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MA Cinematography
Met Film School
Graduate School
The MA Cinematography course builds essential and practical skills to prepare you for a role as Cinematographer/Director of Photography (DOP).
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The MA Cinematography course builds essential and practical skills to prepare you for a role as Cinematographer/Director of Photography (DOP).
Cinematography is about understanding how to use camera and lighting techniques to tell a story, whether it is screened at the cinema, on TV, or through an iPhone. As technology continues to evolve at an ever increasing rate, the aim of this programme is about more than how to operate a particular piece of equipment – it's about a deeper understanding of storytelling and the moving image to communicate something meaningful and entertaining to an audience.
- Through hands-on practical exercises, workshops, seminars, masterclasses and screenings you will gain the practical skills and knowledge required to work with cameras and lighting to industry standards and practices enabling you to demonstrate a range of industry-relevant skills upon graduation.
- Opportunities to gain wide range of skills across projects such as a short filmed project that you write and direct, Art Gallery field visits including the National Gallery, 35mm workshop and shooting exercise, location and night shooting with large sensor camera, greenscreen and VFX exercises, working collaboratively and learning the functions of each camera departmental role.
- Gain skills vital for look design and rushes management through creative and technical training in grading and processing software to enhance the visual aesthetics of your productions. Prepare for the world of VFX shooting with theory and practice in a range of techniques and experiences such as green screen shooting and VFX integration.
- You will get the chance to work as a director of photography alongside other MA students on short video content for external clients during the industry project, giving you the opportunity to further showcase your talents and build a competitive showreel.
- Learn from award-winning tutors with extensive professional experience as cinematographers, camera operators, focus pullers and gaffers in film, TV, documentary/factual programming and commercials. We've been recently visited by a legendary cinematographer Chung Chung-Hoon (Old Boy, Stoker, Me and Earl and the Dying Girl)
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MA Directing
Met Film School
Graduate School
The MA Directing course equips you with a comprehensive skillset to work across all screen platforms – film, TV, commercials and online.
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The MA Directing course equips you with a comprehensive skillset to work across all screen platforms – film, TV, commercials and online. During your studies you'll do a unique industry project that will give you real-life experience with external clients, not offered by any other film school in the world.
- Practical. 70% of the curriculum is practical, hands-on experience. You will have an opportunity to work with professional actors, shoot on location and participate in moving camera exercises.
- Teamwork. Work collaboratively with students on other MA courses (Cinematography, Screenwriting, Producing etc.) as a creative crew to mirror the industry practice. Experience what it takes to deliver the project from start to finish, and develop your communication, negotiation, and project management skills.
- Real-life experience. Learn the importance of working to a creative brief as a director while doing a project for an external company. Our students have worked with companies like Mad Dog Casting, The Imaginarium, Jamie Oliver's Food Tube and many others.
- Industry-facing. Learn from the best industry professionals, including Cinematographers, Casting Directors, Location Managers and Production Designers. Our recent guest speakers include Oscar-winning directors: James Marsh (The Theory Of Everything) and Pawel Pawlikowski (Ida).
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MA Directing - Berlin Campus
Met Film School
Graduate School
Met Film School Berlin will be launching the MA Directing programme in October 2015. This programme will aim to provide students with practical work relevant skills, with teaching delivered by industry professional tutors.
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Met Film School Berlin will be launching the MA Directing programme in October 2015. This programme will aim to provide students with practical work relevant skills, with teaching delivered by industry professional tutors.
The programme will be divided into six 20-credit modules followed by a 60-credit module. Students will complete a portfolio of filmmaking projects, plus a final Master's Project. Students will attend a series of lectures screenings, seminars, practice-based exercises and workshops, as well as work independently to produce projects for their portfolio, demonstrating craft and creativity to an advanced degree. In addition, students will be required to conduct scholarly research as the basis of critical and reflective written work that links to their chosen field (Directing within screen arts). Students will also receive 1:1 tutorial support throughout the year.
This programme is designed to give students a comprehensive grasp of the creative and technical responsibilities of directors today within a historical, cultural and industrial context.
The programme takes directors through the process of production from script to screen focusing on the core elements of visual language, narrative storytelling and performance. Students will learn and practice a variety of directing styles, techniques and strategies for narrative as well as non-fiction storytelling. The goal of this programme is to develop the craft skills and technical proficiency that ultimately frees the director to take creative risks.
This programme is validated by The University of West London.
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MA Documentary & Factual
Met Film School
Graduate School
Today's audiences can watch documentaries and factual programming at cinemas and art galleries, on television and iPhones, or via YouTube and Vimeo.
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Today's audiences can watch documentaries and factual programming at cinemas and art galleries, on television and iPhones, or via YouTube and Vimeo. Technological innovation and the digital revolution have changed the way we think and talk about factual content. This MA course focuses on the creative, technical and industry skills you need to develop documentaries and factual programming across the contemporary media landscape. We will teach you how to film reality from a variety of perspectives, understanding and sometimes challenging traditional interpretations of the documentary and its delivery. The course will equip you with the necessary skills, conceptual approach, and mindset for a career in the creative media industries.
Hands-on practical experience. Gain training and production experience in producing, directing, camera operation, sound and editing.
Real-life experience. Produce a documentary/factual project for an external industry client and work alongside the award-winning production facility, Met Film Production known for its critically acclaimed documentaries: Sour Grapes and the 2016 Grierson Trust winner – How To Change the World.
Learn how to film reality. Through practical work explore the creative, conceptual and ethical approaches to filming reality and documenting the experiences of real people.
Industry awareness. Build your understanding of the contemporary industry landscape for documentaries and factual programming, including commissioning, financing, distribution and exhibition, festivals, and the emerging world of interactive and transmedia digital content.
Professional feedback. Pitch your projects to industry professionals and receive 'real world' feedback and guidance to further develop your projects.
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MA Postproduction
Met Film School
Graduate School
The MA Postproduction course equips you with creative and technical skills required to work within a range of postproduction sectors such as offline editing, sound design, grading and visual effects.
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The MA Postproduction course equips you with creative and technical skills required to work within a range of postproduction sectors such as offline editing, sound design, grading and visual effects. During your studies you'll do a unique industry project that will give you real-life experience with external clients.
- Practical. Master the key postproduction software such Avid Media Composer, DaVinci Resolve, Adobe Premiere, Audition, Prelude & After Effects and gain access to our high-end grading, sound mixing and recording facilities
- Industry-standard. Receive Protools audio platform training, essential for any sound postproduction career in film and TV
- Real-life. Put your knowledge into practice by completing a project for an industry client and receiving professional feedback
- Creative. Learn from award-winning tutors and guest speakers with Oscars, Emmys and BAFTAs, including legendary directors, cinematographers, editors, producers and other creative screen specialists
Based at London campus in Ealing Studios.
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MA Producing
Met Film School
Graduate School
MA Producing is ideal for those looking to kick-start their screen production career. 100% of graduates from this course have gone on to gain work within the creative industries at companies ranging from HBO to the BBC.
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MA Producing is ideal for those looking to kick-start their screen production career. 100% of graduates from this course have gone on to gain work within the creative industries at companies ranging from HBO to the BBC. This is a one-year full-time postgraduate course aimed at students wishing to fast-track their producing career in the screen industry.
- Get employed: Since this course launched in 2014, 100% of graduates have gone on to work in the screen industries at a range of organisations or have launched their own companies. Employers of our graduates include: The BBC, Firecracker Films, Knucklehead, Invisible Ink, The Bureau and HBO.
- Immerse yourself in the industry: Our students visit a range of film festivals including Berlin, Cannes, London and Berlin as part of the course. In addition, they spend time at companies such as Disney, Jamie Oliver's Fresh One, AMVBBDO, ShoeBox Films, The Imaginarium, Mad Dog Casting and Rattling Stick.
- Learn from industry tutors: Some of our guest tutors have included:Victoria Pile (Creator – Green Wing), Tony Orsten (CEO – The Imaginarium), Paul Brazier (Chairman – AMVBBDO), Dr. Jo Twist (CEO – UKIE), Christopher Bingham (Vlogger -YouTube) and Lucy Banks (Head of Content Solutions; Brand Solutions & Innovation – Google).
- Our outstanding academic credentials are recognised by leading higher education bodies such as CILECT, QAA and Creative SkillSet.
The Met Film School is London's leading provider of practical filmmaking courses, based in Ealing Studios.
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MA Screenwriting
Met Film School
Graduate School
The MA Screenwriting course equips you with professional skills to develop your own voice and produce marketable and commercially successful scripts for film, television and web series.
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The MA Screenwriting course equips you with professional skills to develop your own voice and produce marketable and commercially successful scripts for film, television and web series. During your studies, you'll do a unique industry project for an external client.
- Work with professional actors who will perform your script in front of you, pitch your script to a panel of industry experts at the end of each key module, and receive professional script development support from leading UK film and TV production companies
- Learn about writing for different platforms: film, television, web, radio and games
- Learn from award-winning tutors and guest speakers with extensive professional experience as writers, directors, producers, showrunners and script developers for film, TV, radio, gaming and online
- Write a script for an external client while working together with other MA students on an industry-integrated project
- Receive real-life screenwriting experience and improve your communication, teamworking and pitching skills
The Met Film School is London's leading provider of practical filmmaking courses, based in Ealing Studios.
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text:
Hi there, my name is Tom, currently 20 years old, living with my parents at the moment on the wirral in merseyside.
Working as a mechanic in Volvo been there 3 years and im just finishing off my level 3.
Currently owning a BMW 320i convertible M3 replica...
current mods...
full bmw m-tech kit.
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limited edition m3 heated mirrors.
clear lights pack.
ccfl 7000k angel eyes.
10,000k hid headlight kit.
full pioneer door card speaker.
sony x-plod mp3 headunit.
x2 12 inch fusion subwoofer.
scorpion cat back exhaust system.
k and n induction kit.
smaller number plates.
18 inch ac schnitzer alloys.
hope too meet new friends and see you all soon.

subset: commoncrawl


text:
Rabbi Moshe Levin was raised on the same street in Crown Heights, Brooklyn, as the Lubavitcher rebbe. He attended yeshiva from kindergarten through college, and once prayed at his Orthodox shul before going to a friend's bar mitzvah ceremony in a Conservative synagogue.
Levin also has cancer. It seems safe to assume, with his background, that he has insights about Judaism and healing.
When it comes to Levin's relationship to God, illness and recovery, though, discard your assumptions.
"How I deal with illness from a Jewish perspective is based on my journey where little by little God disappeared from the picture," said Levin, ordained in the Conservative movement and now the rabbi at Congregation Ner Tamid in San Francisco. "I don't see God as the author of the Torah, recorder of my actions, distributor of rewards and punishments, and ultimately I don't see God."
Levin made his remarks before a dozen people at a workshop entitled "Why Me?" His talk was part of Chochmat HaLev's "Conference on Jewish Healing: Healing the Vessel" last weekend at Congregation Ner Tamid in San Francisco. In all, more than 200 people attended the event.
"Before you pick up and leave," Levin continued, "I daven with tallis and tefillin nearly everyday. I say a brachah (blessing) before and after I eat. And I live an intensely Jewish life. But I have given up turning to God in the face of tragedy, illness and trauma."
Levin was brought up to believe Judaism was the only civilizing force that gave the world a moral code. The first shock to Levin's theology came when he studied philosophy and economics in Israel in the 1960s. There he met Israelis who were not observant or Orthodox, "but who believed that the Torah developed in a natural process similar to the literature of other people, and they still wanted to study it."
Levin's evolution continued at a U.S. Air Force base in Thailand when he was a military chaplain during the Vietnam War. He was shocked to discover that the moral values of people living in a Buddhist world mirrored and often exceeded his own.
"One of the Christian chaplains asked a Thai father whose child had died how he was doing," Levin recalled. "The man smiled as he gave his answer and the other chaplain assumed that the man was happy because his child was in heaven. But this man's smile was a cultural value to ameliorate bad news for others. That helped me realize that Jews are just a people, not better than others."
He does not believe that his diagnosis of non-Hodgkin's lymphoma, an incurable cancer, in February 1990 gave him a divine license to teach about healing and illness. "I don't believe that God has the power and ability to run the world," said Levin, who gravitates toward Reconstructionist Judaism.
"God is not one to decide who gets sick, who gets well, who gets rich, or who gets poor. I'm not blessed and I'm not cursed. I just have a couple of screwed up cells, and that just happens. Period. It's of no meaning to me to say, 'Oh, God, please heal me.'"
What does guide Levin is a profound belief in the wisdom of Jewish tradition. The Talmud, he noted, requires us to carry two notes. One says, "I'm nothing but dust and ashes," he shared. "The other one says it is for my sake that this world was created. They mean that I am totally insignificant and simultaneously I am a miracle."
Levin said he'd "been very privileged in the 20th century in Brooklyn. I had family, and we had money and food. What was there to complain about? And who's to say that I'm entitled to 80 or 90 years? Even if I lose my speech, I am still a miracle. Am I going to complain if I have a limp, diabetes or am blind in one eye? Hell no. It is miraculous just to be alive."
Levin acknowledged that his heretical ideas might seem out of place at a conference on Jewish healing and in the larger Jewish community. But he feels that Judaism's primary function is to teach us "how to behave, not what to think.
"I regard every single day as a gift. Abraham Joshua Heschel taught us to live in awe and wonder. I don't think that's a Jewish principle, but it comes from the Jewish experience of 4,000 years of history. And another thing I've learned since my diagnosis is my need to be honest."


text:
Related Publications
- Related by Author
- Related by Topic
Related Links
Creation: Theses in Preparation for a Theology of Growth
By Alan Mintz
Response, Spring 1972
Topic: Theology, Tradition, Religious Observance, Jewish Text
Name of Publication: Response: A Contemporary Jewish Review
Editor: Novak, Bill
Volume/Issue: Vol.6/No.1
Page Number(s): 25-40
Genre: Article
Coverage: United States
Language: English
Copyright Holder: Publisher
Copyright Information: Download for personal use, freely distribute link
Bibliographic Information:
Mintz, Alan. Creation: Theses in Preparation for a Theology of Growth. Response: A Contemporary Jewish Review. Response. Spring 1972: 25-40. http://www.bjpa.org/Publications/details.cfm?PublicationID=15645
» View Publication
(PDF, 3.02 Mb)


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Whether you are rooting for the Seahawks, the Broncos, or the puppies, chances are you are going to need an easy, delicious meal for Sunday. This recipe fits all of those categories. A popular item at our restaurant, this chili breaks convention by omitting tomatoes and leaning on onions and peppers for a wonderfully rich flavor. The key points to remember are to soak your beans the night before so they're ready in the morning and allow up to four hours for this chili to simmer. I read that and thought that this would be a perfect slow cooker meal. Throw everything in your slow cooker on high at 10 am, switch it to low at 1 pm and by kick-off you're ready to rock and roll!
White Bean Chicken Chili
- 32 oz Chicken Broth
- 1-1/4 lbs Great Northern Beans, soaked in water overnight
- 1 cup chopped Onions
- 1-1/2 tsp minced Garlic
- 1 tsp Sea Salt
- 12 oz White Chicken Meat, cooked, chopped and shredded
- 6.75 oz can Diced Green Chilies
- 1-1/2 tsp ground Cumin
- 1-1/2 tsp dried Oregano
- 1/8 tsp Cayenne Pepper
- 1/4 tsp ground Cloves
- 1-1/2 tsp dried Cilantro
Step 1
Drain beans and discard water. In a large soup pot combine chicken broth, beans, onions, garlic and salt. Bring to a boil, reduce heat and simmer on low heat for 2 hours.
Step 2
Add chicken, chilies, cumin, oregano, cayenne, cloves and cilantro to soup pot and continue to simmer an additional 2 hours or until desired thickness is reached. Top with sour cream, chopped cilantro and diced tomatoes, if desired.


text:
Opened 5 years ago
Closed 5 years ago
Last modified 5 years ago
#8729 closed Bug (worksforme)
Editor scrolls to the top when opening the context menu twice in a row
|Reported by:
|Owned by:
|CKEditor 3.6.3
|UI : Context Menu
When opening the context menu in a 'long' document, but not selecting an option and opening the context menu again (with the right mouse button) the editor scrolls to the top while the right mouse button is depressed, and jumps back to the original location after it is released. (Unless the page the editor is in is HTML 4, then it does not jump back to the correct position).
This behaviour can be reproduced on the CKEditor demo with IE9 by copy/pasting the content a few times, scrolling down, right clicking, and the right clicking again.
The cursor position while the right mouse button is down is at the beginning of the document text, and it is possible this is inside a non-editable element. This element can then be edited!
Change History (6)
comment:1 Changed 5 years ago by j.swiderski
- Keywords Scrolling context menu removed
- Status changed from new to confirmed
- Version changed from 3.6.2 to 3.4.1
To reproduce:
- In IE9 in WYSIWYG copy demo contents and paste them few times at the end of document.
- Select all and copy
- Go to E.g. "replace by code" sample and paste the contents (In WYSIWYG not in Source mode)
- open context menu two times
Result: In IE9 editor will scroll up and down. Reproducible from CKEditor 3.4.1.
Note: From CKE 3.3.2 to CKE 3.4 editor scrolled only up.
comment:2 Changed 5 years ago by j.swiderski
Scrolling up and down in IE9 was also mentioned in #8393
comment:3 Changed 5 years ago by j.swiderski
comment:4 Changed 5 years ago by j.swiderski
I did a quick test and it seems that patch from #7932 has fixed this issue.
comment:5 Changed 5 years ago by fredck
- Resolution set to worksforme
- Status changed from confirmed to closed
comment:6 Changed 5 years ago by wwalc
- Milestone set to CKEditor 3.6.3


text:
Nazareth Centerpiece of Porcelain Baby Doll Arms
The Campana Brothers worked with Bernardaud to create this very creepy centerpiece that re-cast dolls arms in golden hues of porcelain as part of their Nazareth Series. Limited to an edition of 10, the unusual art piece costs $19,200.
The Campana brothers designed only 10 of these wild rag doll and hemp rugs for Nodus.Tags: hemp, home decor, carpets, rugs, design, rag dolls, campana brothers, nodusAdded 6 Years Ago from Blogspot
Colorful and whimsical hand blown glass chandelier, sconces and vases by the Campana Brothers (designers from Portugal) are a limited collection from Italian glassmaker Venini.Tags: art, lighting, glass, home decor, chandeliers, vases, campana brothers, veniniAdded 6 Years Ago from Blogspot


text:
Restaurants \ J.R. Bentley's English Pub
About this Business
J.R. Bentley's English Pub
406 West Abram Street
Arlington, TX 76010
10% off food purchase
The University of Texas at Arlington has approved all the listed vendors to participate in the Maverick Discount Program. It is the vendor's responsibility to maintain their discount offers and to check the university status of a potential customer. The University of Texas at Arlington is not responsible for issues between vendors and customers.


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Election fever
Trip Start Sep 19, 2005
35Trip End Mar 19, 2006
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A quick entry from what will be my home for Christmas, New Year and beyond!
I've been in Sucre for a week already and time is flying. I've started proper Spanish lessons with a lovely language school and am now learning how to do verbs correctly instead of making them up in a kind of French-Spanish mix, which is good.
I have been making some fairly useless attempts at finding somewhere to live more permanently than the hostel I am in - mostly because I have a bee in my bonnet about cooking a proper (well, by Bolivian standards) Christmas dinner, as the kitchen in the hostel is about the worst I have come across in South America
Anyway, its all proving a bit difficult at the moment because the nicer places want to sign you up for 3 or 4 months, which is too long. But, another try again this afternoon might result in something better, I hope.
There's elections on Sunday here and the whole country is going mad. I'm pretty glad to be staying in one place as there are roadblocks on the main roads to La Paz and to Santa Cruz in the south, and we keep hearing horror stories of people on buses either having to walk for 2 hours beside the road or having rocks etc thrown at the bus. Here it is pretty calm, just an awful lot of marches in support of one party or another. Its a really big deal as this is the first time the Bolivians have been able to directly elect their local representatives. Politics is really corrupt here and a lot of the people are desperately poor.
Even my university-educated Spanish teacher only takes home 50 US dollars a month, and she has 4 kids and a husband with no job. Its certainly been a bit of an eye-opener in the last couple of weeks, as even though Sucre is fairly 'European' and easy to live in, there are huge numbers of kids living on the streets and lots of people asking for money all the time. On a positive note, though, the health of the stray dogs does seem better here than some of the sorry specemins in Argentina.
I am also trying to fix up volunteer work here and the language school is meeting with someone from a local orphanage today so I need to go and see later what the outcome of that is.
Anyway, this is the first internet cafe in Sucre I have found with cd drives in the computers, so I am going to attempt to upload some pictures from the last couple of months..... wish me luck!


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March 30 - 31, 2009
Polytechnic Institute of New York University
Presented by the Metropolitan Section of the American Society of Civil Engineers and the Environmental Sciences Section of the New York Academy of Sciences
On March 30 and 31, 2009, the Metropolitan Section of the American Society of Civil Engineers in conjunction with the Environmental Sciences Section of the New York Academy of Sciences will host a two-day conference to evaluate the concept of storm surge barriers to protect the New York metropolitan region from severe coastal flooding. The first day's session will address the questions: Should barriers be built in NYC? If so, when? The second day: Can barriers be built for NYC? If so, how?
What are the lessons of Katrina for New York City? Is the region at risk from a major hurricane? What parts of the city are particularly vulnerable to coastal flooding? To what extent can the region be protected by storm surge barriers? What can we learn from the experience with such barriers in New England and Europe? What would be the impediments to building storm surge barriers? What effect would they have on the estuarine environment? Can they be built? What would they look like? What would they cost? When could – and should – they be in place?
Presentations from experts in academia and the engineering community will address these questions. At each day's conclusion, a panel of experts will evaluate the program and offer their judgments.
We convene more than 100 events and webinars each year, from major international conferences to intimate discussion group meetings of researchers with similar interests. These events cover topics in the life sciences, physical sciences, engineering, and green science and sustainability. We also offer career development seminars for young scientists.


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Student, mother of eight finds balance in a busy life
The Guth family gathers, smiling, on the steps of their Monroe, Wis. home. Melissa Guth and Steve Guth keep watch on their brood from the top step.
Melissa Guth, like many students, has to strike a balance between being a full-time student with her other commitments. Unlike most other students, Guth's other main commitment is to her eight kids.
Even though they range from a 1-year-old to a 16-year-old who is starting to look at colleges, Guth manages to schedule time both for her family and for the schoolwork that is allowing her to become the first of her brothers and sisters to pursue a bachelor's degree.
The daily routine begins at 6 a.m. when Guth and her husband wake their children and prepare them for the day. After dropping her youngest off with her parents and dropping the others off at school, Guth commutes an hour to campus from her home in Monroe, Wis.
Depending on the day, Guth is on campus until early afternoon or late evening before returning home to help with dinner and get the kids to bed by around 8 p.m.
"And then I start my homework," Guth says.
Guth's family includes four children from her first marriage, two children from her husband's first marriage and two children that they have had together.
She had her first child when she was 17 and a junior in high school. A supporting family and school helped make it easier for her than many other teen mothers.
However, she says she felt distant from her friends who graduated and went to college while she, already married, entered the workforce.
"The people that I did fit in with, as far as they had the same kind of things going on in life, were 10 years older than me," Guth says. "I didn't really have anywhere that I fit. I felt very isolated, and trying to find my own place where I fit in the world was very difficult."
She worked as an emergency medical technician (EMT) for six years alongside her first husband, a challenging job to balance with her young children, with late nights and constant trainings.
During the day and after she left her EMT position, she worked in the photo studios of Swiss Colony, a company that sells cheese and sausage but also owns catalogs focused on other products, where she helped create sets for the catalog pictures.
However, returning to school was still the long-term goal.
"It was something that I always wanted to do," Guth says.
Guth attributes her return to school to the support of her husband, Steve Guth. He said it was difficult for her to go back to school because of her selfless care for her family and others. However, he continued to push her.
"I saw in her the endless possibilities that I see in someone who hasn't had the chance to go any further," he says. "I thought she would love being able to do some certain things and I wanted her to figure out what those were. I really thought it was an awesome opportunity to her and I was very excited – somewhat daunted, but very excited."
"It's been an entire family effort to make sure this dream is able to happen."
Steve Guth, Melissa's husband
He noted that scheduling has always posed a difficulty in making sure he and Melissa had enough time for their children and themselves. With family excursions in their 15-passenger van, he noted that sometimes they have to take a break such as the two of them attending Melissa's first Badger football game during Homecoming week.
He added the support of both sides of the family has been critical in giving Melissa the chance to return to school.
"It's been an entire family effort to make sure this dream is able to happen," he says.
Guth attended Madison Area Technical College to satisfy her breadth requirements, often studying math similar to what her 16-year-old was studying. She says they would have competitions on who could do better on various topics.
However, her long-term goal was always to transfer to UW–Madison to pursue a degree in social work.
"It was always the plan," Guth says. "I never imagined that I could get in. …I actually didn't have anything else planned. If I didn't get in, I wasn't sure what I was going to do because I didn't really want to go anywhere else."
Mary Paulauskis, UW School of Social Work academic adviser, describes Guth as an enthusiastic student dedicated to the field of social work.
"What I remember the most about her was her talking about the privilege about coming to the UW," Paulauskis says. "I kind of had this revival of pride about the university. I thought that was wonderful to acknowledge the privilege of it."
"If you really want to do something, you can do it. I'm proof positive of that."
Melissa Guth
According to Paulauskis, adult students returning to the school are common since social work requires people with a variety of life experiences. While those students still make up a minority of students in the school, their experiences bring a diversity of background and perspectives to classroom discussions.
Guth says she turned toward social work as a way of improving people's lives. She plans to work with children and families after graduating, but might also pursue a master's degree.
Coming to the school has taught her things that she never knew about herself and demonstrated she can be a full-time student and mother.
"If you really want to do something, you can do it," Guth says. "I'm proof positive of that."


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ü Umnitza.com Pre-Painted Bumper Service Offer From $125
We'd like to announce today that we have an agreement with a local shop in the Bay Area that will allow our local customers to receive an incredible low cost of paint for their bumpers.
For $125 we will pre-paint these bumpers to your factory BMW paint code:
1) CSL Bumper for Sedan or Coupe
2) E36 Front Bumper
3) E39 M5 Front Bumper (now lower priced)
4) E46 M3 Front Bumper for Coupe or Sedan
5) E46 Mtech II Sedan or Coupe Bumper
6) E60 M5tech Front Bumper
7) E60 Mtech front Bumper
8) E60 Mtech Rear Bumper
9) E90 M3Tech Front Bumper
10) E90 Front Fenders
11) E92 M3 Style Fenders
For $175 we will pre-paint these bumpers to your factory BMW Paint Code:
1) Mtech II Sedan REAR Bumper
2) Mtech II Coupe REAR Bumper
3) E36 Rear Bumper
4) E39 Rear M5 Bumper
5) E60 Rear M5Tech Bumper
For $250, any of the 2 above will be painted for you.
Add $50 for any side skirts added to the above orders.
For $500 we will pre-paint one of these kits for you:
1) F10 M5 Kit
2) F10 Mtech Kit
If it's not on the list, please email us we can work something out.
How long will this deal be on for?
We'll do this for a few weeks or longer depends on demand.
i will be looking into this asap. I need a new front bumper.
these paint prices are sick
There was another question on another forum that fits here:
The reason for this is we will have to use more material and wait for the bumper to cure prior to shipping.
If you are remote, and not local, the deal is still available however, we will ask for your tow cover to perfectly color match if you have a hard to match color - titanium silver, anthracite, etc.
I'm in. Just had a giant piece of shredded tire from a semi crack my bumper on the highway. How do I go about ordering this to have it shipped to KY?
Please give us a call:)
I'm interested in the mtech 2 rear bumper for e46 sedan.
Sent from my DROID RAZR using Bimmer App
Great, give us a call today, we can work out a package for you 925 521 0577
Was about to go with khoalty, but might change route.
Hope you guys keep this going for a bit.. Saving up funds and should be shopping for an mtech 2 front bumper soon.
thanks we will do our best for you.
Can you price out a painted sedan Mtech2 with halogen fogs painted Steel Grey Metallic (#400) with shipping? Really really tempted to pull the trigger on this now that the prices are so low. Can I run stock inner fenders on this too?
154 for bumper
$50 for fogs
$125 for paint
$90 for shipping/handling GPX
You can run stock fenders.
Does the bumper come with the grille mesh and the black plastic bumper strips?
now heres a deal iv been waiting for. so this is 125 on top of the price of the bumper?
Why can't you guys be on the east coast!
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Kozy Shack No Sugar Added Chocolate Pudding
If you´re a fan of chocolate pudding, you´re normally stuck with high sugar content. Kozy Shack makes a version with no sugar added, perfect for chocolate lovers of all ages.
Oreo CarbWell Chocolate Cookies
Oreo has jumped on the low carb bandwagon with its CarbWell low sugar Oreo cookies. What is truly scary is seeing how much sugar is in NORMAL Oreo cookies!
Atkins Chocolate Raspberry Cookies
The low sugar treats in the world keep getting better. They save your teeth from cavities and your waistline from expanding! These cookies are a great balance of chocolate and raspberry.
Carb Options Cream of Chicken Soup
Carb Options offers a cream of chicken soup in their instant soup line. Microwave some water, stir in the mix, and voila! A quick, warm snack.
Low Carb Bacardi Silver
Looking for an alcoholic drink that is low carb and tasty? Give the Bacardi Silver a try - it´s fresh, refreshing and has 2.6g of carbs per bottle.
Carb Options Chicken Noodle Instant Soup
There are many times that you´re at the office or school and need a quick meal. Soup is good food! This noodle soup is healthy but avoids the fattening noodles.
Garlic Broccoli Recipe
Talk about creating a healthy, delicious dish in only a few minutes! Garlic is great for you, and broccoli is very nutritious. Combine the two together in this quick and easy recipe!
The Low-Carb Gourmet Cookbook
If you´re on a low carb diet, you might think you´re stuck with burgers and veggies. Wrong! This gourmet cookbook lets you eat like a king and queen while losing weight.
Edy's Carb Benefit Chocolate Ice Cream
Edy´s has entered the low carb ice cream market with their Carb Benefit ice cream line. The flavor is rich, and there are only 3g of carbs per 1/2 cup serving.
Low Carb Radio on KTRS
For the second time in two months, I´ve been on the radio talking about low carb beer! KTRS in St. Louis, Missouri had me talk about the low carb beer of Anheuser Busch.
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K2 Yeah Yeah Women's BindingMSRP: $169.95
Tweak out fun is the name of the game with the all-new 2011-2012 K2 Yeah Yeah snowboard binding. The Tweakback™ urethane highback is soft and forgiving with just the right amount of support to let you play and find your own tweaked out style.
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PC Gaming
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PC gaming is the platform of choice for video gamers of all ages. From racing to role-playing, the best video games are challenging and exciting. Exploring an alien planet or racing, gamers have mastered escapism in the comfort of the living room or on the go. Enjoy interactive entertainment in the comfort of your home. Who knew conquering alien worlds or competing with world-famous racecar drivers could be a piece of cake? Fun is at the tip of your fingers with new releases for PC games of different genres including role-playing (RPG), single shooter, multiplayer, racing, simulation and sports. Shop gaming computers, gaming keyboards, joysticks, mice, game controllers, Bluetooth headsets, cameras, HDMI cables and other PC video gaming accessories available at Walmart.ca and gain that competitive edge!
Whatever your gaming goal is, enjoy video games with friends online or in the same room while keeping the spirit of competition alive with multiplayer games. Build team spirit with role-playing games, simulation games and strategic games. Pre-order the newest video games for an upcoming hangout and get the upper hand over friends with the extra practice time. Shop Walmart.ca for a growing selection of PC video games and gaming accessories. It's a one-stop shop for your gaming needs!


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Hey, do you read the realitytvworld forums?
This is a discussion on Happiness is a warm gun! within the General Firearm Discussion forums, part of the Related Topics category; I got temporarily assigned to night shift this weekend. Was carrying my PT145 when I went to work and since I can't carry inside the ...
I got temporarily assigned to night shift this weekend. Was carrying my PT145 when I went to work and since I can't carry inside the building I left it in the console of my pickup. Got off at 7:00 this morning and before I left I slid the gun back into its holster.
A chunk of metal sitting in a vehicle in 9 degree weather is cold, let me tell ya now! The love handle on my right side was cold all the way home!
I'm a child of the 60's, but I got over it.
Hey, do you read the realitytvworld forums?
Happiness is also even a cold gun - but one you know will soon warm up again
Chris - P95
NRA Certified Instructor & NRA Life Member.
"To own a gun and assume that you are armed
is like owning a piano and assuming that you are a musician!."
http://www.rkba-2a.com/ - a portal for 2A links, articles and some videos.
Even though its cold, its a warm feeling that you can protect yourself and your family when need be. Steve48
I understand about the cold metal. Yesterday, the daughter and I took the grandtwins to get their 6 month shots. Had to leave the revolver in the car cause the gunbuster sign on the hospital looked ssssssssoooooooooooooooooooo BIG. Looked like a billboard, but I know it was AG regulation size. Twins got their shots, and then I had to deal with miserable kids and a gun that had been frozen. Man, was that piece of metal cold.
A person is justified in the use of deadly force, if such person reasonably believes deadly force is necessary to prevent imminent death or great bodily harm to such person or a third person.
You need to get a heated holster. The kind you can plug into 12 volts
But how far can I get from the car with it on? :)
"If you so much as bunny hop I'll cut your heart out!" Billy Bob Thornton in The Last Real Cowboys
"I carry a gun for the same reason that I carry health insurance and a cell phone - be prepared."


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Search billions of records on Ancestry.com
Carlow County -
Ireland Genealogical Projects (IGP
Thomas Bernard
Co. Carlow
Thomas Bernard O'Neill
Born about 1858 in Kilbride /
Ballon, County Carlow, Ireland. Son of John O'Neill and Mary Hines
Death 6 June 1896 in Jersey City, Hudson, New Jersey
Photo shows him in a New Jersey Police Uniform
The information contained in these
pages is provided solely for the purpose of sharing with
others researching their ancestors in Ireland.
© 2001 Ireland Genealogy Projects,
Back to the Top
Back to the Top


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Artichoke is blogging again! And because I have decided to attempt to write again I am going to comment on her posts here in my own space. Arti has written a post entitled Pedagogical Promiscuity and "Assessment for Learning" where she talks about a number of current issues in modern teaching and learning.
Interesting points that Arti makes are about the continued importance of traditional literacies and how new digital literacies can only be developed on a foundation of knowledge and understanding of how things work. The post takes me back to my brief teaching experience this year when several of the 12 and 13 year old students that I worked with were unable to find their local MPs address in an internet treasure hunt (after we'd spent some time looking at advanced search techniques). The issue wasn't that they couldn't use their new found skills. It was because they didn't know the name of their MP – who happened to also be the Prime Minister of New Zealand, John Key.
During that same teaching experience I spent a lot of time working with the kids looking at different ways to express their learning. We explored websites and blogs, photography, slideshows, audio stuff (I hesitate to say podcasting) and movie making. My brief from the school was to look at ways to help these students become creators. This was all well and good, except that the kids didn't really want to create. They wanted to consume. If they did want to share something they wanted to be able to feed their photos, videos or music into a digital Magimix and have a product plop out at the end. Any form of thought or editing was designated boring because they wanted to move onto the next Chuck Norris joke website or Justin Gaga YouTube.
Of course there is nothing wrong with using a food processor. It certainly speeds up the tedious job of chopping vegetables for soup or smooshingup avocado, chili and onions for a guacamole. The thing that the food processor doesn't do is add the special ingredients – the long simmered ham hock for the soup, the special chili and lime oil that I made last year. The digital Magimix is no different; pulse for too long and you have digital pap, forget to season with judicious editing and it's same-same and boring.
While we have been holidaying, I have spent a little time (and a lot of my precious mobile bandwith) watching and listening to music mashups like this from DJ Earworm and this MJ piece.
When you examine these clips carefully and think about the skills that are needed, it removes the idea from "something all the kids are doing" to an artform. I couldn't even start with the beat matching to make a mashup like this. And the video skills – these clips aren't made on the family computer with MS Movie Maker or on a 13″ MacBook with iMovie 09. These are professionally crafted pieces that have taken hours to complete.
I have been playing with MS ICE software and the photo-stich function of my camera. The results are pleasing but nowhere near the professional results that a "proper" photographer would achieve. I've made them for my own amusement and to show to my family and friends. My son brought his little HD video camera to Melbourne and has spent a few minutes compiling his aeroplane taking off clips into a dream sequence. Again, his short video pieces will amuse his family and his friends and maybe garner a few hunderd view on YouTube.
What my pictures and my son's videos won't do is display anything much more than the fact we have some nice consumer gear and that we can hold them still occasionally and press the right buttons at the right time. Even if I had a flash new Canon EOS or bought him the latest "proper" video camera, we couldn't produce more professional material because we haven't the necessary post-processing equipment or the indepth understanding of how to put pieces together.
I think it's time that we stopped conflating the ability to throw some pictures, videos and music together with digital literacy. There are a ton of programs and applications out there that allow you to pour digital stuff in one end and then get a manuafactured product out of the other side. All these are is the digital equivalent of a Magimix that is able to turn ingredients into something more easily digested.


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You missed it This great deal for The Inner Athlete is over. But don't despair, we've got more great deals every day.
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I am knitting in the round a market bag made with sugar and cream. I came to the part of the pattern where I need to change to working with a larger size needle. I took the larger needle and knit with that as my main needle until all the stitches were on the larger needle. Here is my dilemma where I need help. Once all the stitches were on the new needle my working yarn was not on the correct side to continue working in the round. How do I go about fixing this or can I. I know that I could flip the bag so that it would look like I was knitting inside out but for some reason this does not seem correct to me. I would appreciate any advice that anyone would have. Also for future projects that I may make where this same thing comes up (changing to larger needles) is there a better way to switch needles than the way that I did it.
Thanks for the help!!
Welcome to Knitting Help!I'm probably not understanding the problem. When you change the size needle, the larger needle is in your right hand and the smaller needle is in your left. The working yarn is coming off the smaller right needle but you just pick up the yarn and continue to knit stitches from left needle to right. When you finish the round the working yarn should still be coming off the right needle and you can pick up the other end of the larger circular in your left hand and continue knitting. Can you do this? Pick up the other end of the larger needle and continue knitting? or have things somehow gotten reversed?
Could you possibly post a picture? I think that might help.
When I went from the smaller to the larger needles my working yarn was in my right hand to start. I inserted the larger needle into the smaller and used the working yarn from my right hand. Somehow after I got all the way around my working yarn was pulling from the left side and not the right. I figure I got twisted somewhere along the line. I would like to know how I can fix this and also in the future what I can do so that I don't have this problem again.
The best thing may be to unknit the round stitch by stitch until you get to the place where you inadvertantly switched needles. There should be a small jog or hole there and you can locate it before you start un-knitting. This happens and perhaps an easy way to avoid it is to make sure you pick up the needle with the working yarn in your right hand. Also maybe a marker (a safety pin or loop of yarn) on the right side of the work will help orient you in case things turn inside out.
Maybe you slipped the last stitch onto the left needle. What happens if you just slip that stitch to the right needle?


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Shreveport's 'No Kill' Shelter Offers Alternative to Animal Control
Can you smell what this 'Elmo the Cat' is cookin'? Or better yet, 'Buddy' is dancing like Donkey from Shrek with his one ear up signifying, 'Pick me, ooh ooh, Pick me!' Both of these personality favorites and many more like them are waiting to be adopted into your home.


text:
Proposals for Ending Violence in Schools, and Addressing the Needs of Multicultural Classrooms
Journal of Pedagogy, Pluralism and Practice Main Page
Spring and Fall 2004 Issue Main Page
Sylvia Sensiper - Let's Make a Better Picture
Tony Talbert - Give Peace a Chance in Our Social Education Classrooms
Sandras Barnes - Who is Teaching the Educators?
Caroline Brown - Nick's Careless Laughter
Multiple Authors - Multiculturally Transforming Teaching & Learning
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The Journal of Pedagogy, Pluralism and Practice
For submissions, general queries, or for more information contact the Executive Editor at email@example.com
Note: All submissions must use APA.
Explore the full content catalog of Lesley's Journal of Pedagogy, Pluralism and Practice, featuring articles by leading faculty and practitioners in education, the social sciences, humanities, and the arts, by returning to the Journal's Main Page


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ACWA Submits Letter In Support of Electronic Delivery of Consumer Confidence Reports (CCRs)
ACWA submitted a letter Oct. 9 to the U.S. Environmental Protection Agency voicing support for the electronic delivery of consumer confidence reports (CCRs). The EPA has circulated a draft document titled "Consumer Confidence Report Electronic Delivery Options and Consideration" which proposes electronic options related to the delivery of the reports.
Public comment on the draft document is open through Oct. 11.
In its letter to the EPA, ACWA stated that in "this digital age, many consumers prefer to receive information electronically and even complain that water agencies waste paper on their bills and CCRs."
"Allowing water agencies to also distribute CCRs electronically would provide this vital information to consumers in a format they desire," the letter stated.
The letter also stated that electronic delivery of CCRs would lower paper and printing costs for water agencies and also would save water and trees.
"ACWA greatly appreciates EPA's initiative to move CCRs into the digital age, and offering electronic delivery of this information would continue to improve the consumer's right to know about the quality of their water," the letter, signed by Abby Schneider, federal legislative representative for ACWA, stated.
An amendment to this year's Farm Bill which would have allowed the electronic delivery of CCRs failed by two votes in June. Under that proposal, water agencies not in violation of a drinking water standard could post their consumer confidence reports on their website.
The EPA draft document is available here http://water.epa.gov/lawsregs/rulesregs/sdwa/ccr/regulations.cfm


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Miami Herald/WLRN
673 Queries
What was your experience searching the health marketplace?
The health care marketplace is making its debut in Florida on Oct. 1, allowing some South Floridians to obtain health insurance for the first time. Residents of Miami-Dade and Broward counties will have among the most plans to choose from in the state. Miami Herald and WLRN-Miami Herald News want to know if you'll be peering into the online marketplace on Oct. 1.
Will you be looking into the health marketplace on Oct. 1? Be a part of this story by telling us below. WLRN's news talk show, The Florida Roundup, will be discussing the local affects of the health marketplace on Oct. 4 at noon. You can leave us a message at 305-330-9576 about your experience looking through the options, and we may air you comment during the show.
Miami Herald/WLRN
Are you planning a staycation for Memorial Day?
7 Submissions
How do you feel about the renovation of Jungle Island?
2 Submissions
What do you want to know about South Florida's economy?
25 Submissions


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Recorded Novemberat Lindsay Chapel, Emmanuel Church, Boston, MA, 1991
Erato CD 2292-45818-2
Anne Azéma, soprano
Elisabeth Weigle, soprano
Elizabeth Anker, alto
John Fleagle, tenor
Daniel McCabe, baritone
Arizeder Urreiztieta, bass
Jesse Lepkoff, flute
Michael Collver, fluegelhorn
Steven Lundahl, baritone horn
Joel Cohen, guitar
assisted by:
L. Frederick Jodry, director
Jameson Marvin, conductor
Steven Thomas, preparation
Joel Cohen, director
Principal musical sources: The American Vocalist (Boston, 1849), collection of Joel Cohen;
The Revivalist (Troy, N.Y., 1868), collection of Barbara Owen
producer: Martine Guers
recording engineer: David Griesinger
production coordinator: Betty Alice Fowler
"Improvements makes straight roads, but the narrow roads without Improvement are the paths of genius." -- William Blake
This is a recording about a surprising phenomenon: The vigorous survival, in the Northern part of the United States, of folk-inspired religious hymnody.
It is well known that the "folk" element in American church music, after a start in eighteenth century New England, migrated South during the nineteenth century. In the South, shape-note hymn books like the Sacred Harp and the Southern Harmony, first published in mid-nineteenth century, have maintained, even into the present day, a style of folk-hymnody that was thought to have disappeared in the North. In the South, too, has flourished black people's congregational music, so powerful and compelling that the musical term "spiritual" has understandably but incorrectly come to mean "black religious music" for much of the general public. So the schema was supposed to be as follows: In the South, folk styles; in the North, politer church music that followed (or attempted to follow) the "rules."
What a surprise, then, to find authentic, idiomatic folk hymns and spirituals in song books complied and published in the North! For if it is mainly true that Northern hymbooks of the nineteenth century contain for the most part academic, watered-down Victoriana, a few prints show that the other, more vigorous tradition was indeed alive in the Northern states.
Two rare sources were of prime importance for this recorded program: The American Vocalist, an oblong hymn book in four-part harmony, compiled by the Rev. D.H. Mansfield, published in Boston in 1849 (and purchased by this writer 1986 at a secondhand bookstore in Portsmouth, New Hampshire); and The Revivalist, a book of mostly single-line spirituals, published at Troy, New York in 1868.
Our main source, The American Vocalist, contains music of several sorts, including a large selection of earlier, eighteenth century pieces. Composed by intuitive, nonprofessional singer-musicians of the colonial and immediate post-independence period, these vigourous works contain frequent "mistakes" of partwriting and voiceleading; they often employ nonstandard gapped or modal scales derived from folk practice. Such seeming eccentricities were anathema to the succeeding, conservatory-minded generations of choirmasters that developed in nineteenth-century Boston and other Northern urban cities. The rugged compositions of Billings, Reed, and others, were, for the most part, either radically edulcorated for the genteel urban congregations, or banished altogether from fashionable hymnbooks. The fortunate survival of these older pieces, both in the American Vocalist and in the Southern shape-note books, seemed to depend on the spontaneous affection of the simpler folk who also embraced the folk-hymn ethos.
It seems clear from the other selections of the American Vocalist that the Mansfield, the compiler-editor, was aiming to reach a culturally conservative, presumably less-affluent public for whom folk idiom was still a vernacular style of expression. Many of the standard, nineteenth century hymns are present in this book; so, with modifications, are many of the tunes found as well in Southern collections like the Sacred Harp. A large number of gospel or revival-type melodies are included, as well as arrangements of numerous popular songs of the mid-nineteenth century day, transformed for the occasion into chansons spirituelles.
As in old New England and the Southern books, the American Vocalist's melodies are notated in the tenor rather than the soprano voice. But the harmonic treatment of these airs is unlike that of the Southern hymnbooks. Whereas the Southern style remains almost completely melodic in all voices, evoking the organal singing styles of the European middle ages, or of modern Corsica or Albania, the Boston collection treats the tunes in a simplified harmonic language. Root-position triads dominate; modulations are almost nonexistent. If the Southern shape-note hymns of the Sacred Harp school can at times remind the listener of Leonin or of Machaut, the American Vocalist settings may instead evoke the French Renaissance chanson or the Elizabethan partsong.
A number of the American Vocalist's and The Revivalist's melodies are in the minor mode. In the South, these same tunes are invariably notated and sung with lowered leading-tones. The Northern books frequently "gentrify" the melodic lines by raising the leading tones (and sometimes creating hairraising problems of voiceleading in the process). Were the melodies actually sung in this more "harmonic" way, or were the added sharps a kind of Sunday suit, mainly for show on the page? There is no clear answer. In these performances, we have frequently ignored the Northern editors' "musica ficta" in order to simplify the voiceleading and to maintain the modal, preharmonic character of the original melodies.
All interpretations of historical music involve a blend of knowledge and intuition. Even with music as close to us as this, many questions about performance practice are unclear and must be decided anew in our own time. The still-vital Sacred Harp tradition, while enormously important to us, does not answer all our questions about how this music may have been sung over a century ago, in the North. Our performances here employ a variety of musical means: solo voices, chamber-size vocal ensembles, choral singing, and occasional instrumental accompaniments. We have attempted to make evident the links with earlier musical styles -- this repertoire, after all, has deep roots in older European music -- while maintaining an idiomatic, American approach.
The consistent richness and expressivity of these works is once again a testament to the intense musicality -- and the profound spirituality -- of America's peoples. And we are reminded once again that these most essential human qualities are often to be found and experienced away from the mass markets, independent of both the academy and the music industry, and outside the official culture of the United States.
Joel Cohen
spring, 1992
Notes on the Pieces
N.B. our source is The American Vocalist, unless noted otherwise
The Warning.
The tune (originally the tenor of a compostion called Bunker Hill) is by the eighteenth century Boston composer William Billings. With these new words about the Last Judgement, the melody is found in both The American Vocalist and the Revivalist.
One of the most popular and widely reprinted colonial pieces, by the Connecticut composer Daniel Reed. A prime example of early-American pessismism, Windham is still performed in our own time at Sacred Harp sings in the South . The last two strophes we give here are from The Revivalist. Here, as elsewhere on this recording, we mix octaves on soprano and tenor lines, conforming both to the advice of William Billings and to modern-day shape-note practice.
Judgement Day
Source: The Revivalist. Songs about apocalypse and judgement are common in the revival repertoire -- some of these poems and tunes trace their ancestry back to the Middle Ages (see, for instance, the paired songs Judicii Signum -- The Great Day in the Boston Camerata's recording New Britain : The Roots of American Folksong, Erato CD #2292-45474-2). Judgement Day's eerie, unstable-to-modern-ears melody is built on a six-note scale.
Another eighteenth-century favorite by Daniel Read. This is a typical "fuguing tune": An opening, chordal phrase, followed by an imitative section giving each of the four parts an instant of prominence. Such works were considered more difficult, sophisticated, and "showy" than the strophic hymns.
Our source for this beautiful setting of a John Wesley poem is a mid-nineteenth century Methodist hymnal from the Barbara Owen collection. The hymnal gives a four-part harmonisation; we have extracted the melodic line and added a simple guitar accompaniment.
Canterbury New.
A fuguing tune attributed in The American Vocalist to "Smith."
A fuguing tune. The author is given as "West;" the poetry, contemplated anew, evokes the still-unspoiled (for how long?) rural areas of New England.
I shall be satisfied.
Source: The Revivalist; "as sung by Rev. G.C. Wells (George C. Wells, 1819-1873) -- arr. by Rev. A.C. Rose." An unusual, haunting two-part setting that treats -- as in medieval polyphony -- unisons, fifths, and octaves as consonances.
The "Stephenson" of the attribution is the English musician Joseph Stephenson (ca. 1770) This perky fuguing tune also appears in many colonial hymnbooks, and some Southern shape-note collections.
Bonnie Doone -- The Star of Bethlehem.
The instrumental setting of this very popular nineteenth century parlor song is from an midcentury anthology of dance tunes preserved at the Harvard Music Library. The first two vocal strophes of the Christmas contrafact are adapted to the instrumental harmonisation; the final strophe is from The American Vocalist.
O Come, Come Away.
Another popular piece in a harmonic, mid-nineteenth century style.
School Hymn.
Source: The Revivalist; "arr. by John Baker." The rhythms and scale patterns recall Scottish folksong.
The Gospel Feast.
The only attempt at a modulation you will hear on this entire recording occurs in measure four. This melody, like the one preceeding, once again contains some "Scottish snaps."
Go worship at Emmanuel's feet.
A harmonic, chord-based work not far in spirit from some tunes of Stephen Foster. This delightful song underscores the evolution in music and poetry from the often gloomy Calvinism of the eighteenth century to the cheerful optimism we tend to think of as typically "American."
John Anderson, my Jo.
From a midcentury Pennsylvania song book in the Owen collection comes this setting of a Robert Burns poem.
Go when the morning shineth.
A sacred song based on the preceding piece. The underlying harmonies, as is often the case in minor-mode tunes with roots in the British isles, recall the passamezzo antico, a sixteenth-century ground bass pattern.
Capt. Robert Kidd.
From a book of dance tunes published in Boston. This is an English folksong whose original text began "My name is Captain Kidd, and I sailed, and I sailed..."
How precious is the name.
"Captain Kidd" became this well-known folk hymn, found in several Southern songbooks as well. The famous "Wondrous Love" hymn has an identical strophic form, although the tune is different.
Roll Call.
Source: The Revivalist; attributed to J. Baker. The solo-and-response format is quintessentially revivalist. The military imagery reminds us that many of these pieces were sung and published, North and South, just before, during, and immediately after the Civil War.
Glad Tidings.
The dancey rhythms and short phrases are typical of the gospel-revival style. There are versions of this piece in both The Revivalist and The American Vocalist.
Deal gently with thy servants.
Several texts are associated with this beautiful, widely-diffused melody. This poem manages to speak of death with an openness and simplicity absent from many modern-day hymnbooks.
Shall we gather?
Source: The Revivalist, but widely reprinted elsewhere; by Robert Lowry (1826-1899), a prominent composer and compiler of revival songs. A moving vision of Paradise, one of the best known revival hymns. Charles Ives treated it as an art song, and included it in his fourth sonata for violin and piano. Shall we gather? also appears in the soundtrack of John Ford's 1946 film "My Darling Clementine," one of the greatest and most deeply resonant American artworks of this century.
Happy Land.
A very popular revival tune, both North and South. This setting, in idiomatic shape-note style, is from the Georgia songbook, The Social Harp..
Burst, ye emerald gates. The melodic and harmonic language are Victorian; but the hymn is found in the folk-oriented section of the American Vocalist, and in southern hymnals as well. The vigour of the tune and the happily apocalyptic nature of the poem must have appealed to the camp-meeting folk as much as it does to us.
These notes are © by Joel Cohen
- I. The Warning: The Warning; Windham; The Judgement Day; Greenwich
- II. Great Comforter, descend: Wrestle; Canterbury New;Edom;I shall be satisfied
- III. The Star of Bethlehem: Milford; Star in the East; Bonnie Doone; The Star of Bethlehem
- IV. The Gospel Feast: O Come, Come Away; School Hymn; The Gospel Feast; Go worship at Emmanuel's Feet; John Anderson, my Jo; Go when the morning shineth; Capt. Robert Kidd; How precious is the name; Roll Call; Glad tidings
- V. At the River: Deal gently with thy servants; Shall we gather?; Happy Land; Burst, ye emerald gates
some press clippings from the Camerata archives
Review of "The American Vocalist"
from Le Monde de la Musique (Paris), December 1992"LE CHOC" (highest, exceptional category)
The spirit of discovery animates most of the Boston Camerata's anthologies, and especially this one, which leads us to the heart of an unknown or forgotten America -- that of traditional hymnody in the North, sung by small congregations in New England, vanished in the wake of modern-day marketing imagery. This repertoire is as unusual as it is little known. Only two (Northern) collections, of which one has lent its title to this recording, have conserved the written record of popular choral song, which was much more deeply rooted in the South (the famous spirituals). In the large urban centers of the North, this tradition gave way to the faded, sugary harmonies of the Victorian style. Joel Cohen's earlier American recording, New Britain, illustrated in the best didactic fashion the invisible threads linking up European music with the American folksong. The idea here is similar, but this time the time period is synchronomous. It is astonishing to discover, in a program so restricted in its time frame (1850-1870) and its geography, such a variety of styles. These evoke, from this (European) side of the Atlantic, the harsh lyricism of the Calvinist psalms, the characteristic turns of Scottish folksong, and hymn writing of the late eigteenth century. Throughout, musical writing full of archaicisms "deranges" the academic manner. The interpretation is perfect in its rightness of tone and its unadorned generosity. Through this simplicity and this natural attitude, the performers, with clear and attractive voices, have succeeding in simultaneously avoiding the traps of a pseudo-naive restitution, on the one hand, and an exaggeradedly emphatic manner, on the other. The gift of spontaneity that these musicians (expert in performing by heart) possess, here reveals itself as priceless. We are thus brought still closer the secret song of an America that, as Joel Cohen rightly points out is "far from the official culture of the United States." Marc Desmet
Review of "The American Vocalist"
from Diapason (Paris), December 1992 Integrated, documented, produced by scholarship wedded to warm human commitment, this new recording by Joel Cohen is a sparkling mix of education and entertainment. In a salient and lucid essay on his methods, the Boston Camerata's director invites us to contemplate "the vigorous survival, in the North of the United States, of folk-inspired religious hymnody." A specialized treatment of such a narrow topic carries with it some serious risks of hermeticism. Just as it was with his earlier "panoramas" -- French noëls and American folksongs -- Joel Cohen avoids the trap of a rigidly "scientific" approach, or the archival document. Although musicological discipline has guided the researcher, it is above all in order to aid the expressive inventivity of the performer. Resurrected from rare collections -- The American Vocalist and The Revivalist -- published during the last century, these songs are presented neither in strictly chronological nor aesthetic sequence; rather, they are grouped around a very effective thematic progression (The Warning, Great Comforter Descend, The Star of Bethlehem, The Gospel Feast, At the River). No trace of monotony within each group, since the musical discourse (monodic or polyphonic in varying degrees) and the performing forces utilised (ensemble of soloists, a capella and instrumentally-accompanied ensembles, small and large choral forces) evoke different solutions with every piece. Recalling the Middle Ages of Léonin and Machaut, or French and Elizabethan partsongs, these hymns put us ill at ease in only one respect -- their surprising, misleading dates, 1850-1870! Pierre Gervasoni
Review of "The American Vocalist" (Erato)
from Repertoire (Paris), November 1992 score: 9 (out of possible 10)Here is a recording that is precious both by the rarity of its repertoire and the quality of its production. Joel Cohen has gone scratching beneath the surface of comfortable clichés. It is well known that in the American South of the nineteenth century, black musical practice developed a melodic art known now as the "spiritual." In the North, music, more imbued with a European ethos, seemed at the nineteenth century's end more remote from its popular essence. Joel Cohen shows us, by recording pieces from two hymn collections published in Boston and New York circa 1850, that the more traditional roots of vocal music did indeed exist in the North at that time. We discover with intense pleasure these works -- concise, absolutely delightful in their harmonic simplicity, whose stylistic model, often quite perceptible, goes back to Renaissance part song. The recorded format proposed by Joel Cohen is admirable in every way: To avoid any effect of monotony, there are alternating performing forces (from one to thirty singers) and highly varied expressive modes; and a subtle instrumentarium of very high quality, avoiding false sophistication or over-emphasis... a very beautiful recording. Christophe Huss


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Date of Stay: April, 2010
We have camped at Hollyridge for several years. Since the new owners have settled in, it is evolving into a true family campground. So many things for the children to do. The energy level of this new team is off the hook! I had a blast hiding Easter eggs and watching the children run to find the prizes. If you have never played Arizona style Bingo, you must. It was awesome! You owe it to yourself to stay for a few nights, but you may want to stay longer.
Date of Stay: April, 2009
This is a great overnight park. We have stayed here twice and have never met the owners. We call ahead and find a spot that's open, pull in, hook up and sleep. In the morning, I go to the back door of the house, fill out the registration, put in my check, put it in the slot and go on my way. It's right off the interstate, but off enough that the noise is not a problem.


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Create an Account - Increase your productivity, customize your experience, and engage in information you care about.
View All Calendars is the default. Choose Select a Calendar to view a specific calendar. Subscribe to calendar notifications by clicking on the Notify Me® button, and you will automatically be alerted about the latest events in our community.
March 18, 2017, 7:30 PM @ Joy Performance Center
The Fantasticks is a 1960 musical with music by Harvey Schmidt and lyrics by Tom Jones. It tells an allegorical story, loosely based on the play The Romancers by Edmond Rostand, concerning two neighboring fathers who trick their children, Luisa and Matt, into falling in love by pretending to feud. The fathers hire traveling actors to stage a mock abduction, so that Matt can heroically seem to save Luisa, ending the supposed feud. When the children discover the deception, they reject the arranged love match and separate. Each then gains disillusioning experiences of the real world, seen in parallel fantasy sequences. They return to each other bruised but enlightened, and they renew their vows with more maturity.


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Santa Cruz
Delk joins Santa Cruz County Bank
Marshall Delk has joined Santa Cruz County Bank as vice president and regional relationship manager, based at the Aptos office, 7775 Soquel Drive.
He is the second well-known local banker to leave Lighthouse Bank for Santa Cruz County Bank, the elder of the two locally owned banks, founded in 2004.
Jon Sisk made the switch in August; both Delk and Sisk were on the team that opened Lighthouse Bank in 2007.
During his 27-year banking career, Delk has held the title of president, chief operating officer, chief financial officer and controller. He has a bachelor's degree from the University of Louisville and a master's degree in taxation from Golden Gate University in San Francisco.
Delk serves on the Board of Dominican Hospital Foundation, the Santa Cruz County Workforce Investment Board, the Cabrillo College Foundation Finance Committee and the United Way of Santa Cruz County Audit Committee. He is a past president of Big Brothers/Big Sisters of Santa Cruz County and Cabrillo College Foundation, former board member of the Santa Cruz Symphony and a supporter of local youth soccer leagues and schools.
David Heald, president and chief executive officer of Santa Cruz County Bank, said, "The bank's growth and strong financial performance has allowed us to take advantage of opportunities to hire experienced bankers in our marketplace to support our promise to deliver a relationship-style of banking to our community."
Wednesday's Tech Meetup sold out
The Santa Cruz New Tech Meetup slated for 6-8:30 p.m. Wednesday at Cruzio, 877 Cedar St., has started an online waitlist after a capacity crowd of 225 signed up.
Presentations will be made by Abe Smith of Badgeville of Redwood City, which uses gamification to increase customer and employee engagement, and Ron Barr of Life Correlations of Santa Cruz, an iPhone app to discover what might cause your allergies.
Three teams from UC Santa Cruz IDEASS will present projects on electrochemical renewable energy storage, sustainable off-grid solar products and municipal waste-to-energy and get feedback from mentors. Cost is $5. For information, visit www.meetup.com/santacruznewtech/.


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Discussion in 'NFL Zone' started by WoodysGirl, Oct 15, 2012.
I was laughing out loud at that.
first thing I thought of
SHHHHHHHHHHH...only Romo throws that pick.
Nope. Only Romo throws INTs.
Great minds think a like.
after the int he spiked the ball and got a delay penalty, yesterday after a Dallas incompletion a Raven kicked the ball yet there was no delay penalty called.
any ideas why or what the rule is ?
Dumb rule....how is it delay of game when most of the players are on the other side of the field? You're not delaying anything. It's like its a rule just for the sake of a rule.
Pretty sure both should be penalized.
If you're ever bored, here's a copy of the 2012 rulebook.
http://static.nfl.com/static/content/public/image/rulebook/pdfs/2012 - Rule Book.pdf
Anyone know why everyone on ESPN refer to Chris Berman as BOOM?
His nickname is Boomer.
I mean how did he get the nickname Boomer.
Why does Peyton wait until his team is down by 20 or more before he starts playing well????????????
San Diego choking!!!!!
Not sure if people stopped watching because Denver was down 24-0 but they have now cut it to 24-21
I'm still watching..
Game's gotten a whole lot more interesting since Peyton & Co. decided to get out of their own way.
Broncos int!! Wow....choke choke choke
River's choking.
If Romo had just thrown that sorry of a pass for an easy INT then not only the people here would be committing suicide, but the media would be busy carving his grave. Unreal.
LOL, it looked like everyone just left the thread and turned the game off LOL
I hate to say it, but the San Diego Chargers truly are the Dallas Cowboys of the AFC.


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Internet Article Resource HTML version
Methods Of Website/Product Promotion
Search Engine Optimisation
This is undoubtedly the most powerful internet marketing technique out there.
Without question the people who make the most money, or get the most traffic,
are those who are in the top five spaces in the google rankings for their particular
category. In a perfect world you could get to the top of the google search engine
with no money and very little effort. Unfortunately it doesn't work this way. These
days you have to either be a SEO expert, or have enough money to be able to
hire one, and believe me they don't come cheap.
So unfortunately, nowadays search engine optimization is only an option for the
experienced or the rich. In any case, using this technique will usually take weeks
or even months to show any real results. We live in a world where what used to
take hours or days can now be accomplished in seconds. Impatience is
programmed into us at birth and enforced through our early years. We want it
Pay-Per-Click Advertising
It was absolutely fantastic when pay-per-click advertising first came out. Those of
us who got in there early were able to make a killing in our niche market. Yes it
took a bit of work, but it was worth it. Qualified clicks to your websites were
cheap yand if our sales letter was good enough you could do extremely well for
yourself. How quickly things changed.
Whilst some people believe that pay-per-click advertising is still a hugely effective
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The possible exception here is "Google Adwords". I don't know because I haven't
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Why, oh why, do so many of us internet marketers fall for these silly pie-in-the-
sky schemes and software packages? We've all seen the adverts:
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Alternative Price Indexes for Medical Care: Evidence from the MEPS Survey
Spending on medical care is a large and growing component of GDP. There are wellknown measurement problems that are estimated to overstate inflation and understate real growth for this sector by as much as 1-1/2 percentage points per year. Because of its size, this would translate into an overstatement of inflation for the overall economy of about ¼ percentage point with an equal understatement in real GDP growth. In this paper, we use data from the Medical Expenditure Panel Survey to obtain new, more comprehensive estimates for this bias and to explore a possible adjustment to existing official price indexes. The MEPS data show an upward bias to price growth in this sector of 1 percentage point, which translates into an overstatement of overall inflation of .2 percentage point and an understatement of GDP growth of the same amount. We also find that an adjustment recently used in Bradley et al provides a useful approximation to the indexes advocated by health economists.
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|Feb 2011
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References listed on IDEAS
Please report citation or reference errors to , or , if you are the registered author of the cited work, log in to your RePEc Author Service profile, click on "citations" and make appropriate adjustments.:
- Ana Aizcorbe & Eli Liebman & Sarah Pack & David M. Cutler & Michael E. Chernew & Allison B. Rosen, 2010. "Measuring Health Care Costs of Individuals with Employer-Sponsored Health Insurance in the U.S.: A Comparison of Survey and Claims Data," BEA Working Papers 0066, Bureau of Economic Analysis.
- David M. Cutler & Mark McClellan & Joseph P. Newhouse & Dahlia Remler, 1998. "Are Medical Prices Declining? Evidence from Heart Attack Treatments," The Quarterly Journal of Economics, Oxford University Press, vol. 113(4), pages 991-1024.
- Berndt, Ernst R. & Cutler, David M. & Frank, Richard G. & Griliches, Zvi & Newhouse, Joseph P. & Triplett, Jack E., 2000. "Medical care prices and output," Handbook of Health Economics, in: A. J. Culyer & J. P. Newhouse (ed.), Handbook of Health Economics, edition 1, volume 1, chapter 3, pages 119-180 Elsevier.
- Aizcorbe, Ana & Nestoriak, Nicole, 2011.
"Changing mix of medical care services: Stylized facts and implications for price indexes,"
Journal of Health Economics,
Elsevier, vol. 30(3), pages 568-574, May.
- Ana Aizcorbe & Nicole Nestoriak, 2010. "Changing Mix of Medical Care Services: Stylized Facts and Implications for Price Indexes," BEA Working Papers 0064, Bureau of Economic Analysis.
- Irving Shapiro & Matthew D. Shapiro & David Wilcox, 2001. "Measuring the value of Cataract Surgery," NBER Chapters, in: Medical Care Output and Productivity, pages 411-438 National Bureau of Economic Research, Inc. Full references (including those not matched with items on IDEAS)
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Robbing a Little Space from my Return Air Shaft
I want to install a recessed shelf unit in a wall that is one side of my return air chase.
It is of course not the side with the filter and louver.
(The filter is on the West side and I want to alter the North side.)
The return air chase is quite large and is simply a vertical shaft that is framed out of 2x4 studs and sheetrocked on the non shaft sides. i.e. the studs are visible inside the shaft. I seriously doubt that the shaft was "engineered" as to exact size needed to maximize the HVAC unit in the attic above.
The house was a medium priced track home built in the late 70s.
The shelf will eliminate approx 17 cubic ft of space.
The return shaft is approx 84 cubic feet of space.
The filter louver is 18" x 36".
How do I figure out if I can spare 17 cubic feet out of the shaft?
wink :wink:
Hi winkydink
Measure the inside dimension of the return chase, We will also need to know the model # of both the furnace and a/c unit to help determine what is necessary. Just taking the cubic feet of the space is not really of any use to us. Let us know these few things and we will help as we can.
Do you want the info off the condensor or the evaporator A-coil?
The shaft is 36" x 42" x 8 foot high plus the 3 foot box overhead in attic which turns into the horizontal blower/furnace.
The shelf will be 30" x 80" x 12" deep.
Its goin behind a door to put my boots in.
wink :wink:
Hi winkydink
I would not forsee this being a problem, when we answer questions without some of the variables, it seems to come back and haunt us. The reason I needed these measurments and the equipment model # is to make sure you still had adequate return without uspseting the velocity greatly. I believe as long as the wall does not pertrude any more than 12" you should still be ok up to about five tons. I do not have my duct calculator at home though. If there is a problem with that I will let you know in the morning unless one of the other guys has theirs tonight.
AC Evap Coil ; CSH 102040J; 42000BTU; Coolant=22; 500PSI;
Goodman A/C condensing unit CK 42-1 (10 seer) serial#0107475633
Singer Central Heating Unit
In attic horizontal;
Model G-H162080-12M Nat
Serial# 0240675-F49-0087
1/4 HP Motor
Max. Ext. Static pressure in Water column = 0.50
wink :wink:
Hi winkydink
I was just reading through your list of equipment, When I got to your A/C condensing unit it sent chills down my spine, not in a good way either. You should be fine with the return air intrusion. Your current system is a 3.5ton or @ 42,000 BTU for your air conditioning. I would not reccomend protruding any further into return though. Let me know if you have any further questions, I left you a reply to your other question also.
Good luck
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