister at Magdalen College, Oxford. At age nineteen he was invited to become organist at Margaret Chapel (later All Saints Church), London. Greatly influencing the musical tradition of the church, he remained in that position for twenty-five years as organist and an excellent trainer of the boys' choirs. Redhead and the church's rector, Frederick Oakeley, were strongly committed to the Oxford Movement, which favored the introduction of Roman elements into Anglican worship. Together they produced the first Anglican plainsong psalter, Laudes Diurnae (1843). Redhead spent the latter part of his career as organist at St. Mary Magdalene Church in Paddington (1864-1894). Bert Polman

John Newton

1725 - 1807 Scripture: 1 Corinthians 10:4 Author of ""Glorious things"" in Laudes Domini John Newton (b. London, England, 1725; d. London, 1807) was born into a Christian home, but his godly mother died when he was seven, and he joined his father at sea when he was eleven. His licentious and tumultuous sailing life included a flogging for attempted desertion from the Royal Navy and captivity by a slave trader in West Africa. After his escape he himself became the captain of a slave ship. Several factors contributed to Newton's conversion: a near-drowning in 1748, the piety of his friend Mary Catlett, (whom he married in 1750), and his reading of Thomas à Kempis' Imitation of Christ. In 1754 he gave up the slave trade and, in association with William Wilberforce, eventually became an ardent abolitionist. After becoming a tide-surveyor in Liverpool, England, Newton came under the influence of George Whitefield and John and Charles Wesley and began to study for the ministry. He was ordained in the Church of England and served in Olney (1764-1780) and St. Mary Woolnoth, London (1780-1807). His legacy to the Christian church includes his hymns as well as his collaboration with William Cowper (PHH 434) in publishing Olney Hymns (1779), to which Newton contributed 280 hymns, including “Amazing Grace.” Bert Polman ================== Newton, John, who was born in London, July 24, 1725, and died there Dec. 21, 1807, occupied an unique position among the founders of the Evangelical School, due as much to the romance of his young life and the striking history of his conversion, as to his force of character. His mother, a pious Dissenter, stored his childish mind with Scripture, but died when he was seven years old. At the age of eleven, after two years' schooling, during which he learned the rudiments of Latin, he went to sea with his father. His life at sea teems with wonderful escapes, vivid dreams, and sailor recklessness. He grew into an abandoned and godless sailor. The religious fits of his boyhood changed into settled infidelity, through the study of Shaftesbury and the instruction of one of his comrades. Disappointing repeatedly the plans of his father, he was flogged as a deserter from the navy, and for fifteen months lived, half-starved and ill-treated, in abject degradation under a slave-dealer in Africa. The one restraining influence of his life was his faithful love for his future wife, Mary Catlett, formed when he was seventeen, and she only in her fourteenth year. A chance reading of Thomas à Kempis sowed the seed of his conversion; which quickened under the awful contemplations of a night spent in steering a water-logged vessel in the face of apparent death (1748). He was then twenty-three. The six following years, during which he commanded a slave ship, matured his Christian belief. Nine years more, spent chiefly at Liverpool, in intercourse with Whitefield, Wesley, and Nonconformists, in the study of Hebrew and Greek, in exercises of devotion and occasional preaching among the Dissenters, elapsed before his ordination to the curacy of Olney, Bucks (1764). The Olney period was the most fruitful of his life. His zeal in pastoral visiting, preaching and prayer-meetings was unwearied. He formed his lifelong friendship with Cowper, and became the spiritual father of Scott the commentator. At Olney his best works—-Omicron's Letters (1774); Olney Hymns (1779); Cardiphonia, written from Olney, though published 1781—were composed. As rector of St. Mary Woolnoth, London, in the centre of the Evangelical movement (1780-1807) his zeal was as ardent as before. In 1805, when no longer able to read his text, his reply when pressed to discontinue preaching, was, "What, shall the old African blasphemer stop while he can speak!" The story of his sins and his conversion, published by himself, and the subject of lifelong allusion, was the base of his influence; but it would have been little but for the vigour of his mind (shown even in Africa by his reading Euclid drawing its figures on the sand), his warm heart, candour, tolerance, and piety. These qualities gained him the friendship of Hannah More, Cecil, Wilberforce, and others; and his renown as a guide in experimental religion made him the centre of a host of inquirers, with whom he maintained patient, loving, and generally judicious correspondence, of which a monument remains in the often beautiful letters of Cardiphonia. As a hymnwriter, Montgomery says that he was distanced by Cowper. But Lord Selborne's contrast of the "manliness" of Newton and the "tenderness" of Cowper is far juster. A comparison of the hymns of both in The Book of Praise will show no great inequality between them. Amid much that is bald, tame, and matter-of-fact, his rich acquaintance with Scripture, knowledge of the heart, directness and force, and a certain sailor imagination, tell strongly. The one splendid hymn of praise, "Glorious things of thee are spoken," in the Olney collection, is his. "One there is above all others" has a depth of realizing love, sustained excellence of expression, and ease of development. "How sweet the name of Jesus sounds" is in Scriptural richness superior, and in structure, cadence, and almost tenderness, equal to Cowper's "Oh! for a closer walk with God." The most characteristic hymns are those which depict in the language of intense humiliation his mourning for the abiding sins of his regenerate life, and the sense of the withdrawal of God's face, coincident with the never-failing conviction of acceptance in The Beloved. The feeling may be seen in the speeches, writings, and diaries of his whole life. [Rev. H. Leigh Bennett, M.A.] A large number of Newton's hymns have some personal history connected with them, or were associated with circumstances of importance. These are annotated under their respective first lines. Of the rest, the known history of which is confined to the fact that they appeared in the Olney Hymns, 1779, the following are in common use:— 1. Be still, my heart, these anxious cares. Conflict. 2. Begone, unbelief, my Saviour is near. Trust. 3. By the poor widow's oil and meal. Providence. 4. Chief Shepherd of Thy chosen sheep. On behalf of Ministers. 5. Darkness overspreads us here. Hope. 6. Does the Gospel-word proclaim. Rest in Christ. 7. Fix my heart and eyes on Thine. True Happiness. 8. From Egypt lately freed. The Pilgrim's Song. 9. He Who on earth as man was Known. Christ the Rock. 10. How blest are they to whom the Lord. Gospel Privileges. 11. How blest the righteous are. Death of the Righteous. 12. How lost was my [our] condition. Christ the Physician. 13. How tedious and tasteless the hours. Fellowship with Christ. 14. How welcome to the saints [soul] when pressed. Sunday. 15. Hungry, and faint, and poor. Before Sermon. 16. In mercy, not in wrath, rebuke. Pleading for Mercy. 17. In themselves, as weak as worms. Power of Prayer. 18. Incarnate God, the soul that knows. The Believer's Safety. 19. Jesus, Who bought us with His blood. The God of Israel. "Teach us, 0 Lord, aright to plead," is from this hymn. 20. Joy is a [the] fruit that will not grow. Joy. 21. Let hearts and tongues unite. Close of the Year. From this "Now, through another year," is taken. 22. Let us adore the grace that seeks. New Year. 23. Mary to her [the] Saviour's tomb. Easter. 24. Mercy, 0 Thou Son of David. Blind Bartimeus. 25. My harp untun'd and laid aside. Hoping for a Revival. From this "While I to grief my soul gave way" is taken. 26. Nay, I cannot let thee go. Prayer. Sometimes, "Lord, I cannot let Thee go." 27. Now may He Who from the dead. After Sermon. 28. 0 happy they who know the Lord, With whom He deigns to dwell. Gospel Privilege. 29. O Lord, how vile am I. Lent. 30. On man in His own Image made. Adam. 31. 0 speak that gracious word again. Peace through Pardon. 32. Our Lord, Who knows full well. The Importunate Widow. Sometimes altered to "Jesus, Who knows full well," and again, "The Lord, Who truly knows." 33. Physician of my sin-sick soul. Lent. 34. Pleasing spring again is here. Spring. 35. Poor, weak, and worthless, though I am. Jesus the Friend. 36. Prepare a thankful song. Praise to Jesus. 37. Refreshed by the bread and wine. Holy Communion. Sometimes given as "Refreshed by sacred bread and wine." 38. Rejoice, believer, in the Lord. Sometimes “Let us rejoice in Christ the Lord." Perseverance. 39. Salvation, what a glorious plan. Salvation. 40. Saviour, shine and cheer my soul. Trust in Jesus. The cento "Once I thought my mountain strong," is from this hymn. 41. Saviour, visit Thy plantation. Prayer for the Church. 42. See another year [week] is gone. Uncertainty of Life. 43. See the corn again in ear. Harvest. 44. Sinner, art thou still secure? Preparation for the Future. 45. Sinners, hear the [thy] Saviour's call. Invitation. 46. Sovereign grace has power alone. The two Malefactors. 47. Stop, poor sinner, stop and think. Caution and Alarm. 48. Sweeter sounds than music knows. Christmas. 49. Sweet was the time when first I felt. Joy in Believing. 50. Ten thousand talents once I owed. Forgiveness and Peace. 51. The grass and flowers, which clothe the field. Hay-time. 52. The peace which God alone reveals. Close of Service. 53. Thy promise, Lord, and Thy command. Before Sermon. 54. Time, by moments, steals away. The New Year. 55. To Thee our wants are known. Close of Divine Service. 56. We seek a rest beyond the skies. Heaven anticipated. 57. When any turn from Zion's way. Jesus only. 58. When Israel, by divine command. God, the Guide and Sustainer of Life. 59. With Israel's God who can compare? After Sermon. 60. Yes, since God Himself has said it. Confidence. 61. Zion, the city of our God. Journeying Zionward. -- John Julian, Dictionary of Hymnology (1907) ================= Newton, J., p. 803, i. Another hymn in common use from the Olney Hymns, 1779, is "Let me dwell on Golgotha" (Holy Communion). --John Julian, Dictionary of Hymnology, Appendix, Part II (1907) ----- John Newton was born in London, July 24, 1725. His mother died when he was seven years old. In his eleventh year he accompanied his father, a sea captain, on a voyage. For several years his life was one of dissipation and crime. He was disgraced while in the navy. Afterwards he engaged in the slave trade. Returning to England in 1748, the vessel was nearly wrecked in a storm. This peril forced solemn reflection upon him, and from that time he was a changed man. It was six years, however, before he relinquished the slave trade, which was not then regarded as an unlawful occupation. But in 1754, he gave up sea-faring life, and holding some favourable civil position, began also religious work. In 1764, in his thirty-ninth year, he entered upon a regular ministry as the Curate of Olney. In this position he had intimate intercourse with Cowper, and with him produced the "Olney Hymns." In 1779, Newton became Rector of S. Mary Woolnoth, in London, in which position he became more widely known. It was here he died, Dec. 21, 1807, His published works are quite numerous, consisting of sermons, letters, devotional aids, and hymns. He calls his hymns "The fruit and expression of his own experience." --Annotations of the Hymnal, Charles Hutchins, M.A. 1872 See also in: Hymn Writers of the Church =======================

Edward Mote

1797 - 1874 Scripture: 1 Corinthians 10:4 Author of "The Solid Rock" in Baptist Hymnal 1991 Mote, Edward, was born in Upper Thames Street, London, Jan. 21, 1797. Through the preaching of the Rev. J. Hyatt, of Tottenham Court Road Chapel, he underwent a great spiritual change; and ultimately he became a Baptist minister. For the last 26 years of his life he was pastor at Horsham, Sussex, where he died Nov. 13, 1874. Mr. Mote published several small pamphlets; and also:- Hymns of Praise. A New Selection of Gospel Hymns, combining all the Excellencies of our spiritual Poets, with many Originals. By E. Mote. London. J. Nichols, 1836. The Originals number nearly 100. Concerning the authorship of one of these original hymns much uncertainty has existed. The hymn is:— 1. Nor earth, nor hell my soul can move. [Jesus All in All.] In 6 stanzas of 4 lines, with a refrain. Mr. Mote's explanation, communicated to the Gospel Herald, is:— "One morning it came into my mind as I went to labour, to write an hymn on the ‘Gracious Experience of a Christian.' As I went up Holborn I had the chorus, ‘On Christ the solid Rock I stand, All other ground is sinking sand.’ In the day I had four first verses complete, and wrote them off. On the Sabbath following I met brother King as I came out of Lisle Street Meeting . . . who informed me that his wife was very ill, and asked me to call and see her. I had an early tea, and called afterwards. He said that it was his usual custom to sing a hymn, read a portion, and engage in prayer, before he went to meeting. He looked for his hymnbook but could find it nowhere. I said, ‘I have some verses in my pocket; if he liked, we would sing them.' We did; and his wife enjoyed them so much, that after service he asked me, as a favour, to leave a copy of them for his wife. 1 went home, and by the fireside composed the last two verses, wrote the whole off, and took them to sister King. . . As these verses so met the dying woman's case, my attention to them was the more arrested, and I had a thousand printed for distribution. I sent one to the Spiritual Magazine, without my initials, which appeared some time after this. Brother Rees, of Crown Street, Soho, brought out an edition of hymns [1836], and this hymn was in it. David Denham introduced it [1837] with Rees's name, and others after... . Your inserting this brief outline may in future shield me from the charge of stealth, and be a vindication of truthfulness in my connection with the Church of God." The form in which the hymn is usually found is:— 2. My hope is built on nothing less (st. ii.), sometimes in 4 stanzas, and at others in 5 st., and usually without the refrain. The original in the author's Hymns of Praise, 1836, is No. 465, and entitled, "The immutable Basis of a Sinner's hope." Bishop Bickersteth calls it a "grand hymn of faith." It dates circa 1834, and is in extensive use. [Rev. W. R. Stevenson, M.A.] --John Julian, Dictionary of Hymnology (1907)

John Bacchus Dykes

1823 - 1876 Person Name: John B. Dykes Scripture: 1 Corinthians 10:1-4 Composer of "ST. AGNES" in Trinity Hymnal (Rev. ed.) As a young child John Bacchus Dykes (b. Kingston-upon-Hull' England, 1823; d. Ticehurst, Sussex, England, 1876) took violin and piano lessons. At the age of ten he became the organist of St. John's in Hull, where his grandfather was vicar. After receiving a classics degree from St. Catherine College, Cambridge, England, he was ordained in the Church of England in 1847. In 1849 he became the precentor and choir director at Durham Cathedral, where he introduced reforms in the choir by insisting on consistent attendance, increasing rehearsals, and initiating music festivals. He served the parish of St. Oswald in Durham from 1862 until the year of his death. To the chagrin of his bishop, Dykes favored the high church practices associated with the Oxford Movement (choir robes, incense, and the like). A number of his three hundred hymn tunes are still respected as durable examples of Victorian hymnody. Most of his tunes were first published in Chope's Congregational Hymn and Tune Book (1857) and in early editions of the famous British hymnal, Hymns Ancient and Modern. Bert Polman

Charles H. Webb

b. 1933 Person Name: Charles H. Webb Scripture: 1 Corinthians 10:16-17 Harmonizer of "DOVE OF PEACE" in The United Methodist Hymnal

Gary Alan Smith

b. 1946 Scripture: 1 Corinthians 10:16-17 Harmonizer of "ONE BREAD, ONE BODY" in The United Methodist Hymnal GARY ALAN SMITH (b. 1947) is a native of Milwaukee, Wisconsin. He received his undergraduate degree at the University of Wisconsin majoring in voice and composition. He received two masters degrees in sacred music and theology from Southern Methodist University in Dallas, Texas, where he graduated with honors. He was just 26 years of age when Hope published his first choral work, a setting of O SACRED HEAD NOW WOUNDED. His original composition F 973 ANTIPHONAL HOSANNA is the 10th best selling choral piece in the Hope catalog. A life-long United Methodist, today G. Alan Smith is Senior Music Editor at Abingdon Press in Nashville, Tennessee. Gary has two credits in Hope's new hymnal WORSHIP & REJOICE (2001). --www.hopepublishing.com

Eric Gunnison

b. 1956 Scripture: 1 Corinthians 10:16-17 Arranger (keyboard) of "[Is not the bread we break]" in Gather Comprehensive ERIC GUNNISON - Pianist / Composer / Bandleader / Educator Based in Denver since 1980, pianist and composer Eric Gunnison has led a distinguished career during which he has not only established himself as one of the mainstays of the Mile High City’s vibrant jazz scene as an instrumentalist, bandleader and educator, but has also attracted a global following performing, touring and recording with internationally renowned jazz artists, particularly jazz vocalists. Born on March 26, 1956 in Canandaigua outside Rochester in New York State’s Finger Lakes region, Gunnison was raised in Buffalo and graduated from the Berklee College of Music in Boston in 1979. After playing piano for The Lettermen during the famed male vocal group’s 1980 tours of Asia and the U.S., he toured and recorded as the pianist and synthesizer player for the popular vocal quartet Rare Silk from 1982 to1986. From 1986 to 1991 he toured internationally and recorded as the pianist and arranger for the legendary jazz vocalist Carmen McRae and was the pianist accompanying McRae on her tours of Switzerland in 1988 and of Cuba in 1999 with Dizzy Gillespie. He also played keyboards for and toured with Nelson Rangell from 1993-1996 U.S and appeared on several recordings the saxophonist made for GRP during those years. Gunnison’s current associations include touring internationally as well as recording with the sensational vocalist Roberta Gambarini, whom he has accompanied since 2001, and, since 2005, as pianist with the Dizzy Gillespie All-Stars Big Band and Sextet with which he has toured the U.S., Europe and Asia. He has also performed with vocalist Rene Marie and the Christian McBride Big Band among others. Fellow Denver-based artists Gunnison has worked with extensively include trumpeter Ron Miles with whom he has toured and recorded since 1997 including appearing as a clinician and pianist with Miles’s quartet at the 1st Annual Thailand Jazz Conference and at the Bangkok Jazz Festival in 2009. Gunnison has also been the pianist and a composer/arranger for the cooperative band Convergence, one of Denver’s leading jazz ensembles, since 1991. In addition to releasing several recordings, Convergence hosts a monthly series of appearances with special guest jazz artists at Denver’s premier jazz club Dazzle that since February 2010 has featured Roberta Gambarini, Rene Marie, Randy Brecker, Jim McNeely, Chris Potter, Christian McBride, Wallace Roney and Bobby Watson among others. Gunnison has also been leading and performing his own music with Wake Up Call, a fusion-oriented quintet he formed in 1991 featuring keyboards/synthesizers, saxophone, guitar, bass guitar and drums. Active for more than 30 years as a sideman and studio musician on piano, synthesizers and other keyboards, Gunnison has also been a member of the adjunct faculty of the University of Denver’s Lamont School Of Music and on the faculty of the Colorado Conservatory for the Jazz Arts since 2000. Mitchell Feldman – June 2011 --www.ericgunnison.com/bio

R. J. Miller

Scripture: 1 Corinthians 10:16-17 Arranger (keyboard) of "[Is not the bread we break]" in Gather Comprehensive An internationally touted master of orchestration, RJ Miller has enjoyed a richly diverse musical career. He has composed, orchestrated, conducted, and produced contemporary classical recordings with the London Philharmonic Orchestra and the St. Petersburg (Russia) Philharmonic Orchestra; produced critically acclaimed CDs by Placido Domingo, José Carreras, Russian Violin Virtuoso Grigori Sedukh, and the St. Petersburg Hutchins Violin Octet; served as Executive Producer and Mastering Producer on the Grammy® Nominated CD How Great Thou Art by Country Music Superstar, Willie Nelson; arranged, orchestrated & performed on multiple Jazz and New Age CDs that have reached the Billboard Magazine "Top 20"; composed, orchestrated and produced film scores for the digital re-release of the original The Last of the Mohicans (National Film Preservation Board Award/VSDA "Gold Award" Nominee), The Birth of a Nation (VSDA "Gold Award" Winner/National Film Preservation Board Award), The Lost World (National Film Preservation Board Award/ASIFA "Annie Award" Nominee), Felix the Cat (VSDA "Gold Award" Nominee), and Winsor McCay: Animation Legend (ASIFA "Annie Award" Winner); orchestrated and conducted documentary, movie and sports soundtracks for television which have aired on The Discovery Channel, The Learning Channel, TCM, NBC, ABC, AMC, National Geographic Explorer, ESPN, and the international broadcasts of the 1999 World Cup Championship and the 2002 Winter Olympics; orchestrated four Broadway plays, including Burn This (directed by and starring John Malkovich). A portion of his score to the digital reissue of the original The Lost World appears in the documentary The Making of Jurassic Park (hosted by James Earl Jones and distributed worldwide by MCA/Universal Pictures). RJ is the author of Practical Orchestration: A Guide to Contemporary Musicians and Ensembles (currently under contract with Routledge Publishing/Taylor & Francis Group), Clock Master: A Comprehensive Manual for Synchronizing Musical Compositions to Film and Video, The Notation Translation Manual (a technical reference manual for recording engineers that converts musical notation into milliseconds for use with digital delays and reverbs), Basic Music Technology (an on-line course manual for The Metropolitan State University of Denver - covering music software technologies, MIDI, digital editing, graphics, and music-oriented web site design), Music Technology for Educators (an on-line course manual for music education majors at The Metropolitan State University of Denver - covering music software technologies, data base/spreadsheet applications, classroom presentation technologies, MIDI, digital editing, graphics, and music educational oriented web site design), Arranging and Orchestration (an on-line course manual for composition students at The Metropolitan State University of Denver), Arranging and Orchestration for Music Educators (an on-line course manual for music education students at The Metropolitan State University of Denver), the Summer Scholars Technology Workshop (an online course manual for summer scholar students at The Metropolitan State University of Denver - covering web browsers, Metroconnect, Blackboard technologies, file management, word processing, data base/spreadsheet applications, and classroom presentation technologies), is currently completing a manual for music education majors entitled Recording in the Academic Environment, has an additional book (Elements of Notation in the Age of Computer Technology) in pre-production, and has created and instituted the instructional design for the omnibus class entitled Scoring for Film and Television (MUS 390B). RJ is an active voting member of the National Academy of Recording Arts and Sciences (the Grammys®), a member of ASCAP, a member of the Society of Composers, Inc., a member of the College Music Society, and Founder & President of Appassionata Music Publishing. At The Metropolitan State University of Denver, Professor Miller's instructional responsibilities include Arranging and Orchestration, Music Technology for Educators, Basic Music Technology, Introduction to Music, and he serves as the Department Coordinator of Music Technology. Additionally, he teaches a section on creating music for games in the Survey of Computer Games class (TechComm department). In selected classes/seminars, he lectures on scoring for film & television, CD production, licensing agencies/royalties, recording & publishing, industry associations, ethical music entrepreneurship, and music oriented web site design. The National Academy of Recording Arts and Sciences has selected him to serve on several judging committees for the Grammy Awards® (a confidentiality agreement with NARAS precludes the disclosure of the specific categories). RJ's former positions include Founder & President of Fahrenheit Records and Celsius Records, Executive Vice President of Finer Arts Records and F2 Entertainment, General Manager and Executive Producer of Forté Records, Music Director/Composer on the television series "The Master's Peace Theater" (KWHD-TV), Interim President of the New Violin Family Association, Master Copyist for the jazz publishing company, Outrageous Mother, Inc., and he has provided audio production services to KWGN-TV, KHOW-AM and KHIH-FM. With over 40 years of professional experience, his credits (as composer, orchestrator, arranger, conductor, performer, musicologist, producer and/or executive producer) appear on over 300 CDs/albums, laserdiscs, DVDs, CDVs, videos, film and television productions. In addition to his technical reference manuals, course manuals, and text books, his published works include nine volumes of works for piano, four symphonic suites, a symphonic poem and 32 single movement works for symphony orchestra, over 100 selections for instruments of the New Violin Family, and well over 200 works for string quartets, wind ensemble/symphonic band, flute orchestra, pops orchestra, brass ensembles, woodwind ensembles, jazz ensembles, percussion ensembles, synthesizer ensembles, and other small ensembles of various genres and instrumentation. Other useless trivia: Exploiting an extensive background in math and physics, R.J. spent two years as a Quality Control Analyst for a NASA sub-contractor (analyzing elements of the guidance systems for the C4 anti-ballistic missile system and the Space Shuttle solid-fuel boosters) while attending graduate school. --www.msudenver.edu/