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Heat wave alert.
Please note over the next few days, there will be a heat wave in St George QLD with temperatures reaching 40 degrees.
Thursday 38 degrees
Friday 40 degrees
Saturday 37 degrees
Sunday 35 degrees
Monday 37 degrees
How to survive the heat wave…
- Stay hydrated by drinking plenty of fluids even if you do not feel thirsty. Avoid drinks with caffeine or alcohol.
- Eat small meals and eat more often
- Avoid extreme temperature changes.
- Wear loose-fitting, lightweight, light-coloured clothing. Avoid dark colours because they absorb the sun's rays
- Sun Hats Broad brimmed hat, SPF 30+ sunscreen (as per manufactures instructions) when working outside. To help provide protection against the Sun
How the body controls heat gain and heat loss
The human body gains and loses heat in two ways:
- body heat – the internal heat generated by metabolic processes
- exchange with the environment – the body exchanges heat with its surroundings mainly through:
- radiation - the process by which the body gains heat from surrounding hot objects (e.g. hot metal, furnaces or steam pipes), and loses heat to cold objects (e.g. chilled metallic surfaces) without contact with them
- convection – the process by which the body exchanges heat with the surrounding air. The body gains heat from hot air and loses heat to cold air which comes in contact with the skin
- evaporation of sweat – the cooling effect is more noticeable with high wind speeds and low relative humidity. In hot and humid workplaces, the body cooling due to sweat evaporation is limited because the air cannot absorb more moisture. In hot and dry workplaces, the cooling due to sweat evaporation is limited by the amount of sweat produced by the body.
- The body also exchanges small amounts of heat by conduction and breathing, which can usually be discounted when assessing the heat load on the body
Not everyone reacts to heat in the same way
The way heat affects people varies from person to person and is influenced by:
- general health
- body weight (being overweight or obese can make it more difficult to cope with heat
- age (particularly for people about 45 years and older)
- poor general health
- a low level of fitness will make people more susceptible to feeling the extremes of heat
- certain prescription and illicit drug us
- medical conditions (can also increase how susceptible a person is). People with conditions such as heart disease, high blood pressure, pregnancy, respiratory disease and diabetes may need to take special precautions. In addition, people with some types of skin diseases and rashes may be more susceptible to heat.
- Other factors include circulatory system capacity, sweat production and the ability to regulate electrolyte balance
Health effects
People have an average core body temperature of around 37˚C. In hot environments, or where internal temperature is raised through exercise for example, body responses include:
Normal responses
- vasodilation (widening of blood vessels)
- sweating
- increased respiratory rate
- increased heart rate.
Responses due to heat-strain
- electrolyte changes
- dehydration
- elevated core temperature.
Excessive heat-strain can occur when the work environment, task or individual health prevent these cooling mechanisms from working properly, and can lead to heat-related illnesses including:
- Heat rash – sometimes called 'prickly heat'. It is a skin irritation caused by excessive sweating and
- can occur at any age
- is most commonly associated with humid /dusty tasks in which the skin pores become blocked
- looks like a red cluster of pimples or small blisters
- is most likely to occur on the neck and upper chest, and in skin folds and creases
- Heat cramps – these include muscle pains or spasms, usually in the abdomen, arms or legs. They may occur after strenuous activity in a hot environment, when the body gets depleted of salt and water. They may also be a symptom of heat exhaustion.
- Dizziness and fainting – heat related dizziness and fainting results from reduced blood flow to the brain. Heat causes an increase in blood flow to the skin and pooling of blood in the legs, which can lead to a sudden drop in blood pressure.
- Heat exhaustion – is a serious condition that can develop into heatstroke. It occurs when excessive sweating in a hot environment reduces the blood volume. Warning signs may include paleness and sweating, rapid heart rate, muscle cramps (usually in the abdomen, arms or legs), headache, nausea and vomiting, dizziness or fainting.
is a medical emergency and requires urgent attention.
Heatstroke occurs when the core body temperature rises above 40.5 °C and the body's internal systems start to shut down.
Many organs in the body can suffer damage and to rectify it, the person's body temperature must be reduced quickly.
Most people will have profound central nervous system changes such as delirium, coma and seizures. The person may stagger, appear confused, have a fit or collapse and become unconscious.
As well as effects on the nervous system, there can be liver, kidney, muscle and heart damage.
The symptoms of heatstroke may be the same as for heat exhaustion, but the skin may be dry with no sweating and the person's mental condition worsens.
If you do not feel well please report to your supervisor or first aider immediately.


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If you don't know that song, you should: "She's a Lady" by Forever the Sickest Kids.
One of the many reasons people self-harm: to feel like they have control in this one aspect of their life. Chuck Palahnuik took this idea and wrote a novel. It's called Invisible Monsters. If you want to read this book on your own, you should do that.. I will now continue with spoilers.
The novel's main character is Shannon McFarland. We learn about her life as it is currently and as it was previously from her point of view. The story is told in a nonlinear manner, where various events are included when Shannon believes it's necessary… sort of a flow of conscious kind of knit… but sometimes, things aren't obviously tied together.
We know very little at first. We know Shannon's jaw has been shot off her face thus making it impossible for her to talk except in gurgling sounds. We quickly learn Shannon was a model, and, obviously, can no longer be a model. We learn Shannon does not really care much for her family.. there's some strain since her brother Shane died.
Shannon has a few important people in her life she is constantly talking about. There's Evie, her best friend prior to her jaw-accident, Manus, her boyfriend prior to the jaw-accident, and Brandy, her best friend post accident. Every one of these people are the most superficial people you could ever meet. I mean, Manus sleeps with men just so he can feel like he's still got it… Brandy is all about keeping up appearances… and we don't know much about Evie except she's a model and encourages Shannon to go for hand modeling and to reconstruct her jaw so that she can continue modeling… because all that matters is your appearance.
Anyway… the opening scene is Shannon standing next to a dying Brandy and Evie standing with a smoking gun. The entire book is all the pieces put together so the reader and learn about what lead to this moment. In as few words as possible: Brandy is Shane, after 90% of MTF surgery. Shane pretended to have died and changed his body because he doesn't want to be a girl and this is the worst thing he can do to himself… self-mutilation. Manus is a detective who sexually assaulted Shane and caused Shane to feel like he deserved less than good. Evie slept with Manus while Shannon laid in the hospital bed. And… Shannon shot herself in the jaw.
This crazy woman shot herself in the jaw because she didn't like her life as a pretty model anymore. She wanted to experience life as an ugly person. The grass is always greener.
At the end, when she's standing there watching her brother die because of her… her brother who actually suffered.
Nooooow Shannon's sorry. She's sorry she mutilated herself for no reason except she was bored.
In my opinion, Shannon is the most self-centered of them all. WHO THE EFF WOULD DO THAT BECAUSE THEY ARE THAT BORED? For realz. You can't move to another country and teach english? You can't just eat a lot and become fat? You can't travel around the world? Learn to weld? Have a baby? It makes complete sense to not only destroy your life, but destroy the lives of those around you. COMPLETE SENSE.
Then, you have the nerve to give Shane your identity and decide that makes up for everything you've done.. WHO THE EFF ARE YOU to play God? It's not okay that you play Evie when all she did was sleep with your boyfriend. What IS that compared to burning down two houses? It's not okay that you drag Manus around and drug him when all he did was sleep with Evie, assault your brother, and try to kill you…. oh wait… he deserved worse, you're right. But, what about poor innocent Brandy? The woman who took you in and tried to build you up after your accident. She didn't deserve for you to hate her. To plan her demise. Shane walked away from the family because you didn't open the window for him. Brandy took that bullet because you didn't stop it. You hate Shane because he took your attention. REALLY?!
I'm not sure if we are supposed to feel bad for Shannon. I can't tell if she's supposed to be the hero. All I know is that I would never forgive her. I wouldn't want her in my life. There aren't any heroes in this book. Everyone is a villain.
I picked up Invisible Monsters because I've read Survivor and I've watched Fight Club. Both of these are pretty good in my opinion. I.M. is not horrible, but it seems to me that Palahnuik only knows how to write apathetic-sounding characters who end up in a whirl-wind situation of their own doing. Not that C.P. is a bad writer. Not at all. But… maybe… he's only good with one type of story. That's cool. It's like how Paul Rudd is always casted as the funny guy or how Scarlett Johansson is always casted as the boobier woman.
What did you think about Invisible Monsters? Do you interpret it differently? Maybe you can convince me to have a more positive opinion.

subset: commoncrawl


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At Steve McClaren´s press conference yesterday he talked about playing against Chelsea and Manchester City in the first half and the fact that Newcastle looked a very good side.
But in the second half of both games we dropped off the pace and last time out at the Etihad Stadium we paid for that by conceding five goals in the first eighteen minutes of that terrible second half and lost 6-1.
Steve McClaren – knows what he wants
That was after being ahead in that game until only a couple of minutes before half time.
What Steve and the coaching staff have been telling the players is they must play like they did in the last two games in the first half for the full 90 minutes and if we can do that the results will come.
So it´s not too surprising that Yoan Gouffran says that confidence is still high in the squad but that the team have to beat Norwich on Sunday.
To do that the Frenchman says they need to play like we did in the first half at City for the whole game.
This is what Yoan Gouffran has said:
"We have to get a win against Norwich – not a draw." "The confidence is still there, but we have to show it for not only one half."
"We can't give up. We have to play like we did in the first half at Man City for all the game. If we do that, I think we can win."
We have won just one game of the last 19 games and that was on the last day of last season when we also got a clean sheet in the 2-0 win at home to West Ham.
If we cannot get 3 points against Norwich City then we are in trouble of being stuck at the bottom of the league or in the bottom three for some time – because we are currently 6 points out of 4th bottom place.
That´s not good.
Comments welcome.
5 comments so far
Watford did come into my thinking like, I was certain we would see them off.
Once we get this monkey off our backs and get this first win I think we will be OK and slowly shift upto mid-table. Top 8 though no way unless the problems are addressed in the squad with players who can hit the ground running with experience.


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Thursday, June 9, 2011
world tour Stop: CHINA!
6 comments:
Ok, so now you HAVE to show us the tattoo...perhaps this mystery can be solved by the internet!ReplyDelete
A similar thing happened to me aged 16 on my foot, I rectified it with getting a cover up of flowers.What is it with teenagers and Chinese symbols??? anyways I love your bucket list of travels so far and am looking forward to where your taking us tomorrow :)ReplyDelete
I'm going to a bucket list destination of my own this weekend NYC wahooooo :)
Amber I am not bored these images are really inspiring!!ReplyDelete
Art by Karena
Not bored at all! The images are wonderful. I specially love the man stering his boat with lots of cranes balancing on the rim. And yes! Now you HAvE to show us your tatoo!! :)ReplyDelete
An outstanding combination of rivers, canals and lakes forming placid backwaters has connected all the important coastal cities and towns of Kerala and has been one of the major attractions for tourists.ReplyDelete
If u want to go kerala in India then must visit on
Kerala Tour Packages
I just happened upon your blog and LOVE these pictures. I actually am living in China for 1 1/2 years and I really want to go and see the city where pictures 5 and 7 were taken. Do you know which part of China they were taken???? my email is firstname.lastname@example.com


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The global economy is going through a fast growing and highly disruptive stage – The cryptocurrency economy
Innovative technologies have fostered the emergence of P2P digital platforms driven by cryptocurrencies, which are shifting the very internal conventional foundations of economics as we have known it for the past 100 years.
As corporations, organisations and governments undergo this change, most of them are not ready for the powerful disruptive waves going through the economy and society in general. Part of this revolution is based on the way we look at work and the structures supporting our current systems. In this article, I will be looking at how we are swiftly embracing the cryptocurrency economy by reinventing what we see as money through blockchain, AI, and IOT. I will explain how the cryptocurrency economy is democratising investing and how it can further help the inclusion of millions of people in the financial system.
Blockchain technology has been subject to intense attention since it started less than a decade ago with the invention of bitcoin. In 2015, Wired magazine described how blockchain would revolutionise the way we look at money, in the article "blockchain 2.0: the renaissance of money."
Contrary to what most people think, Blockchain has been around for a while. Roger Wattenhofer from the Swiss Federal Institute of Technology highlighted that "Blockchain technology has been around since the 1970s and can be distilled down to two main ingredients:
- Asymmetric cryptography- military grade security to store data that has yet to be hacked or broken into
- Distributed systems-not reliant on one central computer"
With Blockchain one is able to:
- Create records and record all transactions that have taken place
- Transfer value on a peer to peer basis globally
- Automate records and actions- thus digitising many tasks and jobs
Blockchain became better known in 2008 when it became the distributed ledger behind Bitcoin. Fast forward to 2017, cryptocurrencies are now driving the world dynamics. Bitcoin and Ether, another important cryptocurrency, take the world by storm!
The blockchain revolution will change everything. Presently, it is the second most important technology, second only to artificial intelligence (AI). Whether we like it or not, we will soon be living in a world run by cryptoeconomics.
Vlad Zamfir, of the Ethereum project, defines cryptoeconomics as follows:
"A formal discipline that studies protocols that govern the production, distribution and consumption of goods and services in a decentralized digital economy. Cryptoeconomics is a practical science that focuses on the design and characterization of these protocols."
As this is happening, we are facing a lot of challenges. Many governments, including big nations such as India, remain non-committal and neutral to bitcoin and cryptocurrencies. Others, such as Japan, have embraced them and made them legal, while other governments such as Venezuela have cracked down on cryptocurrencies by rendering them illegal.
Is it because governments fear that cryptocurrencies can destabilise a highly regulated financial banking system or their national currencies? Governments'' reluctance is understandable, as the bitcoin ecosystem has been compromised in the past — the Mt. Gox scandal being a case in point.
However, the bitcoin/blockchain protocol in itself has never been compromised. More than bitcoin, it is the underlying technology -blockchain- that is showing promise. Besides companies, governments are warming up to the potential of this technology across sectors.
How Blockchain is disrupting the venture capital industry: ICOs – The cryptocurrency economy
An example of how cryptoeconomics is disrupting the mainstream world is how it is affecting and democratising the venture capital industry.
In an interview with influential thought leader and VC Brock Pierce, "Why this venture capitalist wants to make traditional VC obsolete IPO" Pierce says:
"Venture capitalists have been investing in innovation and disruption for a very long time, but as an industry they rarely innovate themselves. If you're in the blockchain or bitcoin space, our view is that we're trying to decentralize the world, we're trying to democratize the world in a way that creates a level playing field where everyone has equal access. Crowdfunding was the first major leap in the democratization of the world of early-stage finance. I believe the tokenization of it—what we're doing—is the next, even larger leap. Since I'm a VC, and I believe in the concept of disruption, and of disrupting yourself—you know, someone can come and do it to my business, or I can do it to myself—I hope to put the GP/LP structure out of business. That is my goal over time."
He further stated that "ICOs will have an impact on many industries. It is not just venture capital: it is private equity, it is real estate. All of these illiquid asset classes are going to be soon disrupted by this model and this is going to happen in the industry that provides the technology."
This mutation is operated by a convergence of the financial technology, mostly blockchain, cryptocurrencies and decentralised systems. An example of this disruption is the new trend of ICOs.
ICO stands for Initial Coin Offering. An ICO is an event in which a new blockchain project sells part of its cryptocurrency tokens to the public in exchange for money today. ICOs enable the cryptocurrency project to raise money for its operations. Most ICOs raise money in Bitcoin or other cryptocurrencies.
ICOs are more and more frequent as innovators in the industry are:
- creating liquid venture funds,
- allowing access to a broader group of investors,
- investing in the trend of start-ups doing ICOs (initial coin offerings)
- showing these start-ups how to do it compliantly
ICOs "investments" are here to stay and it will be partly how startups will be financed in the future. Historically venture capital funds have only allowed elite investors in. So one merit of ICOs is they allow small investors from all over the world to participate.
The crucial question is then how this will be regulated. Most people doing ICOs today are creating very convoluted structures aiming to be both innovative and lean, while circumventing complex securities law.
ICOs are a new means of raising finance and are therefore fragile. This is the reason why it is urgent to add substantial regulatory overhang. Rather than circumventing regulations, innovators and entrepreneurs have to ask themselves: "Is this something that can be done within the rules? Can we do this compliantly?"
A few governments have tackled this question. In 2014, the Monetary Authority of Singapore gave some guidance around how to create tokens, i.e virtual currency. Sooner or later more governments will follow the example of Singapore.
3. How the Ethereum platform is used for an ICO – The cryptocurrency economy
Ethereum is considered the perfect app to do an ICOs. Ethereum is being used frequently and successfully for doing a crowd sale and getting the tokens in the investors' hands. Over 80% of the ICOs are happening there today, so it might be the platform to finance the startups of the future.
Brock Pierce, who is doing a Blockchain Capital's $10 million fundraise through a monthlong crowdsale, is using Ethereum blockchain, to automatically distribute to investors the tokens they have bought. Each token will represent a fractional ownership in the new fund. This will be the first time a VC firm takes part on a ICO. He says:
"One can invest in a crowd sale using a combination of bitcoin, Ether or fiat money. We can accept wire transfers and things of that nature. I'm not aware of anyone else who has done that. The reason why no one took government money previously was out of concern for being labeled a security. We're admitting that we're a security. We're the first ICO that's KYCing anything. We're the first ICO that is compliant. We're the first ICO of a fund. We're breaking the mold on many fronts."
He further explains, how the process works: "The Ethereum smart contract says, "I'm investing one bitcoin, 'let's say it's worth $1,000', and at the end of the crowdsale I get $1,000 worth of that token." The smart contract is actually doing issuing the token to the investor. Instead of having the [chief financial officer] send you share certificates, the smart contract sends you tokens that represent the security in that same company."
Many people are still fearful of ICOs because they think that its a field that is not really regulated. In the following video, Andreas M. Antonopoulos, a technologist and serial entrepreneur who has become one of the most well-known and well-respected figures in bitcoin explains some of the problems and merits of ICOs:
Some governments, as I mentioned previously, are beginning to regulate the field though and whether we like it or not, the disruption to the way people invest and fund their projects is happening at a fast and furious pace.
The Future of Money and Investment, and how it can help tackle Financial Inclusion – The cryptocurrency economy
As the global economy becomes increasingly digital and the crypto economy grows, there is the need of aligning the use of tech for inclusion and financial empowerment.
In many emergent countries, the use of mobile phones is high, and this trend is growing everyday. In Sub-Saharan Africa, of the 350 million adults who don't have a bank account, 155 million are reported to own a mobile phone.
Almost half the world — over three billion people — live on less than $2.50 a day. At least 80% of humanity lives on less than $10 a day. More than 80 percent of the world's population lives in countries where income differentials are widening.
Although the use of smartphones is now major around the world including in emerging markets the use of tech for good is still limited and fragile. But the trend can be reversed.
How can the crypto economy, blockchain and other fintech innovation, help the inclusion of 350 million unbanked people ?
Of the digital technologies that are of particular focus and interest to solve the inclusion of the unbanked in the financial network, are Blockchain-based digital IDs, hybrid blockchain based platforms for low cost payment solutions, biometric based ID solutions, mobile-based solutions and Internet of things (IoT) banking solutions. A few of them have already become working models and have being deployed in the field, such as humaniq, which is an Ethereum-Based app aiming to deliver Banking 4.0 to 2 billion Unbanked people, using biometrics to solve the problem of digital identity.
Blockchain can for example help in the area of blockchain based digital identity, as one of the main problems that needs to be tackled is the lack of identity papers of many unbanked people.
There are a few projects like BitNation, Credits.Vision, OneName and ShoCard that have been experimenting with digital identity through a blockchain protocol, but we still need many more projects as this is a crucial issue. ID2020, is a project with a broader scale, that aims to implement a global digital identity system.
They advocate that every person on the planet can access a unique digital identity as part of their basic human rights. It consists of a consortium of stakeholders from governments, private sector and nonprofit organizations dedicated to using an open source platform for developing a "back-end" identity exchange layer needed for a globally useful digital identity system." Such an approach will help to ensure there is interoperability between existing and future systems.
Another example of a successful use of technology to expand financial inclusion is the very popular mobile based payment solution called M-Pesa. It is broadly used in Kenya and Tanzania. The service was launched by Safaricom and Vodacom in 2007 and has been proven a success in facilitating payment transfers in a cost effective and sustainable way.
Going where no one has gone before – The cryptocurrency economy
The cryptocurrency economy has the potential to revolutionise completely what we understand as money and the economy. From democratising investing, by allowing average people to invest in projects, to further help the inclusion of the unbanked in the financial system, its possibilities are immense.
Key areas that need to be tackled urgently include legislation, digital rights protection and the development of safe digital identity systems. Even if lots of issues will need to be solved along the way, as the journey progresses, through trial and error, I firmly believe that the revolution in course will bring benefits to all of us.


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112E North Second Avenue,
Williams Lake, BC Canada V2G 1z6
Telephone: 250.392.4202
Facsimile: 250.392.1088
24hr line: 877.654.2222
Dave Cassidy
Cell: 250.302.1599
Since 1997, Dave Cassidy has established a strong rapport with various insurance companies and insurance brokers in the area. His logging and ranching background has given him an intimate knowledge of these industries; thereby, enhancing the the company's ability to adjust claims in these areas. In addition, Mr. Cassidy also focuses on both commercial and residential property claims.
Julia Slater, BA
Cell: 250.682.1598
Upon completing receiving her degree, Julia Slater entered into the insurance industry in 2002. Julia has demonstrated the ability to thoroughly investigate claims in an ever-changing industry, helping to ensure the satisfaction of policy holders and their Insurers. She has a strong interest in plaintiff/defendant work, providing consistent information to Insurers and their counsel. Mrs. Slater's strong interpersonal skills allow her to work well with clients and other business associates at various levels of the insurance industry.
Copyright © 2003 - 2019, BC Adjusters.


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Here's another Mexican meal for you. We've had tacos with all kinds of meat, fish, lentils, and beans as the main filling, but one thing I never would have thought to replace those fillings with is cauliflower. I came across this recipe and was intrigued enough to give it a try. When I told Joel what we were having, he was a little apprehensive and asked if it was going to be good, which is usually what he asks when a meal sounds questionable and ends up being relatively inedible, forcing us to get take out (it unfortunately happens more than I'd like to admit). But, despite his skepticism, I went ahead and made these tacos for dinner last night. Imagine my surprise when Joel ate them up and declared them delicious! Sometimes, you just have to give those odd sounding recipes a try. They might end up surprising you in the best, and most delicious, way possible!
For the Mango Salsa
1 Mango, peeled, cored, and chopped
1/2 Red Onion, finely diced (about 1/4 cup)
1 Jalapeño, seeded and finely diced
2 Garlic Cloves, minced
1/2 Lime, juiced
1/2 cup Cilantro, coarsely chopped (I omitted because my plant died)
Salt and Pepper, to taste
Combine the mango, onion, jalapeño, and garlic in a bowl. Toss with lime juice and fold in cilantro. Season with salt and pepper, to taste, and set aside.
For the Crispy Cauliflower
1/3 cup Olive Oil, divided
1 head Cauliflower, cut into small florets
6 tablespoons Panko Breadcrumbs, divided
Salt and Pepper, to taste
Working in batches, heat half of the oil in a skillet over medium-high heat. Add the cauliflower and cook until golden brown, stirring occasionally, about 7-10 minutes. Toss with half of the panko and cook until the breadcrumbs have become golden brown, 2-3 minutes. Season with salt and pepper, to taste. Remove the cauliflower from the skillet into a bowl and repeat with the remaining oil, cauliflower, and panko.
For the Tacos
8-10 Small Tortillas (I used Trader Joe's Corn & Wheat)
1 Avocado
1/2 Lime, juiced
1 cup Shredded Cabbage (I used green but red would be great too)
Sour Cream
To assemble tacos, mash the avocado with the lime juice. Spread some avocado onto a tortilla and top with cabbage, cauliflower, salsa, and sour cream. This recipe makes enough for 4 servings of 2 tacos each.
SOURCE: Love and Olive Oil


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Get $30 back at ShopRite when you spend $150
It's been while since I mentioned a deal / hack and in fact there haven't been too many good ones of late but there is a great AMEX promotion right now for anyone who has a ShopRite grocery store near them. The deal is as follows:
I used to have 9 Amex Cards so could have cleaned up with this but alas I now only have 4 cards (note your Macys co-branded Amex card will also work with this) so I will register each one and buy Amazon gift cards in store to collect my $120 statement credit (great deal for five minutes work) and don't forget small business Saturday is not too far away!
Tags: ..Get $30 back at ShopRite when you spend $150..If you like what you've read, why not subscribe to updates click here


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Sonntag, 29. Januar 2012
IF - forward
This forward moving horse is one of my illustrations for the fairy tale 'The Golden Hero Dragan', the original running into the opposite direction.
Instinctively I thought that forward would usually mean to go from left to right (though in the above mentioned book it works the other way round). That left me wondering why this should be so. Does it depend on the writing direction one is accustomed to which in Latin writing goes from left to right? Does that mean on the other hand that people who are writing right-to-left (as with Hebrew and Arabian) or not only right-to-left but top-to-bottom (as with some Asian scripts) read this illustration differently? So maybe illustration is not globally readable after all?
Eingestellt von heike um 07:53 Kommentare:
Mittwoch, 25. Januar 2012
Poster for a work group at school
At the primary school my son attends, parents were asked to give work groups on a 'Parents Project Day' on whichever topic they would like to. I volunteered to read 'The Gruffalo' in English (and German of course, as the kids have only just begun to learn the language) which is a story I admire very much. Besides I love reading to children. There is hardly a day when I don't read to my son and we discuss about the heard.
Anyway, in the work group I intend to hide any illustration of the Gruffalo itself from them and read till the moment before the mouse discovers its imagined monster to be real because I want the children to draw a monster of their own imagination with the given information. Afterwards we will of course go on with the story and the Gruffalo in the book will be revealed. I hope this concept will work. Especially so as I have never done such a work group before.
As there are 12 work groups, the children will have to chose which of them they are interested in. So every teaching parent had to create a poster to describe what one's work group is about. It had to show as few words as possible because some of the kids are not yet very accomplished readers. I had the idea of a forest with the information on a log pile and symbols for all the vital info.
Samstag, 21. Januar 2012
IF - twirl
Eingestellt von heike um 16:21 Kommentare:
Montag, 16. Januar 2012
IF - prepare
Of course I want to do the monkey who perches on his shoulder, too. This is a bit of a challenge, because the only patterns I could spot so far have been for sock monkeys which this one is definitely not going to be. I'm really looking forward to creating the monkey, though.
To prepare the above illustration I made a very quick sketch that I also want to show you:
Right now I try a few different approaches from my usually very realistic one. Not because I don't like it, but sometimes it's simply too time consuming. Also I feel the need to develop. I am already excited about the outcome.
Eingestellt von heike um 21:11 Kommentare:
Labels: if, life, pattern, sewing, technology
Dienstag, 10. Januar 2012
IF - grounded
It shows a pylon standing in water that is standing about 50 m from our house. Right now the river I'm living at (which normally can't be seen from our house) has flooded all the adjoining grassland so that it looks as if we were living at a big lake. I love this sight! Fortunately our house is built on a much higher level so that there's no risk of water in the basement. The pylon itself is built on a concrete base that emerges about 2 m above ground - under normal conditions, that is.
Eingestellt von heike um 14:32 1 Kommentar:
Labels: if, life, season, technology, water
Mittwoch, 4. Januar 2012
New year, new beginning.
Finally, I finished my illustrations for the fairy tale 'The Golden Hero Dragan' I have told you about some time ago. The opening of the exhibition will be on Saturday, 7th January in the public library of Emsdetten. Everyone who lives nearby is warmly invited to come and see. As you can imagine, I am very excited about it and hope the illustrations will be appreciated. Keep your fingers crossed!
Also, I intend to resume posting for IF as it's always so much fun. Hope to find enough time though, because I have quite a lot of projects going on.
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The Force is Strong in This Millennium Falcon Bass By Doni Custom Guitars
United Kingdom-based company, Doni Custom Guitars, have blended the best of both worlds for bass geeks and sci-fi nerds alike with their "Millennium Falcon" bass.
The basses are crafted using beautifully detailed, completely original Millennium Falcon models for the bodies and are fully functional instruments. The bass also comes with a custom flight case to keep the dark forces away from it.
"The original Millennium Falcon bodies are always in good condition, some even perfect – it varies considering they're from anywhere between 1979 and 2004," explains creator Doni Latchford. "Some also never had any lights included and so plenty of blue LEDs are expertly installed by myself and are run from a handily concealed battery pack that is easy to get to."
Check out more of wild Doni's creations: HERE


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The pop star will release the never-before-seen Black Eau De Perfume later this summer to coincide with her September Vogue cover.
The pop singer tweeted a pic of her new scent called Fame, which will reportedly hit stores this fall. Her early reveal of the black and gold bottle came mere hours after a fashion editor preemptively tweeted a pic of the fragrance and then deleted it.Lady Gaga shaved the back of her head as a tribute to the late Annie Lomax, who passed away recently. Yesterday, at the launch of her new perfume, 'Fame,' she got a tattoo on the shaved part of her head in front of the audience. Lady Gaga did live art installation features.


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Since my last blog entry was on Christmas Day, I suppose it's kind of appropriate for my latest to be on the day before Easter. I know that it will certainly melt before tomorrow, Easter Sunday, but I woke up today and saw a lovely blanket of white on the ground and the trees looked as if they'd been dusted with confectioner's sugar. Not much else to say about this. It's just funny that we rarely ever have snow on the ground for Christmas Eve or Christmas Day, but her it is Easter Eve Day and we've got snow (I know there's technically no such thing. It's really called Holy Saturday. Don't call it Easter Saturday, because that's the Saturday after Easter. Don't believe me? See for yourself.) A few days ago I was wearing shorts and a tee shirt when I went down to the Potomac River for a nice bike ride into Virginia. Those poor cherry blossoms down at the Tidal Basin must be really confused right now.
Posted by tonylagarto at 11:57 AM EDT
Updated: Saturday, 7 April 2007 11:59 AM EDT


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Jane Eyre
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I'm so glad I TCM a showing this film. it's one of the best of the "old films". I was not even born yet when this film was released but as a child I watched it with my mother many many many times and I never get tired of seeing it the acting is superb and the casting was perfect. This one I think is the best of all of the productions of Jane Eyre that I've ever seen over the years. I would highly recommend anyone who likes "old movies" as I do to see it. And never miss it.
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Crypt Tea Room
The Crypt Tea Room is now closed for the 2018 season. Thank you for your patronage, and we hope to see you in 2019!
During weekdays in the middle of the summer, the Cathedral operates a Tea Room in the Crypt, which can be reached by the west door (which is wheelchair accessible) on the south (parking lot) side of the Cathedral. It is staffed by volunteers, and the food is home-baked.
In 2018, the Crypt Tea Room will be open 2 to 4 pm Wednesday to Saturday inclusive from Wednesday July 11 until Saturday August 18. Reservations are strongly recommended for groups of five or more. Call 709.726.5677.
The price is $10 (cash only) per person ($6 for a child under 10), with all the proceeds supporting the ministry of the Cathedral; any amount given as a donation in excess of the $10 is also used for supporting the ministry of the Cathedral.
The Tea Room was opened in 1996. Except for one summer when renovations were being done, it has been open every summer since then.
Here is a picture of the Crypt with tables set up for the Tea Room:


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Business Insurance
Providing Business Insurance for all of your Commercial Coverage Needs
Commercial Auto & Truck Coverage
Similar to your own individual auto insurance policy, commercial vehicles also need protection in the event of weather conditions, road incidents and driver's lack of judgment.
Our agents will help you find the policy that may cover:
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General Liability Insurance may cover:
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Business owners face a tremendous amount of responsibility and risk, which is why Excess Liability Umbrella Insurance is such an important component of their business model.
Protect your business from unpredictable circumstances:
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Excess Liability Umbrella Insurance coverage may safeguard you from claims that exceeds your liability coverage with other policies.
Workers Compensation Insurance
Accidents happen and employers must be prepared to protect their employees with reliable worker's compensation especially if you want to avoid lawsuits and out of pocket expenses.
Workers Compensation coverage may cover:
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The Lancaster County Parks and Recreation Commission youth soccer teams swept to Central District titles to earn bids to the state tournament Saturday, Nov. 22 at Buford High School's Jackets Stadium.
The LCPRC soccer stars will move on to the state tournament at Bluffton on Saturday, Dec. 6.
Buford High School is coming off of a disappointing basketball season which produced a 9-12 overall record, 3-7 Region IV-AA, but a new coach is shooting to reverse those hardwood fortunes.
The Buford High School Lady Jackets are looking to break through this season.
The Lady Jackets were 7-14 last year, but with many close losses.
KERSHAW – The 2014-15 Andrew Jackson boys cage edition will be centered around scrappiness and hustle. Meanwhile, the current Lady Volunteers seek another state title run.
AJ boys head coach Danny Wright is counting on returning veterans to provide leadership for his young Vols on the hardwood this season.
The Lancaster Bruins have high hopes for their 2014-15 hoops season.
The LHS Bruins have a solid cast returning this season, while the Lady Bruins, coming off a region crown, also have their share of veterans and some solid newcomers.
The Buford Lady Jackets posted two solid wins to capture the Lewisville Invitational at Lewisville High School in Richburg on Tuesday, Nov. 25.
The BHS girls, who opened with a 50-17 win over Region IV-AA foe North Central High School on Monday, Nov. 24, wrapped up the tournament crown with a convincing 63-20 win over York Prep on Tuesday.
The Lancaster Lady Bruins roared with resound to open their 2014-15 basketball season in the Clover Optimist Classic preseason tournament at Clover High School.
The LHS girls went 3-0 in the field, highlighted by an 86-54 win over Hammond Academy of Columbia in the championship game on Wednesday, Nov. 26.
Claflin University assistant softball coach Marty Kinard, the Lady Panthers' recruiting coordinator, calls CU's early signees "a great recruiting class."
The Andrew Jackson girls team traveled to York for a game with Class AAAA host York Comprehensive High School in the York Preseason basketball tournament Monday, Nov. 24.
The game was a tough assignment for the Lady Vols, who dropped a 52-41 loss to the Lady Cougars.
Buford opened play in the Lady Lions Tipoff at Lewisville High School in Richburg with a solid 50-17 win over North Central High School on Monday, Nov. 24.
The Lady Jackets' 33-point win earned the BHS girls a berth in the tournament title game on Tuesday, Nov. 25.
Copyright © 2019
The Lancaster News is your source for local news, sports, events, and information in Lancaster County and Lancaster, South Carolina, and the surrounding area..


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Staff Profile:Dr Ann Chippindale
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MA (Oxon); DPhil (Oxon); C Chem, FRSC
Associate Professor in Solid-State Chemistry
Building/Room: Chemistry/112
Dr Chippindale's research interests lie in solid-state inorganic chemistry, focussing on the synthesis and structural characterisation of materials with interesting chemical and physical properties. Current solids under investigation include transition-metal cyanides, some of which undergo fascinating structural transformations on heating. Single-crystal and powder diffraction techniques are used to determine the structures and phase changes of these materials either 'in house' or at National Facilities such as the X-ray synchrotron at Diamond or the neutron source at ISIS, both of which are close to Reading.
Click on the links below to learn more about these fascinating materials


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What would you like to do now?
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- North on Tom Darlington (Scottsdale Rd) to Boulders Guard Gate, turn right, Continue through gate turn left on Boulder Pass, Turn left on Coyote Pass to home.
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- Tom Darlington & Carefree Hwy


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An interview with Jerome Kitzke
PRESTON WRIGHT: The old Desert Island disk question. If you were going to be stranded on an island by yourself, what three pieces of music would you like take with you?
JEROME KITZKE: Oh, boy, hmm. Umm, that's a hard question. Probably…ah. I have to answer, you'd like an answer, right?
Well, it would be nice.
Let's see, three pieces. Let's see, Messiaen, the Turangalilia Symphony , and probably some select Beatles tunes.
Can you say why Messiaen, for instance?
I don't know. Whenever I hear that piece I get all hot and bothered. I really like it, you know. It's just…has a…instinctively it activates something in my heart that has nothing to do with my brain, and to me that's always a good sign that a piece of music you're listening to has a certain quality that appeals to you. One more, hmm. Probably some Irish music. Fiddle stuff. I couldn't tell you what, but any of that stuff. I never get tired of that music, even though it sounds the same. I just can listen to it over and over. Oh, I have to add a fourth one. Probably some Northern Plains drum group, a good one.
Now, you have a strong connection to the Northern Plains Native Americans. Could you explain that or describe that?
Well, it's a long story. It's about 15 years old now, the story. Fifteen years ago I wanted to write a piece to commemorate the Centennial of the Wounded Knee Massacre. It was about 1988, and I knew the centennial year was 1990, and I wanted to write a large work for voices and small ensemble. I knew I just couldn't do it without going there, actually getting permission, and making an introduction of myself into that culture to let them know what I was doing. So, as things often happen, I was in New York in the office of the Association of American Indian Affairs, and I was talking to someone at the desk about my idea when a man to my right overheard me. His name was Jerry Flute , who I have since gotten to know and he said, "Well, I can't help you directly, but I know these people. Here's this phone number, call them." It turned out that it the number for Charlotte Black Elk and her husband at the time, Gerald Clifford. Charlotte is the great granddaughter of Black Elk of Black Elk Spiegs Fame . So I called her, and I wrote to her, and a lot of time passed which is not unusual. I thought I'd make a phone call again to see if they had actually gotten the letter. If you ever talk to Charlotte , she's a lovely, warm person, but at first she has got a certain wariness of people, especially non-Indian people. The phone conversation was like, "Hi, I'm Jerome Kitzke. I sent this letter, blah, blah, blah, blah," and there was this silence and she said, "Yeah?" And I said, "Well, what do you think?" And then a long silence. And all she said was, "Come on out." So, I arranged to go visit, and I spent a few weeks there and got permission to do the piece essentially.
I spent 3½ months on an NEA residency grant with Present Music in Milwaukee in November of 1990. The centennial was actually December 29, 1990 ; I was there from September to November. We worked on the piece. I did work in the Indian community in Milwaukee , which was very rewarding but very difficult in a lot of ways because I encountered a lot of skepticism, understandable skepticism from the Indian community. It turned out well in the end. You know, people that said they couldn't possibly come to hear this came and thanked me later. It's a hard road to go down, but it is very rewarding, and for me it just became part of what I did. I had some questions at that time from the Indian community like, "Well, yeah, you're going to do your Wounded Knee piece, and then you won't even care about us anymore," which was an understandable feeling on their part, because that's what happened to them over and over again. But I said, "No, I don't think so." And since then I've done 3 or 4 other pieces that involve mostly the Black Hills issues--land return legislation issues--every 2 or 3 pieces, I seem to need to make another statement about that, since it's an issue that probably won't be resolved in my lifetime to anyone's satisfaction, I'll probably be doing that for a long time.
That brings us into something else: that you do speak about politics or issues or strong ideas at least in your music. Why is that and, you know, what motivates you to do that?
I think it's because if I were writing just music without any content attached to it other than the fact that I needed to write or had a commission to write a string quartet, I don't think I'd be interested in doing that. I'd rather read a book or go on a hike or something. I think very strongly about issues in our culture, and in our world, and in my life. I'm a composer, so it feels natural to try and express the feelings through concert music. It's totally accepted in the Pop World, Bob Dylan, etc., etc., to state your views, and I don't understand why there seems to be a little bit of a ill feeling toward that being done in the new music concert world--like somehow that's too pure a place to state your views about our impending war, let's say. I don't see why people would feel that way. To me it's a valid ground to express those views. I'm a person just like anybody else, and I have views, and they're strong feelings, and to me that will help produce a strong piece of music.
Can you give a perspective on maybe other composers or pieces that you admire or know about that have to do with Native themes? I mean, there's a history of Indianist composers or political pieces, political composers in this country
Yeah. I'm sure there's a lot that I don't know about the Indianists. I know a little bit about someone like Shjevski ; I think he's someone who expresses his views in a way in his pieces that isn't taking a hammer and bashing your skull in with it, but still in a strong way of making a point of view known. There is a lot of subtlety to it as well as a lot of very "in your face" kind of stuff. Someone like that, I think, is very successful at creating music that states a point of view about something that's totally unrelated to music.
It seems like a lot of your music has to do with being American, or the land, the people, the politics. Can you say something about what it means to be American for you?
Yeah. I think if my music ends up sounding that way to some people, it's because I am such an American. I think it's hard to answer as to what that really means; even at this date of almost 2003 , I think it's still a confusing question to answer. I still think we're still formulating as a nation and as a culture; we're only 220 some years old formally speaking. Still to this day, of course, people always ask, "Well what's your ethnic background? Where are your people from?" And mine is, "I'm a quarter Persian. My mother's father was born in the 1880's in Tehran when it was still Persia , and my father is pure Polish, so I have 50% Polish." All that's very interesting to me, but it's not something that I was showed or encouraged to explore. I'm an American in the sense that I did not delve into that aspect of my background, even though it's there, but I grew up in the streets, and in the parks, and in the land, and on the dirt of America , and it has a profound influence on me. The physical space of America and the physical space of America has changed over the years and continues to change as people try to control it and change it and use it for their own purposes. So, I guess I'm just…I've never been to Europe . I've been into Canada , over the border. I've been into Mexico , over the border in Nogales which is not very far into Mexico . I'm going to Europe for the first time next fall to spend five weeks in Italy in Umbria to work on a string quartet for Kronos, and that will be my first introduction to Europe . I'm 48, so I think that my music tends to spring out the way I feel about walking around on the physical ground of America .
Yeah. There's a kind of landscape about your music. I know you were born in Milwaukee and you live in New York City . So a rural sense about it because you also write about desert spaces and natural landscapes and… Can you talk a bit about how those are represented in your life and your music?
Well, as you say, I grew up in Milwaukee and have been in New York for almost 19 years, but I've spent a lot of time each year away from the urban environment in Wyoming and South Dakota . I try and go for at least 10 days somewhere out in the wilderness to just sleep under the stars, so I feel like that really has a major effect on how my music ends up sounding. Perhaps some of the open spaces that people say they hear in my music come from that. I'm always trying to tell what it means; a story about what it means to be a human being out in that wilderness. I love the animal kingdom and the animal world a lot. Most of my music, though, is about what it means to be human, walking around in America . So if anything springs out of the music that sounds like that, I can't explain why or how, but I do feel very strongly that what you do, everything you do as a person is in there. It's in your brain, it's in your body, it's in your blood, and if you're a creative person, how can it not somehow come out and show itself if you're willing to open you're heart and soul to it?
I hear those kinds of things in your music, too. You seem to have some kind of a ritual almost going on, and I'm wondering if that's half influenced by the Native American experiences, or if it's influenced by just your love of nature or… You tell us.
Yeah, I think in part it's influenced by the experiences I have in Indian country, because those experiences are very intense and profound. There were things I can't really talk about very much, but there are things I do every year that are so intense that they cannot help but then affect my music. My music often does feel like a ritual to me, and I like the sense of that word that has to do with people coming together for a common purpose. Whether it's to pray or to dance, the sacred, the secular, it's all in there. It's all the same to me essentially. I think that, you know, my music can't help but be affected by the experiences in Indian country, but it's also affected by the ritual of, let's say life on the lower east side of New York, or life in Milwaukee, or life in between, or life on the road, the ritual of day-to-day life. I mean, day life, sun up to sun down, is a ritual of sorts, if you let it be. You know, I think it is.
And how do you convey that in your compositions to performers whose only ritual is, perhaps, practicing the scales and looking at the notes and doing what it says. There seems to be a more profound connection between the corporeality. What's going on in their mind and their body that you are trying to bring out?
Yeah. It sometimes is very difficult and sometimes blessedly simple, because you sometimes work with musicians who perhaps you've never met before, but who somehow get it or feel similarly enough about life that they get excited about the idea of being able to do something other than display their clarinet that they've been practicing for 25 years. And other times you run into, let's say a quartet of musicians who are great players, who are looking at you like they're orchestral musicians who have, of course, a bad reputation about being grumpy about doing anything extracurricular. Then that becomes quite a chore sometimes to pull and yank out of them a little more than just having them play their instruments. However, when you do get it, though, when they do get it and they want to open up and they finally feel comfortable, it's really cool what happens. When you're doing something with musicians, instrumentalists who are asked to sing or stomp their feet or clap their hands or even get up and move around the space, when they get into it then you can't stop them sometimes and they really love it, so that's gratifying. And then there are other times where you just never make it, and the performance is, you know, so-so, because the people just couldn't find that place in themselves. Sometimes I've stepped in those places and done a lot of the vocalizing that you find in my work along with those people, and then it's okay. I'd rather not do that, it's more fun to be able to sit in the audience and watch people try something for the first time and watch it blossom. It's just cool when it happens.
Is there something in your own experience that brought you to that point where you like to see other people do something like that for the first time, break out?
Well, I don't know for sure, but it's probably related to my own life experience of all the things that a human being goes through in their life, the first time of this and the first time of that. Usually the first time for certain things in a person's life make a big impression, whether it's about music or sex or growing up or adolescence, breaking through adolescence, your first paycheck, I don't know, stuff like that. I think that those kinds of events, you know, are a part of my music and a part of how I think about the joy I get from watching other musicians who are perhaps younger than me in a musical setting break through the ranks of their emotional walls that they may have had set up.
The things you list are the same things that Harry Partch lists. He talked about the time of the writing of The Bewitched where he wanted players who are half naked, and stomping and whistling and shouting, "bah" as well as playing their instruments, as well as telling a story and moving and dancing; it's like recognizing a whole human is there.
Yeah, I don't know, I mean I know some of Harry Partch's music and certainly know who he is and of him. Kyle Gann wrote a thing about me recently and he made a comparison, not about our musics, but about our outlooks on the kind of musicians that we want to work with and that are best suited to carry off our music, and I think it's absolutely true. I get those people willing to howl and sing and stand naked and do it.
Does it frustrate you as all the education doesn't provide for the whole human?
Oh sure, and that's not, of course, just in the realm of music, it's in just about all over the human spectrum. You know, people are growing up and becoming fine people, but are actually closed off emotionally, and that's why, I guess, therapists are in such demand.
Let me ask you about some of these performers that you've been with then. Margaret Leng Tan — how did that happen?
Ah, that's a nice story. In 1994, Wendy Mae Chambers commissioned me to write a solo to a piano piece that she was going to do in a concert at Columbia University in New York . I did the work. It was called the Animus Child , and at the premier that Wendy played, Margaret Leng Tan was in the audience. I didn't know anything about this, but she, at the time, was planning to start a sort of solo toy piano recitalist career. I thought, "Boy, isn't that something, there are going to be two of those people in the United States that I know of who are making part of their living as solo toy piano recitalists?" So Margaret came up to me and said she really liked the piece and wanted a copy. So I arranged for her to get one, and she went crazy with it. She's played it probably 50 to 60 times all over the world and continues to play it. She just did it in Melbourne, Australia in October.
You wrote a piece for Guy Klucevsek, the accordionist?
Yes, I wrote a piece called Breath and Bone , which is an elegy for a friend of mine who died, Gregory Charn , a percussionist. Guy commissioned me, and I wrote about a 6 minute work that is for the accordion player to play his instrument and to sing and whistle and stomp and shout. He premiered it at Merkin Hall in 1996, and then we recorded it, but in the recording he wanted to really nail the accordion part, which is very hard. Doing it live alone he can pull it off, adrenalin takes you through, but in the confines of a recording studio, he felt that he would compromise the accordion part, and it's not something you could overdub the vocal stuff, so he asked me would I do it as a duo with him. So on my CD "The Character of American Sunlight," the Breath and Bone work is done by both of us. He subsequently practiced enough where he actually can do it by himself now really well, so he recorded it about a year and a half ago, his own solo version of it. He also has played that piece all over the world.
You have a history of working with Zeitgeist New Music Ensemble. Can you tell us how that has evolved over the years?
Sure, I can't pinpoint the year, but I think it was 1993 maybe. Zeitgeist had found out about a piece of mine called Mad Coyote Madly Sings , which is scored for a tenor sax, bass drum set, four vocalists, four shouters, four declaimers, and they, of course, didn't have that instrumentation. They didn't even have a bass player, so they asked if they could make an arranged version of it. I said, "Sure, you do all the work, go ahead." They came up with a version with Heather Barringer, who played the bass part on a mallet cat [midi vibraphone]--that was my first experience with a mallet cat. Joel Holmquist was a drummer at the time, and he played the drum set part, and Bob Somerado played the tenor sax part on alto sax. And then the vocal stuff was done by, I think, just one person, Maria Jette. It was a very interesting arrangement. Since then, I have had music done at the Composer's Forum concerts in the Twin Cities. They had heard my music before, and they decided that they'd like to work with me some day. Then, the Music in Motion Program--do you recall that? I was a part of that and worked with Zeitgeist in Phoenix for three weeks over a nine-month period to we create a work together called The Redness of Blood , which is a big piece done for the two percussion, piano, and clarinet. That was my first piece with Zeitgeist. They've played it subsequently, and I've just remained good friends with all of them, even though their personnel has changed radically since I first encountered them. And then Heather Barringer wanted to commission me to do another work, and this commission came about four years ago actually, and finally the resulting work is In Bone Colored Light, which you will hear tomorrow night.
It seems there are kind of literary stories and influences just bubbling underneath your works even when they're just purely instrumental ones. Can you talk a little bit about your reading, your relationship to language?
Sure. I have many works that are fairly normal in the sense that they use poems for either sung purposes or as text to be sung, or many works that have poems or prose that is meant to be spoken or acted or declaimed, but I also have other works since about 25 years ago that seem to have a story behind them coming from some literary source. Whether I end up calling the piece a name that has to do with a literary source or not is not relevant, and sometimes the sources are just my own private musings that I don't really share all the time. I read a lot, for instance, I just re-read the Cormac McCarthy trilogy books, All the Pretty Horses, The Crossing and Cities of the Plain. I read those books about 5 or 6 times a piece. There is something in the way the man writes about the landscape of southern Texas and northern Mexico that, I don't know, I hear music in it. Stuff like that, writings like that, authors like that have a big effect on me. I have used a lot of Allen Ginsberg poetry; before he died I got to speak with him, and he was very generous about the use of his works. He only said, "Well if you start to make money, then the lawyer's got to get involved." He knew that there was not much money involved, he didn't want to get a nickel and dime for these small little performances that might occur here and there. He was generous with his work, so I've used several Allen Ginsberg poems: The Green Automobile, Whom Bomb, Sunflower Sutra, that's my latest Ginsberg work, which is a piece for a solo pianist actor. Speaking of Shjevski, Anthony Damar commissioned my work Sunflower Sutra, and Tony also commissioned Shjevski to do De Profundis, which is a fabulous piece with Oscar Wild text letters from prison, when Wild was in prison. Poetry, prose, and stories, whether I'm told stories on the reservation or I'm told stories about my friends in New York--I just love that idea of, you know, a person in words going from beginning to end. Sometimes it doesn't go beginning to end, it feels like a circle, and so sometimes the music, perhaps, reflects that. You know, it doesn't sound like a piece that begins and ends, it sounds like something that's just there. I think that literary influences happen for me that way as well.
Are you interested in visuals, too?
A lot, actually. Mostly because I have eyes, and I walk around, and I look at things and occasionally actually go to galleries and look at artwork, but it's not something that's affected me as much. I love the visual art that you find in theater. I am enamored of theater sets, for instance, the world that can be created through the physical space and sets and lights. The play that's going on there is an aside. I mean, if that's good, that's great too, but sometimes you go to a play, and you just get lost in the world of how the sets look and how the lights look. I saw Carousel done a few years ago, and I loved the music, but I knew the music so well that I just lowered myself into the heart of the sets. They were so tender and beautiful that I think that things like that somehow affect my heart and my brain and get stored away to later emerge somehow in music that I do.
Speaking of theatre, there is also a composer, George Crumb, of course, who writes concert music plus lights, costumes, and a kind of sense of the spaciousness and visual aspect too. Do you have any relation to his kind of music or philosophy?
Sure. I grew up when I first started to really listen to concert music, and I loved his music. I loved his idea about the totality of the concert space, be it a theatre space, a place to tell a story, to use costumes, or to use lights. His music sometimes on recording sounds like incidental music to a play, and I mean that in the most complimentary way, a good play with good incidental music. Yeah, sure, his music affected me a lot that way. He uses all the vocalizations and things like that, but he tended to use them more sparingly, they were special moments, whereas in my music they tend to be part of the musical language, just like a C major chord has been used by thousands of composers in history. I think a stomp and a shout is a valid as a C major chord.
But you're not so interested in the visual aspect of the concert ritual, the costumes, the lights?
Oh, yeah, I am a lot, and I would love to be able to do that, but there are certain realities in our culture and our concert music world having to do with time and money and rehearsal time and, boy, we do a lot of great stuff in very little time. I often think how different things would be if musicians still had the thoughts and procedural aspects of dancers or actors, theatre actors. Those people, they think it's normal to rehearse forever and to go at their work from many different angles for hours and weeks on end, just on one work. In the new music world, it's, of course, a product of musicians long ago getting smart about getting paid for what they do, which they should, of course, and that's the kind of world we live in. We are a world of commerce, and people should get paid for what they do. However, what happens, unfortunately, what's happening with music, is that rehearsal time is very limited. That's, of course, a famous sort of bad situation with orchestras. If you happen to be fortunate enough to get a new orchestral piece played, you're not going to be fortunate to have them rehearse it and give it the rehearsal time that it normally would deserve. You maybe will get 1 or 2 rehearsals of 20-minute lengths each, and that's pretty scary.
I love the idea of my pieces; I think of my pieces that way all the time. I sometimes am able to have them performed in that fashion, but it's very rare because of costs and time. Even this experience with Zeitgeist during the last two days--those musicians are all so busy doing many other things that, boy, we're squeezing an hour or two here and there and they're off to something else. It's great that people are doing a lot, but I think the new music suffers in terms of how it's presented, by virtue of the fact that there is never enough time to really give a new piece certainly enough rehearsal. Of course, then there's the old story of Schoenberg's Pierrot Lunarre and all those 100 and whatever rehearsals it had for the premier. Man that sounds exciting. When I think back, though, that's just what they probably did on some level when it was a brand new work, especially a work of complexity, and they understood that to do it properly, to really do the story justice, they had to put the rehearsal time in.
Anyway, music itself doesn't get enough rehearsal time, so then it's hard to think of putting on top of that lights and all that. You can sometimes squeeze it in and you, by the hair of your chin and all that, you make it, but it's always a very tightrope kind of situation. Hopefully, someday that will change, but it's not likely. To answer your question, I think about my pieces that way all the time. Even when I'm writing them, I think of them as pieces of theatre, as a story as I've said. I love the idea of their being sets or even lights, and the musicians working with the director, you know, all that kind of stuff. I've experienced that a few times, and it's just fantastic when you have a long rehearsal period and the director and lights and people putting a lot of time into it.
If so much of your performances and everything depend on money, is what you are basically saying, how do you find your own audience and who is your audience?
Well, I think you find your audience by not thinking about that very much. You're just doing your job and doing your work and not worrying about, let's say, being rejected or accepted. I've been writing music for 32 years and I've just kept plugging away at it. I just do it, and I put some effort into getting the pieces played; I send scores out, all that stuff. In New York I created my own band. That's a very good way to start to gain an audience; it's something that Philip Glass and Steve Reich, of course, did in the late 1960's, early 1970's, which was very, very smart. It's in fact, one of the best ways, but you have to stick to it, and sometimes it's hard to stick to. So I've done that, and I also do concerts. Early on, my group was called the Mad Coyote, and early on in its existence, I was doing a concert every 2 or 3 months in New York , which is pretty goofy. I thought, "Let me just get my stuff out there," you know. It's out there, it's out there and it got a little bit of notice and word of mouth occurs. If you happen to have somebody write an article about you""Kyle Gann picked up on my and wrote a couple of nice things in the Village Voice. I did a large work called the Paha Sapa Give Back . Paha Sapa is Lakota for Black Hills . That was a 70-minute piece done at Washington Square Church . [Kyle Gann] wrote an article about it, I spent some money on the press, and I got sold out two nights there, 500 people each night. Then word of mouth started to spread, and then I just kept doing my work. You build an audience slowly, and hopefully you don't think about who they are and who they might be. You want to, I think, have your audience theoretically be everybody, which you know, I think is quite possible, especially if you've ever had a chance to go to a Present Music Concert in Milwaukee . You'll see something going on there that you don't see anywhere. It's a lovely thing. They average 600-800 people a concert. The demographic of that audience is pretty wide, and a lot of those people are not musicians, they're from the community and it's… So, I've had pieces done there, and it's very exciting to have a piece, Haunted America , which Zeitgeist is doing tomorrow. That was commissioned by Present Music and was premiered in June. There were 800 people there, and it was so exciting, not just because it was a premier and a great performance, but looking at that audience--there were children and people from all walks of life. It was kind of an idealistic situation that was actually there in front of my face, it was actually happening in reality, so that was a very, very lovely kind of thing. So an audience comes and doesn't come, and sometimes it happens despite whatever you might do or not do.
Can you think of a couple of points in your career that would be high points or low points?
Nope. I don't mean to be flip about that, but I just don't think of my career as high or low. To me it's all just part of my daily life; it's part of my life and that's not to say that if I get an orchestral commission and it's going to be performed, I understand how that's on a different par in terms of things that normally come to people than maybe doing a solo flute piece. However, that solo flute piece to me is just as important as that orchestral commission. I tend to live life day-to-day and not think of highs and lows because that's life. Life has highs and lows, whether it's in music or in your day-to-day life.
Do you know any unrecognized composers that maybe people should be paying more attention to?
Can you pick one that you…?
No. No. I'm making a little joke because, you know, I worked at the American Music Center for 10 years in New York . They're a much different organization now than they were when I was there. I was there in the mid 1980's to the mid 1990's, and we determined somehow through some sort of survey or study, that at that time there were about 60,000 contemporary concert music composers in the United States. That's a pretty small number alongside the population, but alongside the number of opportunities available for those composers, the ratio is incredibly lopsided. The truth is there are more and more composers that are writing this kind of music, but the opportunities to really get their music played with any kind of consistency is very rare. In my mind, all those composers deserve to be heard. Anyone that takes the time and the effort into writing a piece, which is not an easy thing, physically and mentally deserve to be heard, but the truth is and, unfortunately, what the reality is, most of them probably won't to the degree that they would like.
Where might you place yourself on the spectrum of the traditional experimental maverick type composer? You don't sound like anyone else; you've been doing your own thing; you're kind of not part of any particular school. Is that how you see it too?
Well, only when I'm asked that kind of question do I stop to think about it. I feel like if I actually thought about that outside of a situation like we're in right now in an interview, I'd be thinking about the wrong stuff. So, I don't know. Lately I've felt like my music does have a sound that's a "Kitzke" type sound, I don't know. A lot of people say that to me, and that's a pretty gratifying compliment to hear. I think if it does have that it's because I've just stuck to what's inside my heart and mind and brain, and I've not really thought much about the various "ism's" out there. There's nothing against any of the "ism's," but I've pretty much followed my own path from day one from when I was a kid. I'm not necessarily a stubborn person, but I didn't study music a lot. I taught myself first and then I went to college. Maybe that has something to do with it. I taught myself to be a composer for the first 5 or 6 years, and then I went to school and found out what they had to say there. I worked with some fantastic people, John Downey at the University of Wisconsin, Milwaukee, and there the lessons--I didn't necessarily learn stylistic things from a man like that, but we talked about life and death and love and hate and sex and the war at the time in Vietnam and all that. Those are some of the best musical lessons. He was a smart man, because he saw in me someone that should be let go to go my own way and not confined to write a fugue or something, although I did write a few fugues. … I feel like I'm happy with what I do, and I feel like I tell an honest story for who I am at this moment in time. I'm getting pretty old now, and I've been doing it a long time, and I've been very sincere about it, so perhaps that's what comes through, you know. I have been to a lot of places most people won't go and seen some things most people won't see that I think have somehow come into my music and perhaps give it a flavor or a quality that sounds unique or individual.
What's your greatest fear?
I can't think of one actually. You know, I've seen a lot of really terrible things in the last eight years in terms of loss and death and having gone through stuff like that and seeing people die in front of you, things like that; you don't have much fear anymore after that about, certainly about music and whether your music gets heard or not heard or recorded or not recorded. So I don't really have a fear of much that I can think of at the moment.
Actually, you did say yesterday, you told us that music takes up a small part of who you are and that you don't want it to take over too much. What is it that you do when you're not composing, what are those great things that you love to do?
Umm, reading, hiking, camping, spending time on Pine Ridge Reservation in South Dakota, interacting with my family, interacting with my friends, walking, and just sitting and doing nothing and not thinking about anything other than whatever comes into your mind at that moment. I'm a composer who--I do all my scores by hand. I have been forever doing my scores by hand. I don't have a computer, and I don't have a cellphone. I don't want any of those right now and don't feel like I need them. Part of the reason, I think, now that I'm asked the question so much about the computer thing is sometimes I think people are mad at me because I don't have e-mail. I could contact you so easily, they say. Well, call me, you know! But part of the reason I think I don't have those things right now is the world is a very fast-paced place. I live in New York City , which goes 1000 miles an hour most of the time. Knowing myself as I do after all these years, I like to have some aspect of life have a certain slowness to it, or more than one aspect, and one of the aspects is doing my scores by hand. There is something about the slowness of it that is beautiful and peaceful to me, even though it's very physically demanding and the older I get the harder it gets to do, actually. I may end up getting a computer at some point because my arms give out or whatever, but also I like just making sure there are things in life that are slow and that remind me that having a slow quality to life is really important and beautiful. You have to balance out the fast-paced part of it that you have no control over. I think that that aspect of my thinking then also comes out in the music I write and how I work on it and how I think of it. I am not terribly prolific. I've been writing music 32 years, but I think I've written maybe 57 pieces, which sounds like a lot when you say 57, but in 32 years it's, I guess, not that much. There were a number of years where I didn't write anything because I had nothing to say. I had no story to tell, and I had to find where that was, so I chose not to force things out, and that was the right decision. Then there are other things that happen in life, of course, that keep you from working that you have no control over, and you have to attend to these things. So there were another couple of years where I didn't do anything, any musical work. I think as hard as that was, it now is feeding what I do now in a way that makes what I do now still fresh to me and interesting to me and makes me want to continue to tell the stories in music that I want to tell.
Don't forget to stop and smell the sagebrush.
Yes. That's really important.
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Heathers the MusicalAndy Fickman + Heathers the Musical
- Director (s):
- Andy Fickman
- Starring:
- Barrett Wilbert Weed, Ryan McCarten
- Genre:
- Theater
- Theme:
- Musical
Heathers the Musical, this is based on the Wynonna Rider, Christian Slater movie about the three snotty high school girls, who are brought down by Veronica and JD, the loner. This one stars Barrett Wilbert Weed as Veronica, and Ryan McCarten as JD, and they really rock, it really helps you to understand how much talent there really is out there, and why these people are not better known is one of the mysteries of the universe. The first 10 or 15 minutes are adorable, of talking about how miserable it is to be in high school, how terrible it is to be in this particular high school. It was all right on and clever, bouncy lyrics and a talented cast. Then it follows the movie pretty much scene for scene. One of the Heathers is murdered and mayhem follows. The play gets raunchy as well as murderous, the graphic depiction of sex in the lyrics is a little bit off-putting. I think the second act was a little bit better than the first, the whole experience could have been much improved by taking 20 to 25 minutes out of it, but if you are a fan of the movie, you will like the play also, 3.5 stars.


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These type of Digital Signature Certificates are issued for both business personnel and private individuals use. These certificates will confirm that the information in the application provided by the party to the application. The class 2 certificates are used in most of filing except in case of certain tenders, auctions etc.
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As we work our way through the quarter cow we purchased in June, I'm now faced with cooking cuts of beef that I don't typically purchase. (Looming, on the horizon: beef heart! For now, however, we are in safer territory). Yesterday brought a beautiful skirt steak. I'm pretty sure that it is sacrilege to eat skirt … Continue reading
Tagged with sauce …
Stock Your Freezer
(And your pantry!) I must have been living under an internet rock, because I only just recently discovered the Civilized Cavemen's cooking blog. If you like good eats, click on over there and check his stuff out – not only are the pictures gorgeous, the recipes are fabulous! I've been making my NC born and … Continue reading
Poached Eggs & Hollandaise with Squash & Spinach
It's a general rule that a weekend isn't complete if breakfast doesn't include something slightly decadent. Sometimes it is a plate full of salty, crispy home fries, sometimes PaleOMG's carrot cake pancakes, and today it was my first-ever attempt at hollandaise. It was super easy, super delicious, and, now that I know this, I'll probably … Continue reading


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Long-staying OFWs in Nigeria to be granted special travel permits
MANILA, Philippines – The deployment ban on Nigeria will not be lifted but overseas Filipino workers (OFW) who have been working for many years in the African country will be granted special travel permits.
Vice President Noli De Castro, who is also presidential adviser on OFWs, on Thursday said that land-based Filipino workers who have been working for more than 10 years in Lagos, Nigeria specifically may be issued special travel permits.
He said the Filipino workers who may be issued with this permit are only those employed in safe areas.
"This is good news to those OFW professionals in Nigeria who have been wishing to take a vacation back home. Their problem before was that once they go home, they cannot go back to Nigeria because of the ban. Now this has been resolved," said De Castro.
But he said the deployment ban on Nigeria remains because of "real dangers and threats" to the safety of OFWs.
He said the Department of Foreign Affairs (DFA) on Tuesday made the recommendation to maintain the ban because of the latest hijacking incident in Nigeria wherein three Filipino seamen where reportedly held captive.
The DFA said while the hijacking problem in Nigeria is concentrated in Niger Delta, it will be "extremely difficult to control the movement of OFWs" bound for other parts of Nigeria but would still need to pass by the dangerous area.
On the other hand, Malacañang has ordered that the ban on Lebanon and Jordan be lifted.
De Castro said that the lifting of deployment ban to Lebanon and Jordan is still subject to the execution of a labor cooperation agreement between the Philippines and these countries.
This, he said, is to ensure the protection of the rights of OFWs, such as receiving minimum wage, having decent working and living conditions, and reasonable rest periods.
– Kimberly Jane T. Tan, GMANews.TV


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Journey to Timbuktu4 November 2011
In January, during Mali's driest season, seven UCT staff members, three colleagues from the University of the Western Cape, and two representatives of the Ford Foundation, arrived in the fabled city of Timbuktu. The week-long visit was organised by the Tombouctou Manuscripts (Mss) Project, led by Associate Professor Shamil Jeppie, senior researcher at the Institute for the Humanities in Africa (HUMA). Since 2002, the project has been working with various aspects of the manuscript tradition of Mali, including research, translation and digitisation of the historical documents. Dr Marilet Sienaert of the research office penned this report.
The Manuscript Collection of the Riyadha Mosque, Lamu, Kenya15 June 2011
The Riyadha Mosque in Lamu, Kenya, is one of the longest continuously functioning and one of the most influential Islamic teaching institutions in the Swahili world. The first time I heard about the Riyadha Mosque of Lamu, was – typically – neither in Kenya nor in East Africa, but in Hadramawt, Yemen. More precisely, I was in the city of Sayun, in a public building overlooking the Riyadha Mosque there, founded in 1879 by Ali al-Hibshi. The Riyadha of Sayun is both the namesake and the model for the Lamu Riyadha and the relationship between the two institutions remained strong. The Lamu Riyadha was founded in the late 19th century by Salih b. Alawi Jamal al-Layl (1853/53-1936), based on the teaching taking place in the Riyadha in Sayun – particularly the mawlid celebrations implemented by Ali al-Hibshi.
A Mozambican Researcher at the Cape: My experience at UCT1 June 2011
As a team member of the Northern Mozambique Arabic Manuscript Project at University Eduardo Mondlane in Mozambique, I was invited to visit the University of Cape Town through a scholarship sponsored by the Tombouctou Manuscript Project at UCT, to fill an academic program including seminars, methodological classes and English classes during six weeks.
"It exists": a PhD scholar's visit to a Timbuktu archive24 May 2011
In April I spent two weeks in Timbuktu as part of my doctoral research. It was extremely hot there, 45˚ C on average during the day, however the extreme temperature could not stifle my excitement. On the one hand, I was there to sign an agreement on behalf of the Tombouctou Mss Project to establish a formal collaboration with the Fondo Ka'ti library. One the other, I was to begin accessing material for my dissertation's research. I did not know what to expect from the visit, or what I would find while there… However, the outcomes surpassed anything I could have imagined!
The Fondo Ka'ti's director, Ismael Diadié Haidara and his family and staff, who generously cleared their schedules to work exclusively with me during my limited time in the town, received me with open arms. We realized that our organizations share similar and compatible goals, which meant that we quickly signed our official collaboration agreement. This will centre around research and publications, as well as exchanges for skills training in Cape Town. Watch this space for further details …
In terms of my own research, I gained invaluable insight into my topic and began to scratch the surface of the mountain of material with which I will be working during the next few years. I am working on a 'biography' of the Ka'ti library as an archive, the processes of its construction and the competing projects of knowledge production around the Ka'ti archive over time.


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Saturday 17th March 2007
Midland Combination Premeir Division
Meir KA 1 v 1 Coleshill Town
Scorer: Josh McPherson.
Coleshill Are Thwarted
Coleshill Town hit back to net a point at Meir but Manager Mick Beadle felt his side could have won the game. After a dull first half, Meir took the lead 15 minutes into the second half. It was one way traffic after that and Coleshill levelled with ten minutes to go through Josh McPherson. "It's frustrating not to get the three points because we had chances at the end," said Beadle. "But Meir are a decent side and beat Castle Vale last week so we knew it would be tough. I'm happy with a point in the end."
Team: Greg Allen, Rob Hipkiss, Ryan Gardiner, Josh McPherson, Ian Bluck, David Brush, Joe Clarke, Carl Smith, Ben Usher (Raddi Richards), Shay Morgan (Michael Campbell), Dominic Reece (James Dance). Unused sub Josh Gunter.
Meir KA 1 v 1 Coleshill Town
First Team Match Reports 2006-2007
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