Who is mike holman

Tuesday, 7 November, Special Report Oil. Friday, 13 January, Previous page You are on page 1 Next page. Close drawer menu Financial Times International Edition. Search the FT Search. World Show more World. US Show more US. Companies Show more Companies. Markets Show more Markets. Opinion Show more Opinion. Personal Finance Show more Personal Finance. Holman, who spent the season at the University of Indianapolis as an assistant coach, has more than 20 years of coaching experience in cross country and track and field.

He was with the Greyhounds in after a year stint as head coach at Lawrence Central High School in Indianapolis. During his time at LCHS, Holman coached two state championship teams and had four teams finish as state runners-up. His track and field teams won 20 conference championships and three conference titles in cross country.

His teams earned a combined 17 sectional titles and 10 regional championships. The time conference coach of the year also guided 12 student-athletes to high school all-america honors.

As cross country coach, he coached two individual state champions and had individual state qualifiers. He also had over 50 student-athletes ranked in the top 50 in the United States. That was dramatic, but then Shannon went on to create Konk, which was even probably more better known on the downtown scene than we ever were. Near the end of the run of the band, when Jean was starting to blow up as a painter, Wayne Clifford introduced us to a friend of his, young kid from Buffalo, Vincent Gallo, and he and I hit it off right away because we both loved easy listening music.

So he joined the band, and was there for one of the most exciting performances that we did, which is our second show at the Mudd Club. Basquiat, through his singular efforts, almost single-handedly became a superstar in the art world. He kicked open doors. Jean-Michel Basquiat over the years has been lionized by the next young generation who were looking for a model, a hero and perhaps see Warhol and everyone before Warhol as part of another generation.

Jean-Michel Basquiat is to them what Warhol was to us in our generation. Also, Basquiat, being a young black man who died young, plays another role. He became probably the first real art hero for a new generation of young artists of color who had been kept out of the fine art world.

Stan Peskett introduced me to Malcolm McLaren, who was an impresario of his own in terms of punk and, at that stage, New Romantic music.

I met McLaren and had this incredible opportunity to invite him up to the Bronx to see Bambaataa and that whole Zulu Nation thing happen at an outdoor gym.

McLaren was really inspired and asked me to put together an opening act that captured hip hop culture to open up for Bow Wow Wow. My goal was to find ways to take this culture and share it with the rest of the city, the rest of the country, the rest of the world. I was just obsessed by this idea. I look back and marvel at my confidence that I believed I could do this. I was lucky enough to apply for and receive permission to air on the public access networks here in Manhattan, which was the weirdest gerrymandered map — little obscure parts of Brooklyn and Manhattan and Queens and Bronx.

It just made no sense, but that was how it was mapped out, and back then those stations were letters, so there was channel J, channel M, channel this and that.

I had a show and my half hour was on channel J. I had different hip hop TV show configurations, all airing in or around Some of them were strictly performance shows of different artists and graffiti artists. It was the first hip hop TV shows anywhere in the world.

Before anyone was doing it uptown, before anyone was doing it downtown, before anyone was doing it in Europe. I got Bambaataa to help me with different talent and artists who were part of the Zulu Nation. Vincent Gallo, who was my best friend at the time, was helping me find dancers and talent.

Russell Simmons was really kind in allowing me to use Run-D. I forgot who got Shannon, but I guess we wanted to round it out. If you see the show now, you can see that I really wanted to do something different.

I wanted to pay homage to those middle school kids and I wanted to make Graffiti Rock a vehicle that would speak to that age group not only in New York but all over the country. I felt that if I could capture the imagination of that age group that I would create a whole new generation of hip hop fans and artists that would last another 20 years.

I think I did it the right way. In order for your program to be a success, you had to create a pilot and take it to NAPTE National Association Producers of Television Entertainment to sell to a number of local station managers. Advertisers wanted to make sure that you had enough of a reach to enough markets, and we had a hard time with that because a lot of the station managers felt that rap was a passing fad in Why should we buy this?

We went two years in a row and it just never caught on. I need that energy.