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This interview was originally broadcast on October 27, 2003.
Soul singer Howard Tate, who rose to prominence in 1967 with the hit "Get It While You Can," died on Friday. He was 72.
Tate made a comeback in the past decade, after disappearing for nearly 30 years from the music industry; he'd been living on the streets doing whatever he needed to feed his drug habit. But Tate got sober, found religion and started recording again with Jerry Ragovoy, the first producer and songwriter he'd worked with in the industry.
In 2003, Tate and Ragovoy — who died in July of this year — joined Terry Gross for a wide-ranging conversation about their careers in the music industry. Highlights from that conversation appear below.
Interview Highlights
Jerry Ragovoy On Tate's 30-Year Disappearance
"Howard sort of disappeared around 1972, and I just accepted that as a fact of life and didn't do anything about it. In the early '80s, I started getting phone calls from various club owners across the country. In fact, some even in Europe were calling, looking for Howard Tate to book him in clubs. And I said, 'Well, I'll try to find him for you,' and that went on for I would say close to 10 years. ... And one day, I got a call from a journalist in London, England, who told me that he's doing an article about Howard Tate in one of the magazines there, and would I mind answering some questions, such as, 'What was it like to work with Howard in the studio?' And I happened to comment — I said, 'Really?' I said, 'You know, I've been looking for Howard for about 10 years.' And the journalist replied, 'Oh, really? I spoke to him yesterday.' And it was like, 'What?' Anyway, I got Howard's number and I called him. And soon, we were talking about the possibility of recording again."
Tate On His Early Years Collaborating With Ragovoy
"I thought we could set the world on fire. And our very first record was a hit, 'Ain't Nobody Home.' And the second one was a hit and 'Stop' was a hit, you know, but it was hard to cross over back then, of course, but we were tearing the charts up."
Tate On His Song Being Covered By Janis Joplin
"I never heard Janis sing ['Get It While You Can'] until I came back. Of course, when I left the music industry, I just completely cut myself off from it ... and I didn't listen to radio or anything like that. And so when I heard the story and how her record was such a hit, and I heard her sing it when I came back, I was amazed."
Tate On Leaving The Music Industry In The '70s
"I walked away from the music industry altogether, because I might have been a little high-strung and might have misinterpreted some things at that time, as we all do, and I — it was financial issues, and I might have misunderstood some facts back there, and I'm sure I did. And so I walked away from it, very bitter. You know, right or wrong, I was very bitter and, you know, that's what happened."
Tate On His Drug Addiction
"I would walk miles to make $20 and run right back to the dope man. And then I'd walk another 20 miles if I had to, till I got that next $20. I'd do that from morning to night for almost 10 years of my life to support that habit."
Tate, On Singing For The First Time In 30 years
When I opened my mouth and I stepped up to the mic, I knew it was a miracle. And Jerry didn't know it, of course, but I was thanking God, you know, with all my heart and soul that he had blessed me to still have the voice."
This is FRESH AIR. I'm David Bianculli of tvworthwatching.com, sitting in for Terry Gross. Singer Howard Tate recorded a string of soulful hits in the 1960s then disappeared for the rest of the century, only to resurface in 2001 to enjoy a new wave of popularity and make some new, highly acclaimed recordings.
He died last Friday at age 72, so we wanted to listen back to the interview Terry Gross recorded with Howard Tate and producer/songwriter Jerry Ragovoy in 2003, The year Howard resurfaced with an impressive comeback album.
During Howard Tate's missing years, he had been living on the streets doing whatever he needed to do to get money to feed his drug habit. He placed some of the blame for his downward spiral on a fire that destroyed his home and killed one of his children.
Eventually, Tate found religion, cleaned up his act and became a minister in 1994, and he re-teamed with Jerry Ragovoy, with whom he first worked back in the '60s. Ragovoy, who died in July, wrote the song "Get It While You Can," which Tate recorded in 1967. Later, it was covered by Janis Joplin.
Joplin also recorded Ragovoy's songs "Try," "Crybaby" and "Piece of My Heart." The Rolling Stones recorded Ragovoy's song "Time is On My Side." Before we listen to Terry's interview with Tate and Ragovoy, let's listen to a song written by Ragovoy from Tate's 2003 comeback CD "Rediscovery."
HOWARD TATE: (Singing) Sorry, wrong number. Ain't nobody here by that name. No use reminiscing 'cuz this time I just won't listen. Don't need the pain, oh no. I'm sorry, wrong number. Baby, you're just, just wasting your time. I made myself forget you, but I'm not about to let you back in my mind, oh no.
(Singing) There was a time I lived only for you...
Now Howard Tate, you started singing in church. Your father was a minister in a Baptist church. You grew up in Macon, Georgia. You were born in Macon, Georgia, and then as a boy moved to Philadelphia.
TATE: That's right.
GROSS: So what kind of preacher was your father?
TATE: He was a Baptist preacher and folk preacher, you know, and I started singing in his church, I guess at about seven or eight years old.
GROSS: So when you made that transition from singing in church to singing on stage, what were some of the changes you had to make?
TATE: Well, just to learn the melodies, that was really the only thing because the voice was there, and I used the same technique and approach to the songs. So that was basically the only changes I had.
GROSS: And what about in your image, your look?
TATE: Well, that had to change a lot. I had to grow a pretty high pompadour back then.
GROSS: Oh, I have a great record right here from your first album, the "Get It While You Can" record. Your pompadour looks like about four inches high.
TATE: Yes, it was really high. And of course, you know, Joe Tex(ph) taught me how to dress when I went on the road because the first, very first show I did out in Detroit at the 20 Grand, I didn't know how to dress, and I was playing with Marvin Gaye, and he looked like a million dollars - no, he looked like $5 million - and I just didn't know how to dress.
And Joe Tex pulled me aside, and he said: Look, man, here's where we get our suits made. And they booked me on the tour with him shortly thereafter, and I went up in New York and had half-a-dozen suits made. And he showed me where to buy the shoes and all that kind of stuff and buy those $300 patent leather shoes. And so that's how that came about.
GROSS: Howard Tate, let's talk about how you ended up disappearing for so long from the music industry. First of all, when did you and Jerry Ragovoy stop working together? You're such a great match, as we just heard.
TATE: Well, after we did the Atlantic LP, "Howard Tate," we separated. I walked away from the music industry altogether and - because I had - I might have been a little high-strung and might have misinterpreted some things at that time, as we all do, and I - it was financial issues, and I might have misunderstood some facts back there, and I'm sure I did.
And so I walked away from it, very bitter. You know, right or wrong, I was very bitter and, you know, and that's what happened.
GROSS: Jerry Ragovoy, what's your version of that story?
JERRY RAGOVOY: Well, there's very little to contradict. He simply disappeared, and I never knew what happened to him.
GROSS: Didn't say goodbye, didn't say our collaboration's ended?
TATE: No, no flowers.
GROSS: And were you aware of what Reverend Tate was just describing, that he was feeling very bitter about his financial standing within the music industry?
RAGOVOY: He sort of disappeared virtually overnight, and I never had to - had the opportunity to discuss why, how or when. It just happened, period, he was gone.
GROSS: So where'd you go when you were gone?
TATE: Well, I went back, and I sold insurance for a while, but I was so depressed until I fell into the drug scene, and I couldn't get it out of my mind that I hit so fast when we came out of the stall. We came out, and we - they released "Ain't Nobody Home," and I was working.
I came home from work one day, and a big limousine was sitting in front of the door, and they said you got to get in here right away. They gave me $1,000. They said you got to get a suit, you're playing with Marvin Gaye tomorrow. That's how fast I hit.
And right behind that, "Look at Granny Run" and "Stop." And so that kept flashing back in my mind because there must be so many thousands of artists that cut records, millions, and they can't hit. And I came out of the chute and hit, you know, big time.
And so that flashed back through my mind, and that - I thought drugs would alleviate that depressed feeling that I had, which was a crucial mistake. It only led to destruction, homelessness and all of that, and that's what happened.
GROSS: What was your drug of choice.
TATE: Cocaine.
GROSS: An expensive choice.
TATE: Expensive choice, and it'll completely destroy you, and it destroyed me. It's a miracle that I'm sitting here, and I'm back.
GROSS: Okay, so first of all I'm having a hard time picturing you selling insurance. Okay, so you're selling insurance for a while, and then there was also something else that happened in your life: Your house burned down. And I think that was a turning point for you, also.
TATE: Yes, that was something else to depress me. I lost a daughter, 13 years old, in a house fire. And behind that, my marriage was - we - I went through a divorce. And so it was just a devastating period for me. And I thought the more drugs I did that, you know, that would be the answer. But it wasn't the answer.
GROSS: Did you ever say to yourself - did you ever look around at the other people who were doing what they were doing to feed their habit and look at the drug dealers who you were buying from and look at the other homeless people who you knew and say to yourself: What am I doing here? I'm Howard Tate. I'm a recording artist. I'm a terrific soul singer. What am I doing here?
TATE: Well, there was times when I would, within myself, remember who I was and where I'd come from and the success I had had. But cocaine, those drugs destroy your very will. They destroy everything about you, your pride, everything. And I lived for the drug. There's wasn't many times I realized I had fallen into that subculture with that subculture, and I was trapped there. And least that's what I thought because I never thought I'd make it out alive.
GROSS: Did you sing at all during that period, and I don't mean performing, I mean, just singing to yourself?
TATE: Never sang a note. I never sang a note all those years. In fact, when I - Jerry, I met Jerry in New York, and he says I'm going to send you a couple of demos. If you learn these songs, I'm going to have you come to Atlanta to see how you sound on them. He sent me the demos, and the truth about the matter, Terry, I never once opened my mouth to sing those demos, not once.
I could not bring myself to listen to the singer that he had on the demos for me to learn the songs by, and I could not bring myself to sing those songs. I only did it when I got down to his studio and stepped up to the mic and opened my mouth, and it was all there.
GROSS: Let's hear another track, and it's a song that you did together many years ago, that, Jerry Ragovoy, you wrote. And a lot of people will also know this song from Janis Joplin's version of it. And the song is "Get It While You Can." Before we hear it, Jerry Ragovoy, what inspired the writing of this song?
RAGOVOY: I wrote that in the very middle - in the middle '60s with Mort Shuman, and we simply just wrote it because we thought it was a message that was very powerful and almost universal and almost surely have longevity. And that was one of the reasons we wrote it.
GROSS: And how did Howard Tate end up singing it?
RAGOVOY: Well, we thought it came out so terrific in our own opinion, I decided to do with Howard and did an arrangement, and we recorded it, and several months later, Janis Joplin recorded it.
GROSS: Had she heard his version? Is that what happened?
RAGOVOY: Oh absolutely. That was the reason she recorded it.
GROSS: And Howard Tate, how did you feel when Janis Joplin not only recorded it but had this huge hit of it? Like, it was a song that was more associated with her than with you because most people had heard her version. More people had heard her version than yours.
TATE: Well, I never heard Janis sing this song until I came back. Of course, when I left the music industry, I just completely cut myself off from it, and I didn't listen to radio or anything like that. So when I heard the story and how her record was such a hit, and I heard her sing it when I came back, I was amazed.
GROSS: When was this? Was this like recently?
TATE: Well, it was two years ago, close to three years ago.
GROSS: That's amazing to me that you'd be so disconnected that you wouldn't even know she did...
TATE: I didn't even know she did it.
GROSS: Wow.
TATE: I didn't know B.B. King did "Ain't Nobody Home." I didn't know Jimi Hendrix did "Stop" because I just walked away from it, and I didn't listen to the radio. I didn't want to hear anything about it, and I just isolated myself from it completely.
BIANCULLI: Howard Tate and Jerry Ragovoy, speaking to Terry Gross in 2003. Tate died earlier this week at age 72. Before we hear more of Terry's interview, let's listen to Howard Tate's 1966 version of the Jerry Ragovoy song "Get It While You Can," which Tate recorded Janis Joplin got to it.
TATE: (Singing) When you love somebody, you're taking a chance on sorrow. But who knows, baby, we may not be here tomorrow. So if someone comes your way with love and protection, get it while you can. Get it while you can. Get it while you can. Don't turn your back on love.
(Singing) I wanna tell you a little bit about myself. Once I had a good woman, but I didn't count my blessings. Oh, I wish she could hear me. I've learned a bitter lesson. So if someone brings you love, don't throw it away like I did. Get it while you can. Better go on and get it while you can. Get it while you can, baby, don't turn your back on love. Get it while you can...
BIANCULLI: Let's get back to Terry's 2003 interview with soul singer Howard Tate, who died earlier this week at age 72.
GROSS: You had talked a little bit about your period of being homeless and being addicted. And then I know there was some kind of spiritual awakening or being born again. What exactly happened? What exactly was the religious side of this transformation?
TATE: Well, Terry, the truth is I never thought I would escape the subculture of drug. That is a prison that any hard drug such as cocaine, heroin, anything like that, once you get hooked on that, you believe the only way out is death. I seriously thought I would end up dead.
And I just called on the name of the lord one day, and I just said Lord, help me. And when I said that, I was being attacked. I wanted it. The urge was hitting me. And I couldn't get away from it. But when I said that, it left me.
Only when I would say that, Lord help me, would that urge leave me. I would come under attack. I would really be under attack. I would want that drug so bad that - I mean, you know, I would walk 30 miles to get $20. I would be people let me clean your garage, let me wash your car, let me cut your lawn, let me clean your gutters, just to get $20.
Only when I called on the name of the lord did that urge leave me, and I started realizing something's happening in here, and if I want to ever escape this, I'd better seriously call on the lord and ask him to completely set me free. And that's what happened. He set me free.
GROSS: Howard Tate, this meant changing your life a lot. Now, we neglected to mention that after this period of homelessness and drug addiction you had a spiritual experience and lived in a shelter for a while, joined a church, started your own ministry, became Reverend Howard Tate.
So starting music again meant giving up some of that new life that you'd created, right?
TATE: Yes, it meant giving up some. It didn't have to mean giving up some of it. But we had a split in the church, you know...
GROSS: About whether this was a good thing or not?
TATE: Whether it was a good thing, yes.
GROSS: Well, that must have been odd having other people kind of voting on what your future should be.
TATE: Right.
GROSS: So what was the pro and the con side about?
TATE: Well, the pro side was that, you know, this could be a good thing because I could go all over the world and reach so many people with the life I live and have so many people, you know, that I can see and talk to and reach. And the con side was, well, you can't have it both ways. You know, either you're going to do the work of the lord, or either you're going to serve the devil. And that was the con part of it.
I'm one to believe - and I prayed a lot about this - that you can't put God in a bottle or a box, you know, and the lord answered me and said that I gave you that voice, you know, and when I set you free from being a junkie all those years and brought you back and kept you alive, you know, when you were drugging out there. You could have got your throat slit. You could have got a couple of bullets in the back of your head walking the streets all night, as you did. I took care of you.
So if I choose for you to use that voice, (unintelligible), you know, and spiritual because you can certainly sing some spiritual records, too, you know, who's to question me?
GROSS: Now, you said that the church basically voted on whether you should be singing secular music or not. So who won the vote?
TATE: Well, they gave me an ultimatum that either I would not come back and record and sing secular music again, or I would be cut off from my salary, and they cut me off from my salary, and I had to move out of the home, the rectory that they had provided.
And so I had to do that, and I gave - so I wanted to build a rehab center and buy houses to house the homeless in the state of New Jersey, and I knew I'd need a lot of money to do this. And I said to them: Well, you're not able to give me the kind of money I'm looking for. I think the lord is leading me with all that happened - they re-released the "Get It While You Can" album in Europe, and it took off and sold all over the place, and that's how I was rediscovered.
And so if God is opening up this avenue for me to get the money to help others to escape the prison I was in, the drugs and the homelessness, then I'm going to take that route. And so I gave up the pastorship and became pastor of Gift of the Cross Outreach Ministry, I'm the pastor there, and I decided to record the CD.
GROSS: Okay. I want to thank you both so much for talking with us.
TATE: Thank you, Terry.
RAGOVOY: Thank you, Terry.
BIANCULLI: Terry Gross spoke to Howard Tate and Jerry Ragovoy in 2003. Howard Tate died last week at age 72. His comeback CD, "Rediscovered," was produced by Jerry Ragovoy, who died earlier this year. I'm David Bianculli, and this is FRESH AIR. Transcript provided by NPR, Copyright National Public Radio.


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Lorin Wagner, 66 - January 21, 2009
Lorin Wagner, 66, of Gothenburg died Monday, Jan. 19, 2009, at Gothenburg Memorial Hospital.
A visitation was held Wednesday, Jan. 21, from 11 a.m.-8 p.m. with family members present from 6-8 p.m. at Blase-Strauser Memorial Chapel of Gothenburg.
Services will be held on Thursday, Jan. 22, at 2 p.m. at the American Lutheran Church, 1512 Ave. G, Gothenburg, with the Rev. Matthew Groenke and Lonna Grabenstein, PMA, officiating. Burial will take place at the Gothenburg Cemetery.
Wagner was born Sept. 18, 1942, to Clyde F. and Elinor F. (Kirstein) Wagner, at Neligh. He grew up at Neligh where he attended country school and junior high. His family then moved to Gothenburg in 1956 where he graduated from Gothenburg High school in 1961.
He entered the Army on Jan. 29, 1963, at Fort Hood and was stationed in Okinawa. He was a paratrooper and a Green Beret. He served his country for three years.
On Dec. 2, 1978, he was united in marriage to Carol Lee Holbein at Gothenburg.
Wagner was employed with Valley Sales as a welding technician and worked for several area farmers including Keith Aden, Doug Block and Jim Aden.
He enjoyed farming, cutting firewood, wood crafting and working in his shop, according to family members. During his younger years, he enjoyed local dirt track racing and was also involved in Cub Scouts with his three sons.
?Wagner was preceded in death by: his parents, Clyde and Elinor Wagner; a nephew, Damon Scarrow.
?Survivors include: his wife, Carol of Gothenburg; three sons—Jason (Lisa) Wagner and Michael (Tricia) Wagner, all of Gothenburg, and Mitchell Wagner of Benkelman; a brother, Leon (Karen) Wagner of Neligh; two sisters—Gayleen Scarrow of Gothenburg and Melgene (Jerry) Patterson of Lexington; four grandchildren—Jasmine, Sophie, Haley and Payton; extended family members—Bryan and Peggy Wright and family of Dayton, OH, Randy and Serena Winter and family of Gothenburg.
Memorials are suggested to the Wagner Family at: 811 Sixth St., Gothenburg, NE 69138.
Online condolences may be sent to the family at www.blase strauser.com. Arrangements have been placed in the care of Blase-Strauser Memorial Chapel of Gothenburg.
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subset: commoncrawl


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The Wy'east High School Class of 1963 is planning its 50-year reunion for the weekend of July 20 and 21.
The event will open with a banquet Saturday evening at the Best Western Hood River Inn and will end with a Sunday potluck picnic at Toll Bridge Park.
The Parkdale-Wy'east Reunion will join the class at the park on Sunday and anyone graduating from Wy'east between 1952 and 1970 is invited, including teachers who taught during that period.
Weekend: Couples, $79; singles: $39
Dinner only: Couples, $79; singles: $39
Picnic only: Donation
Booklet and digital picture only: $4
(All costs include digital color class picture e-mailed to you and a booklet.)
A few partial or full scholarships are available.
R.S.V.P. by June 1 to Ellen (Beers) Anthony at email@example.com. Checks should be made out to Class of 1963 Wy'east and sent to Ellen (Beers) Anthony at 811 Pine St., Hood River, OR 97031.
The Wy'east High School class of 1968 is planning its 45-year class reunion for the weekend of Aug. 17 and 18. There will be a dinner at the Elks Lodge in Hood River at 7 p.m. with a social gathering starting at 5:30. On Sunday there will be a potluck picnic at a local park.
Please RSVP to Larry Elliott at 6030 Covey Road, Parkdale, Ore., or by email at firstname.lastname@example.com by May 15 so that organizers can get a count.
The Wy'east High School Class of 1969 has set its reunion dates and is seeking classmate contacts. The class did not get a 40th reunion organized in 2009, but is this year planning a reunion recognizing the 44th year since graduation and the benchmark of reaching the age of "Social Security Eligibility."
This relaxed and casual event, focusing on offering an opportunity to reconnect with classmates and "catch up," will be held Sept. 6-7, beginning with an informal Friday evening gathering in Hood River and continuing with a Saturday evening banquet at the Best Western Hood River Inn.
Details will be emailed and mailed to class members soon. The reunion organizing committee is still seeking the current contact email and mailing addresses of numerous class members.
Anyone having contact information for one or more far-flung Wy'east Class of 1969 members is asked to email classmate contact information to firstname.lastname@example.com or call Terri Vann at 541-490-6557 or Davinne McKeown-Ellis at 541-386-4475. Please leave a message if there is no answer.
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Auto Transport Services Vermont
Are you starting the process of relocating to or from Vermont? Is there a vehicle you would like to move as well? If so, it's important to find a reputable and reliable company that offers auto transport services in Vermont that fit your needs and will ultimately meet your expectations. There are a few things to keep in mind when looking for auto transport services in Vermont. First is Cost, shipping a vehicle across country or state to state can fluctuate greatly in price when choosing auto transport services in Vermont. So it's imperative to get an estimate based on your move and the distance of travel, along with your vehicle specifications. Another important factor to look for when finding auto transport services in Vermont is if they offer any insurance or recovery plans. You should never put your vehicle in the hands of any auto transport services that are not insured, doing so will give you peace of mind knowing if something were to happen to your vehicle during transport you are covered.
Vermont Car Shipping FAQ
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Q: What types of payment does Direct Connect Auto Transport accept?
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Before deciding on your Vermont auto transport company, it's important to read auto transport reviews. Taking the time to read auto transport reviews will allow you to get some insight on how other parties feel about the potential company and the services they provide. It would be in your best interest to read Vermont auto transport reviews for Vermont auto transport services so you can weigh the pros and cons and make your own judgment on whether you want to leave the responsibility of transporting your vehicle in the potential company's hands. When all is said and done, you want to find an Vermont auto transporter that has best auto transport reviews given by satisfied customers in Vermont and then make your decision.


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Rethinking Shaker Design
An examination of the furniture built by the Western communities expands our notions of what is 'Shaker.'
By Kerry Pierce
Pages: 72-78
From the February 2006 issue #153
Buy this issue now
The restored Shaker community at Pleasant Hill, Ky., gives admirers of Shaker architecture, furniture and life
an opportunity to get very close to the source of that admiration. Guests can stay in rooms once home to Shaker Brothers and Sisters. They can walk a gravel boulevard that once was a part of a turnpike connecting the Pleasant Hill community to the outside world. They can tour the gardens and fields that once put food on Shaker tables. They can even dine in the Village Trustees' Office in much the same way as 19th-century visitors to Pleasant Hill once dined in the company of the community's Shakers.
Although the rooms in which visitors stay are furnished with reproductions of Pleasant Hill originals, it's possible to move from room to room in the Centre Family Dwelling and look firsthand at original Pleasant Hill chairs, tables and casework.
In such a setting, it's possible to immerse the senses in the Shaker experience; and for makers and/or admirers of Shaker-inspired furniture, that's an opportunity not to be missed.
From the February 2006 issue #153
Buy this issue now


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The Eagles introduced Howie Roseman as their new general manager today, so it was no time like the present to ask about the quarterback situation.
That is, unless, you're asking Andy Reid. The Eagles coach, of course, doesn't talk about issues that he feels are unrelated to the gathering at hand, which in this case was the introduction of Roseman. Eagles president Joe Banner, however, offered some clarity (we say that sarcastically) on the McNabb-Kolb-Vick conundrum.
"Here's the reality on that, it sounds evasive, but it isn't," Banner said. "[After] we finished playing we all stayed here for a week and kind of finished the evaluation of the season. We all took a week off and then went to the Senior Bowl -- some of us went to the Senior Bowl, some of us didn't -- and we've literally been back one day. So we really have not had the meeting to start figuring this stuff out. Obviously we have to do that. ... Obviously we have to make a decision on what we're going to do. But at this moment I can tell you that we haven't even laid out a plan or sat down and even exchanged our different ideas or thoughts on that."
Yes, but didn't Reid say that McNabb was his quarterback for next year? Does that complicate the analysis?
"I think Andy's comment were unambiguous," Banner said. "I understand that it's still a valid ... question and I don't know if there's anything to clarify or add to what he said. He's the decision-maker. He's the spokesperson. I think he was clear."
All three quarterbacks have just one year remaining on their contracts. McNabb said earlier this week that he wouldn't pursue an extension, although it would seem unlikely that he would want to go into the season without more security.
"Tom Brady is doing it, Peyton Manning has done it twice," Banner said. "Peyton Manning actually played on the last year of his contract and part of the year on a franchise tag. No, that wouldn't be unusual.
"We do have to make a decision on this and the decision could be anything from the status quo to some change. I think Andy's comment speaks very clearly for where we're at as it relates to Donovan. There's no point in me trying to eleborate on it."
The Eagles have 11 players that are either on the last year of their contract or are unrestricted free agents. There's also the complication that could arise if there is no agreement on a new collective bargaining agreement.
Banner was also asked about Brian Westbrook's status, but you can just copy and paste his response to the quarterback question and place it right about ... here. The Eagles haven't made any personnel decisions in regards to their current roster.


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2 days ago
Warriors to run three teams in 2014
The Vodafone Warriors and the Auckland Rugby League today announced they had reached agreement for the NRL club to take over operation of the Vulcans in the New South Wales Cup.
Originally set up by the Mount Albert club as the Auckland Lions in 2007, the Vulcans have until now been run on a joint venture basis between the ARL and the Vodafone Warriors.
ARL chairman Cameron McGregor said the timing was right for the Vodafone Warriors to take control.


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Soldiers haunted by scenes of war and victims scarred by violence may wish they could wipe the memories from their minds. Researchers at the Johns Hopkins University say that may someday be possible.
A commercial drug remains far off — and its use would be subject to many ethical and practical questions. But scientists have laid a foundation with their discovery that proteins can be removed from the brain's fear center to erase memories forever.
"When a traumatic event occurs, it creates a fearful memory that can last a lifetime and have a debilitating effect on a person's life," says Richard L. Huganir, professor and chair of neuroscience in the Hopkins School of Medicine. He said his finding on the molecular process "raises the possibility of manipulating those mechanisms with drugs to enhance behavioral therapy for such conditions as post-traumatic stress disorder."
The research has drawn interest from some involved in mental health care, and some concern.


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Just in time to complete what shall hereafter be known as the Great Tomten Disaster of 2008. Okay, perhaps "disaster" is a bit of an exaggeration. Given my string of knitting messes lately it might more accurately be labeled "par for the course."
Actually, the Tomten itself is kind of cute.
pattern: Modular Tomten Jacket, Knitting Without Tears, Elizabeth Zimmermann
yarn: Knit Picks Sierra, in Tide and Lettuce - I have no idea how many skeins
needles: size 9 KP Options
cast on: March 2007
finished: March 2008
But the hood ... well, the hood is what could only be described as ginormous.
I'm not sure how it happened, or why I didn't realize it till I was done, or if anything could be done at this point to correct it. I modified the pattern for the bulky yarn I was using but perhaps I didn't modify the hood enough? Who knows - I did that part over a year ago. At any rate, by the time I was done with this one, I was too disgusted to pick up the other one and finish it for Tiny Dancer. I need to do major recalculating first. Perhaps next March?
I didn't bother adding a zipper, because I figured it wasn't going to get any wear. But then we did this photo shoot. And 43 shots later, I realized something - it actually looks kind of cute on him, ridiculous hood notwithstanding. So I may go back and add a closure after all (current thinking: an added i-cord buttonhole, like this one).
But for now, I leave you with a whole lotta pictures.


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ICD-10 Diagnosis Code Q93.88
Other microdeletions
Diagnosis Code Q93.88
Short Description: Other microdeletions
Long Description: Other microdeletions
This is the 2018 version of the ICD-10-CM diagnosis code Q93.88
Valid for Submission
The code Q93.88 is valid for submission for HIPAA-covered transactions.
Code Classification
Congenital malformations, deformations and chromosomal abnormalities (Q00-Q99)
Chromosomal abnormalities, not elsewhere classified (Q90-Q99)
- Monosomies and deletions from the autosomes, NEC (Q93)
- Chromosomal abnormalities, not elsewhere classified (Q90-Q99)
Information for Medical Professionals
The ICD-10 and ICD-9 GEMs are used to facilitate linking between the diagnosis codes in ICD-9-CM and the new ICD-10-CM code set. The GEMs are the raw material from which providers, health information vendors and payers can derive specific applied mappings to meet their needs.
- 758.33 - Microdeletions NEC
Present on Admission (POA) Present on Admission
The Present on Admission (POA) indicator is used for diagnosis codes included in claims involving inpatient admissions to general acute care hospitals. POA indicators must be reported to CMS on each claim to facilitate the grouping of diagnoses codes into the proper Diagnostic Related Groups (DRG). CMS publishes a listing of specific diagnosis codes that are exempt from the POA reporting requirement.
The code Q93.88 is exempt from POA reporting.
- Anomaly of chromosome pair 1
- Anomaly of chromosome pair 15
- Anomaly of chromosome pair 15
- Chromosome microdeletion
- Microdeletion of chromosome 15q13.3
- Microdeletion of chromosome 15q24
- Microdeletion of chromosome 1q21.1
- Miller Dieker syndrome
- Smith-Magenis syndrome
- Type 1 lissencephaly
Index of Diseases and Injuries
References found for the code Q93.88 in the Index of Diseases and Injuries:
- Inclusion Terms: Inclusion terms
List of terms is included under some codes. These terms are the conditions for which that code is to be used. The terms may be synonyms of the code title, or, in the case of "other specified" codes, the terms are a list of the various conditions assigned to that code. The inclusion terms are not necessarily exhaustive. Additional terms found only in the Alphabetic Index may also be assigned to a code.
- Miller-Dieker syndrome
- Smith-Magenis syndrome
Information for Patients
Genetic Disorders
Genes are the building blocks of heredity. They are passed from parent to child. They hold DNA, the instructions for making proteins. Proteins do most of the work in cells. They move molecules from one place to another, build structures, break down toxins, and do many other maintenance jobs.
Sometimes there is a mutation, a change in a gene or genes. The mutation changes the gene's instructions for making a protein, so the protein does not work properly or is missing entirely. This can cause a medical condition called a genetic disorder.
You can inherit a gene mutation from one or both parents. A mutation can also happen during your lifetime.
There are three types of genetic disorders:
- Single-gene disorders, where a mutation affects one gene. Sickle cell anemia is an example.
- Chromosomal disorders, where chromosomes (or parts of chromosomes) are missing or changed. Chromosomes are the structures that hold our genes. Down syndrome is a chromosomal disorder.
- Complex disorders, where there are mutations in two or more genes. Often your lifestyle and environment also play a role. Colon cancer is an example.
Genetic tests on blood and other tissue can identify genetic disorders.
NIH: National Library of Medicine
- Genetics (Medical Encyclopedia)


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BAGHDAD (Reuters) - At least 12 people were killed in violence across Iraq on Tuesday, mostly in bombings and shootings in Baghdad, police and medical sources said.
Four mortar rounds landed on houses in the town of Garma, 30 km (20 miles) northwest of Baghdad, killing four people and wounding six, a local official and hospital sources said.
Garma is close to Falluja, a city overrun by al Qaeda militants two weeks ago and now ringed by army tanks and troops.
No group immediately claimed responsibility for the spate of attacks in Baghdad but the Shi'ite-led government has blamed Sunni militant groups, including al Qaeda, which have stepped up their incursions since last year and regained ground in western Iraq.
Tuesday's deadliest bombing took place in the predominantly Shi'ite Talbiya neighborhood in eastern Baghdad, where a device attached to a bus killed three people and wounded 12.
A roadside bomb targeting a police patrol killed a passer-by and wounded five in the mainly Shi'ite Kadhimiya district.
In western Baghdad, gunmen killed a judge and his driver in a drive-by shooting in Yarmouk district, police said, and gunmen killed two soldiers at a checkpoint in Abu Ghraib.
Two years after U.S. troops left Iraq, violence has climbed back to its highest levels since the sectarian bloodshed of 2006-07, when tens of thousands of people were killed.
Four car bombs killed at least 25 people and wounded 76 in Shi'ite districts of Baghdad on Monday.
(Reporting by Kareem Raheem; Writing by Ahmed Rasheed; Editing by Alistair Lyon, John Stonestreet)


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The Washington Demon boys ran at Mt. Pleasant last night, and had one champion individual and a champion relay.
Alex Coker in the long jump won the event with a jump of 21'3", beating second place by 2'1". Coker's jump puts him eighth in the entire state in the long jump.
The boys 4×200 was the relay that won with the team of Carl Sivels, Kyle Roder, Gage Redlinger and Coker. They finished with a time of 1:35.40.
Head coach Steve Roth said his top events weren't surprising to him at all.
"They ran outstanding, and we had bad handoffs in both the 4×100 and the 4×200, and then Coker really popped a good one, he scratched on one even farther than that because we measured it," Roth said. "It was a really nice night to run, the kids really competed well, we had a lot of nice things, but I knew my sprinters would be really tough."
Other top performance from the Washington boys last night was Tommy Peterson finishing fourth in the boys shot put with a throw of 42"3", Jose Tapia finishing fourth in the 100 meter dash with a time of 12.29.
In the high hurdles Jacob Hennigan finished fifth with a time of 16.69, Noah Lebsack was sixth in the boys 1600 meter run with a time of 5:03.30, and Austin Witt was fourth in the 200 meter dash with a time of 25.21.
Wrapping up the top finishes for the boys was the 4×100 meter relay finishing third with the team of Sivels, Redlinger, Tanner Knupp and Alex Coker with a time of 45.66.
The Demons will be off until next week for the holiday weekend.


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Category: Start / Ensembles/Performers/Associations/Societies / Keyboards
- Sites currently sorted by: Title (A to Z)
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"Philippe Grisvard was born in Nancy in 1980. There he studied piano and oboe before entering the harpsichord class of Anne-Catherine Bücher. In 1999 he got into the Schola Cantorum Basiliensis, where he studied harpsichord and basso continuo with Jesper Christensen, and pianoforte with Edoardo Torbianelli. From 2002 he's called to join La Cetra (Barockorchester Basel) where he has played under the direction of René Jacobs, Jordi Savall, and participated as continuist and répétiteur to Monteverdi's L'Incoronazione di Poppea and Rameau's Les Paladins with Konrad Junghänel. After getting his diploma in 2003, he becomes the regular harpsichordist of the ensemble Harmonie Universelle, leaded by Florian Deuter; with this group he plays as continuist and soliste threw Europe and US and made two recordings for eloquentia - Telemann and Fasch quartets and quintets (EL 0502) and Pachelbel's works for strings (EL 0606). Now Philippe lives in Paris and plays regulary with Vincent Dumestre's Le Poème Harmonique, with whom he participated since 2006, among other projects, to Molière and Lully's "Le Bourgeois Gentilhomme", staged by Benjamin Lazar, and plays with Le Concert d'Astrée (Emmanuelle Haim) and The Chamber Orchestra of Europe. " Visit website for more information. (ed.)
Added on: Apr 18, 2008 | Hits: 6956
"Skip Sempé, virtuoso harpsichordist and founder of Capriccio Stravagante, is at the forefront of today's musical personalities in Renaissance and Baroque music. Sempé grew up in New Orleans, studied music, musicology, organology and the history of art in the United States at the Oberlin Conservatory and completed his training in Europe with Gustav Leonhardt in Amsterdam. His distinctive harpsichord playing, musicianship and interpretive flair were immediately recognized as the invention of an exotic, multi-dimensional and uncompromising musical personality. Sempé remained in Europe to embark on his own pioneering reconsideration of well and lesser-known repertoire ranging from 1500 – 1750. "
Visit website for more information. (ed.)
Added on: Apr 27, 2008 | Hits: 1085
"Louis-Philippe Rivet, born in 1965, at Montreal, Canada, begins his musical studies at the age of 6 studying classical guitar and piano. In 1988, after studies in jazz improvisation and arranging (Art Roberts), electric bass (Michel Donato), and classical piano (Ronald Headland), he studies composition with Benght Hambræus and Bruce Mather at McGill University, where he receives his Bachelor degree in composition, in 1992.
In the same year, he wins second prize of the Pierre Mercure awards, in the Socan competition for young composers of Canada. In 1996-97, he studies composition and conducting with Brian Ferneyhough and Harvey Sollberger at the University of California (San Diego). The University grants him the « Gluck Scholarship Award ».
Parallel to composition, he studies conducting at the « Musikhochschule » in Vienna (1994), at the « Fondationne Academia Musicale Chiggianna » in Siena (1997), with the « I Pomeriggi Musicali Orchestra » in Milan (1997), and with the conductor Francis Travis, in Vevey (1997-1998). Since 1999, Louis-Philippe Rivet is established in France and collaborates with Renée Geoffrion in the conception of the electro-acoustic clavichord, its repertoire and pedagogical implementation. He is also active teaching music and performing in the duo « Alliance Contre Nature ».
Added on: May 25, 2011 | Hits: 1226
"Anikó Horváth was born in Győr, Hungary, and prepared for a pianist career ever since her childhood. She graduated as a pianist from the Ferenc Liszt Academy of Music in 1972; her professor was István Antal. Simultaneously with studying the piano, she started to play the harpsichord with János Sebestyén. She won the second Grand Prix of the Harpsichord Competition of Paris in 1973 but continued studying with Zuzana Ru�ičková. The harpsichord master course of Kenneth Gilbert given in Vleeshuis, Antwerp in 1978 exerted a great influence on her artistic development.
She has appeared as a soloist and member of chamber ensembles in several European countries: Italy, Germany, Switzerland, Austria, the Czech Republic, Poland and Turkey. She has conducted harpsichord courses in Germany and within the Early Music Days of Sopron for several years.
Anikó Horváth is harpsichord professor at the Liszt Ferenc University of Music, Budapest. In 2001 she took her DLA doctoral degree. Beside giving concerts regularly, she publishes articles in musical journals and gives lectures for professionals. " Visit website for more information. (ed.)
Added on: Mar 24, 2008 | Hits: 1245
"Our aim is to
- help disseminate knowledge and foment research on early keyboard instruments (harpsichord, organ, clavichord, fortepiano) and their literature both in Hungary and abroad; organize concerts, courses, professional meetings
- support - by competitive grants - performing artists, educators, musicologists, instrument makers and, in particular, students of the Liszt Ferenc Academy of Music
- promote research and performance of Hungarian keyboard music
- organize youth concerts and lectures
- sponsor new compositions
- promote the publication or recording of musical compositions
- support research and practice of music therapy "
Added on: Feb 02, 2008 | Hits: 1272
"János Sebestyén was born into a musical family on March 2, 1931 in Budapest, Hungary. He began his musical education at the National Conservatory, where his mother was on the piano faculty. His father was a prominent pedagogue and principal cellist of opera orchestras in Göteborg and Budapest. In 1950, while waiting for admission to the Liszt Ferenc Academy of Music, he joined the staff of the Hungarian Radio. Upon entering the Academy of Music, he studied organ with János Hammerschlag and Ferenc Gergely, piano with István Antal and composition with Ervin Major and Ferenc Szabó. He graduated in 1955 with an organ diploma and later attended the harpsichord class of Zuzana Růžičková in Prague. Since that time he has performed regularly throughout Europe, Asia and the United States and has made more than 80 recordings for a number of international labels. In 1970 he established the first harpsichord class at the Academy of Music, where he was professor until 2009. At the Hungarian Radio he was senior music producer from 1969-94, and from 1962-2007 he wrote and hosted a regular series of broadcasts. .."
Visit website for more information. (ed.)
Added on: Jan 02, 2010 | Hits: 1146
"Italian, born in Buenos Aires, Argentina, Claudio Di Veroli received his training from a distinguished group of European musicians: Ernst Epstein (piano and interpretation), Erwin Leuchter (harmony) and Ljerko Spiller (chamber music). Living in Europe in the early 70's he was strongly influenced by his teachers Colin Tilney in London and Hubert Bédard in Paris. He was granted access and practised extensively on the antique keyboards in the Fenton House (London) and the Paris Conservatoire Musée Instrumental (now Musée de la Musique). ... " Visit website for more information. (ed.)
Added on: Jan 15, 2009 | Hits: 1010
"Michael Borgstede lives in Tel Aviv and works as both Middle East correspondent for the Frankfurter Allgemeine Sonntagszeitung as well as a harpsichordist and organist. As a soloist and member of the ensemble Musica ad Rhenum he has toured almost all European countries, the United States, Asia, South America and the Middle East. Michael Borgstede regularly performs at venues like the Wigmore Hall in London, the Konzerthaus in Vienna and the Concertgebouw in Amsterdam.While still a student at the Royal Conservatory of The Hague he won the BenWeber Award and the York Early Music Competition. He has participated in morethan twenty CD-productions, among which are the Complete Chamber Music of Francois Couperin with the ensemble Musica ad Rhenum. Summer 2006 saw the release of the Complete hrpsichord music of Couperin on the Brilliant Classics label (11 CDs), which was praised by the press and received several distinctions. Apart from his extensiveconcert activities Michael Borgstede is invited regularly to hold masterclasses und give lectures on controversial aspects of Historical Performance Practice. He always strives for an interpretation full of contrast and dramawhich does justice to the rhetoric and affect of baroque music. This search haslead him to "crack some dogmas of Historically Informed Performance Practice"(Tagesanzeiger). The results are "sometimes unusual, but always inventive, lively and musicologically sound interpretations" (El Pais). He has also published a book on the ethnic diversity of Israeli society. " Visit website for more information. (ed.)
Added on: Jun 22, 2008 | Hits: 1471
"Andrea Chezzi, born in Colorno (PR) in 1975, graduated in organ and composition from the Conservatory A. Boito in Parma, and then studied harpsichord in Amsterdam under the guidance of Bob van Asperen. He followed courses in performance practice of early music with L. F. Tagliavini, W. van de Pol, Ch. Stembridge, G. Murray, A. Marcon, Ch. Rousset at the Accademia Chigiana in Siena. ... " Visit website for more information. (ed.)
Added on: Jul 06, 2008 | Hits: 1253
"Born in Milan,where successfully graduated in organ, organ composition andharpsichord at the Conservatorio G.Verdi. Winner of several national contestshe began a deep activity of concertswhich led him to play all over Europe and USA for the most prestigious concert societies.
Expecially keen in the literature of the XVII and the XVIII centuries performed on historical instruments, he already recorded several CDs as soloistand as a member of chamber music group.
He has edited the modern revision of some cantatas by Alessandro Melani and has published musicby Cima, Borgo, Falconieri and Monteclairin tablature for trumpet and continuo for Editions Bim (Bulle-Switzerland).
Since 1982 He plays in duo with Gabriele Cassone and in 1989 he founded the Ensemble "Pian & Forte".At the present time he is teaching Basso continuoby the Accademia internazionale di Musica in Milanand organist of San Francesco di Paola Church in Milan.
Antonio Frigé plays for Dynamic."
Visit website for more information. (ed.)
Added on: May 17, 2009 | Hits: 1072
"Biagio Terracciano, pianist, choir and orchestra Director, has a diploma with distinction in piano at the Academy of Music "S.Pietro a Majella" in Naples and a honours degree with a historical musicologic specialization in Italian Literature. Since 1984 he has been studying and doing research on ancient music, specializing in the practice of the renaissance and baroque polyphony both sacred and secular. In the same year he founded the vocal group "Dimensione Polifonica" which he has been instructing and directing since then. Having distinguished himself during international courses of specialization both for orchestration and choir conduction organized by the Directors D.Bartolucci (Director for life of the Cappella Sistina), R.R. Duarte, J. Jurgens, B. Zagni he has also participated to the International Courses of Urbino for the vocality and the execution of the baroque music. He has published many articles and essays on ancient music and on sacred polyphony. In 1997 he revised L. Leo's unpublished "Dixit Domus" donating the score of it to Maestro R. De Simone of the Academy of Music of Naples. In 1988 he founded the Cultural Association "Dimensione Polifonica", an organization of regional importance, of which he is the President. As an expert of liturgical music he cooperates with the Cathedral of Naples. In 1990 he played the organ during the John Paul IInd celebration of the High Mass in Piazza del Plebiscito. Since 1991 he has been the Director of the Schola Cantorum of the Cathedral of Naples, which performs during the most important liturgies, celebrated by the Cardinal Michele Giordano. He is the founder and instructing director of the choir of white voices "S. Maria della Rotonda". He is the Secretary of the Diocesan Commission of sacred music, conductor of many chamber groups and artistic director of many musical happenings. ... " Visit website for more information. (ed.)
Added on: May 20, 2008 | Hits: 1124
"He has based most of his piano and fortepiano activity on the results of his personal research. He gained his diploma at the Conservatorio di Musica di Foggia and his diploma with merit at the Accademia Chigiana of Siena in piano (1984) and in chamber music (1985). Having studied the main piano treatises, he has since concentrated his studies on rediscovering and re-evaluating 19th century Italian instrumental music. His repertoir includes Hummel, Clementi, Dussek, Moscheles, Cramer, Czerny, Kalkbrenner, Ries and Mueller as well as the most representative authors of the 19th century. Thanks to his researches he rediscovered and performed transcriptions of Haydn, Beethoven and Mozart's sinfonies and concerts by Hummel, Moscheles, Ries, Czerny, Cramer and Clementi. He is curator and member, for Ut-Orpheus in Bologna-urtext, of the scientific committee for Muzio Clementi's opera omnia, now available in the most important Libraries throughout the world. In 2002, in association with the Italian Society of Musicology (S.I.d.M.), he contributed to the organization of the conference "Muzio Clementi: compositore-(forte)pianista-editore" held in Perugia. He is regularly invited to hold conferences in Conservatories, Istitutes, musical associations and academies such as the Hungarian Academy during the International Conference "From Liszt to Ligeti " in 2002 and the conference on Clementi organized by the Austrian and the German Historical Institutes in Rome. ... " Visit website for more information. (ed.)
Added on: Apr 27, 2008 | Hits: 1151
"Edoardo Torbianelli, born 1970 in Trieste (Italy), obtained his diploma for piano and harpsichord at the conservatory of his town.
He continued his studies at the "Scuola di alto Perfezionamento Musicale dei Filarmonici di Torino" with Prof. Jean Fassina, at the Royal college of Music at Antwerpen (Belgium), and at the Catholic University of Brabant (Netherlands), where he obtained concert degrees for piano, harpsichord and chamber music.
He developed a keen interest in historical performance practice through partecipation in several specialized seminars and courses and by intensive research of historical sources, concentrating especially on the classical and romantic periods. At the same time he continued university studies in literature and languages.
Torbianelli was a prize winner at the Emmanuel Durlet International Piano Competition in 1993 and 1996 and at the international fortepiano competition in Bruges in 1995. Since then he has performed with critical acclaim in Italy, Belgium, Netherland, Germany, Switzerland, Slovenja and Denmark at many international festivals including: Festival van Vlaanderen, Festival de Wallonie, Flamish Opera, Royal Philarmonic of Flanders, Schubert Society Roskilde, Gesellschaft Freunde Alter Musik Basel, Musica Franconia and Musica Antiqua Konzerte Nurnberg, Beethoven-Haus Bonn, Festival di Musica Antica Urbino, Accademia Filarmonica di Bologna.
He has performed on the historical instruments in the collections of: Deutsches Museum Muenchen, Germanisches Nationalmuseum Nurnberg, Beethoven-Haus Museum Bonn, Museum Vleeshuis Antwerpen. " Visit website for more information. (ed.)
Added on: Apr 26, 2008 | Hits: 1215
"1987 Diploma in pianoforte, sotto la guida di Velia De Vita. Conservatorio "Santa Cecilia" - Roma
1992 Diploma in clavicembalo con il massimo dei voti, sotto la guida di Paola Bernardi. Conservatorio "Santa Cecilia" - Roma
Durante il corso della sua formazione musicale si è dedicato allo studio dell'organo, con particolare approfondimento della musica sacra con il mons. Domenico Bartolucci. " See site for more info. (ed.)
Added on: Feb 02, 2008 | Hits: 3052
"Francesco Corti was born in Arezzo, Italy, in a musical family in 1984. As a young child, he was taught by his mother, Anna Seggi, and then by Giordano Giustarini.
He studied organ in the class of Wijnand van de Pol at the Conservatorio Morlacchi in Perugia, where he graduated with highest marks and mention in 2004.
He then studied harpsichord at the Conservatoire de Musique of Geneva with Alfonso Fedi. He is currently continuing his studies at the Conservatorium van Amsterdam with Bob van Asperen (harpsichord). He has also attended masterclasses with C. Rousset, G. Leonhardt, M. Meyerson, B. Winsemius, E. Kooiman, L. Tamminga, L. F. Tagliavini at important musical institutions such as the Zomerakademie voor Organisten of Haarlem, the Académie Musicale de Villecroze and the Accademia Chigiana di Siena (where he received a "Diploma di Merito"). From 2000 to 2004, he was organist at the Chiesa di Santa Maria della Pieve in Arezzo.
He was awarded in international competitions for harpsichord, organ, and chamber music and in 2006 he obtained the first prize of harpsichord at the XV International "Johann Sebastian Bach" Competition in Leipzig. In 2007 he was awarded the second prize at the Bruges Harpsichord Competition.
As a soloist, he has appeared in numerous concerts all over Europe, in the USA, in Mexico and in New Zealand. He plays with famous early music groups suc as Ensemble les Musiciens du Louvre (M.Minkowski), Le Concert des Nations (J. Savall), Zefiro (A. Bernardini), Ensemble Elyma (G. Garrido), and Musica ad Rhenum (j. Wentz).
His first solo recording (Harpsichord suites by Lous Couperin, recorded on the original Ruckers Harpsichod conserved in Neuchâtel, Switzerland) has been published in 2007 by the label Genuin. "
Visit website for more information. (ed.)
Added on: Jul 16, 2008 | Hits: 1418
"Gabriele Catalucci was born in Amelia in 1958 where he studied piano with Pina Ardizzone.
Some years later he graduated in Organ and Composition under Wijnand van de Pol and in Harpsichord after studying with Annaberta Conti e Maria Teresa Garatti at the Conservatorio "F.Morlacchi" of Perugia.
He studied conducting as well and took part at courses for organ with Luigi Ferdinando Tagliavini at the Accademia per organo of Pistoia and for harpsichord with Kenneth Gilbert at the "Fondazione Cini" of Venezia.
He attended the Scuola di Paleografia e Filologia Musicale in Cremona (Pavia University). At the end of his studies he started giving concerts as organ, harpsichord and fortepiano soloist and as conductor in festivals and many theatres in Italy and abroad (Argentina, Austria, France, Germany, Norway, Spain, Switzerland).
He recorded several works for Bongiovanni, Eco, Frequenz and for RAI Radio3 and revised and published operas and instrumental and sacred-vocal music of XVII - XIX centuries.
He teaches Harmony and analysis and Historical Keyboards at the "G.Briccialdi" Music School in Terni and is conductor of the Corale Amerina, plays in duo with Wijnand van de Pol (two organs-two harpsichords) and Andrea Di Mario (natural trumpet) with whom founded the ensemble of natural trumpets, baroque ketteldrums and organ Les Trompettes des Plaisirs and is deputy organist at All Saints' Anglican Church in Rome. ... " Visit website for more information. (ed.)
Added on: Jul 01, 2008 | Hits: 1314
"Born in Sardinia, Paola Erdas was awarded her diploma in harpsichord at the Conservatory of Venice in 1991. From 1992 to 1996, thanks to a five-year scholarship, she studied under Kenneth Gilbert at the Mozarteum in Salzburg. Since 1996 she has been a member of the ensemble L'Apothéose, recording for the Stradivarius label.
In the same year, together with recorder virtuoso Lorenzo Cavasanti, she founded the JANAS ensemble. The group, which collaborates with the theatre and historical dance specialist Deda Colonna, soon became multi-instrumental, with the sound of the harpsichord augmented by voice,winds,strings and percussion , in performances combining poetry, dance and music of the late Renaissance and Baroque periods in the Mediterranean area.
Particularly interested in the early harpsichord repertoire she combines her intense performing activity with her wide musicological interests. For Ut Orpheus Edizioni she has published the first modern edition of the "Pièces de Luth en Musique pour jouer sur le Luth et le Clavessin" by Perrine (Paris 1680), which she has also recorded, for the Stradivarius label, on the Delin harpsichord (Tournai 1768) from the collection of K.Gilbert. Always fascinated by the Spanish repertoire, she has studied this topic in depth with careful research into ancient sources and treatises. In 1997, she recorded the solo CD "Libro de Cifra Nueva" by Luys Venegas de Henestrosa on another harpsichord in K.Gilbert's collection, the Italian F. A. 1677. ...
She is presently working on a critical edition of the "Pièces de Clavessin" by N. A. Lebègue, the first volume of which has been already been published by Ut Orpheus Edizioni and recently recorded by her on the Stradivarius label.
Paola Erdas teaches thorough-bass at the Conservatory of Trieste. " Visit website for more information. (ed.)
Added on: Apr 22, 2008 | Hits: 976
"Chie Hirai received her bachelor degree on modern piano in the College Division of Toho Gakuen School of Music. In order to specialize in fortepiano with Stanley Hoogland at the Royal Conservatory, The Hague (The Netherlands), she was granted scholarships from the Nuffic Organization and the Agency for Cultural Affairs of Japan.
She was awarded her Masters with distinction on fortepiano in 2002, as well as "Nicolai prize" that is given to the most outstanding student of the year. In addition to her fortepiano specialization Chie has also broadened her knowledge of keyboard instruments by studying the harpsichord with Menno van Delft at the Conservatorium van Amsterdam.
In the Mozart-year 2006, she toured with l'Orfeo Baroque Orchester in Austria and Germany to perform piano concertos by Mozart and his son Franz Xaver in Brucknerhaus in Linz, Konzerthaus in Vienna etc. ...
Chie has performed in the major early music festivals in Europe such as the Festival de Musica Antiga de Barcelona (Spain), Festival Oude Muziek Utrecht (Holland), Académies Musicales Festival in Saintes (France), The Felicja Blumental International Music Festival (Israel) and Carinthische Sommer (Austria). Many radio broadcasting and recordings were made by such as Radio France (Paris, France), ARF (Wien, Austria) etc. She was an official accompanist in International early music competition in Bruges in 2005. " Visit website for more information. (ed.)
Added on: Mar 24, 2008 | Hits: 1491
"After completing his modern piano degree at the Royal Conservatory at The Hague in 1983, Bart van Oort studied fortepiano with Stanley Hoogland, also at the Royal Conservatory. In 1986 he won the first prize and the special Audience prize at the Mozart Fortepiano Competition in Brugges, Belgium, and he subsequently studied with Malcolm Bilson at Cornell University (Ithaca, NY), receiving a Doctor of Musical Arts degree in Historical Performance Practice in 1993. He has performed at festivals in Utrecht, Florence, Berlin, Antwerp, Brugges, Melbourne, Brisbane, York, Montpellier, Moscow, and Esterhaza, in the USA and New Zealand, and has given lectures and master classes at the conservatories of Brussels, Paris, Moscow, Helsinki, Oslo, Bucharest, Sofia, Moscow, Stavanger, Perugia, Sydney, Adelaide, Wellington, Melbourne, Hong Kong, Tokyo, Juilliard, Bloomington, and Western Ontario. Since 1997 Van Oort has made more than forty recordings of chamber music and solo repertory, including the prize-winning 4-CD box set The Art of the Nocturne in the Nineteenth Century, the Complete Haydn Piano Trios (10 CDs) with his ensemble the Van Swieten Society, and with four other fortepianists, the Complete Haydn Piano Sonatas. In 2005 Bart van Oort completed a ten-year, 14-CD recording project, the Complete Works for Piano solo and Piano four-hands of Mozart, which was released during the Mozart Year 2006. Bart van Oort teaches fortepiano and is a lecturer in Historical Performance Practice at the Royal Conservatory in The Hague (The Netherlands). " Visit website for more information. (ed.)
Added on: Jul 16, 2008 | Hits: 1434
" Bernard Winsemius (b. 1945) studied the organ with Anthon van der Horst and Albert de Klerk at Amsterdam Conservatory, where he also studied choral and orchestral conducting. In addition, he studied the carillon at the Nederlandse Beiaardschool (Dutch Carillon School) in Amersfoort.
His study was crowned with the Prix d'excellence for organ (1970) and carillon (1971). He was awarded the Zilveren Vriendenkrans (Friends' Silver Wreath) by the Vereniging Vrienden van het Concertgebouworkest (Society of Friends of the Concertgebouworkest) in 1971.
Bernard Winsemius teaches the organ at Rotterdam Conservatory and Utrecht Conservatory, and the carillon at the Dutch Carillon School. He is a regular teacher at the International Organ Academy Haarlem. As a guest teacher he is invited to give master classes, especially on subjects concerning renaissance and baroque music.
He is city carillonneur of Haarlem and Amsterdam.
Together with Gustav Leonhardt he was appointed organist of the Nieuwe Kerk, Amsterdam, in 1981.
He has done numerous concerts for broadcasting companies, as well as for LP and CD."
Visit website for more information. (ed.)
Added on: Apr 25, 2010 | Hits: 1001
Facebook site for Gustav Leonhardt.
"Gustav Leonhardt (born 30 May 1928, 's-Graveland) is a highly acclaimed Dutch keyboard player, conductor, musicologist, teacher and editor. Leonhardt has been a leader in the movement to perform music on period instruments. The keyboard instruments on which he has performed and recorded include the harpsichord, pipe organ, claviorganum (a combination of a harpsichord and an organ), clavichord, and fortepiano. .. "
Visit website for more information. (ed.)
Added on: Jun 05, 2010 | Hits: 2052
Dutch Harpsichord Society. Visit website for more information. (ed.)
Added on: Apr 16, 2008 | Hits: 1179
"JACQUES OGG is a performer on both harpsichord and fortepiano; he teaches at the Royal Conservatory in The Hague; he conducts and he makes recordings, either solo or with friends and colleagues.
He was born in Maastricht (the Netherlands) and studied harpsichord in the city of his birth with Anneke Uittenbosch. In 1970 he went to study with Gustav Leonhardt at the Amsterdam Conservatory from which he graduated in 1974.
Jacques Ogg's current activities include soloconcerts on harpsichord or on fortepiano, concerts with flautist Wilbert Hazelzet as a duo as well as in a trio-formation either with gambaplayer Jaap ter Linden or with 'cellist Christiaan Norde. He is a member of the Orchestra of the 18th Century and performs regularly with Concerto Palatino. He is frequently invited for masterclasses, for instance in Juiz de Fora (Brazil) and Buenos Aires, in Mateus (Portugal), Salamanca (Spain) as well as in Cracow (Poland), Prague and Budapest. He was invited as a juror in competitions such as "Bach Wettbewerb" (Leipzig) and "Prague Spring".
Jacques Ogg is artistic director of the Lyra Baroque Orchestra in Minneapolis/Saint Paul (Minnesota, VS). " Visit website for more information. (ed.)
Added on: Mar 24, 2008 | Hits: 1371
"Johan Hofmann studied the harpsichord with Jacques Ogg and Siebe Henstra . His repertoire encloses works from the 16th, 17th, and 18th century as well as contemporary, although he specializes in music from the early and mid baroque period. His interpretations are grounded in thorough theoretical and organological knowledge and are at the same time renowned for their spontaneity and purity of style.
He gave concerts in Austria , Denmark , France , Germany , Italy , Scotland , Spain , The Tsjech Republic, The United States and Sweden . In the Netherlands he regularly plays with ensembles and orchestras like The Northern Consort, Cappella Groningen, the Brabants Kamerkoor, Ensemble Occhio di Falcone (with Judith van Wanroij, Susanne Braumann and Bert Honig), the Combattimento Consort and cappella Frisae. Johan Hofmann also performed with distinguished players like Michael Chance, the Egidius Quartet, Emma Kirkby, Paul Leenhouts, Xenia Meijer, Robert Muuse and Marc Pantus. ...
Johan Hofmann teaches an international harpsichord class at the Prins Claus Conservatoire in Groningen. At the same institute he teaches thoroughbass and chambermusic. At the Conservatorium van Amsterdam Johan Hofmann teaches harpsichord and thoroughbass as minor subjects, and lectures the course "Harmony in Performance Practice". He is also regularly invited by the conservatories in Tilburg, Zwolle, Arnhem and Enschede and gives courses in the Netherlands as well as abroad. " Visit website for more information. (ed.)
Added on: Apr 16, 2008 | Hits: 2740
"Kathryn Cok pursues a varied career as a harpsichordist, fortepianist and academic on both sides of the Atlantic. She is well sought after both as a soloist as well as a continuo player. Born in the city of New York, USA, Kathryn now lives in The Hague, Holland where she completed a Masters degree at the Royal Conservatory as a student of Ton Koopman and Tini Mathot on the harpsichord, and Bart van Oort on the fortepiano. " Visit website for more information. (ed.)
Added on: Apr 08, 2008 | Hits: 1140


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EUGENE, Ore. (AP) — A series of explosions hit an underground utility system Monday at the University of Oregon, plunging several student dormitories and other buildings into darkness as crews scrambled to restore power.
Nobody was hurt, but about 3,000 students living on campus had no power in their rooms, university officials said. Campus police stepped up patrols, and the university gave away flashlights. Officials planned to bring in generators, but the task wasn't complete by evening.
University officials said electrical equipment overheated, causing circuits to ignite and melt.
The blasts were audible above the ground and from several hundred feet away. A video clip from the campus showed puffs of smoke coming from a manhole cover, and university officials said smoke also was visible inside the university health building, which was evacuated and closed for the rest of the day. A slight smell of burning rubber lingered outside for hours.
It could take days to permanently repair electrical circuits, university spokeswoman Julie Brown said.
Without electricity to power a television or charge a laptop, students were given additional entertainment options Monday, including a watch party for the college football championship game.
In a dormitory near the blast, pitch-black stairwells became obstacles for students trying to get to class, said Camila Rowland, a freshman majoring in psychology.
"We're using flashlights now," she said. Some cafeterias were closed, Rowland added, so those with power were unusually packed with students. And officials told residents to try to limit their use of bathroom facilities, she said.
The Register-Guard reported that students from two residence hall complexes trekked to other buildings Monday to use the Internet, charge their electronics or shower. Showers in the university's recreation center were made available until 11:30 p.m. for students in affected dorms.
Starting around 10 a.m., about five blasts issued from the tunnel system where power to university buildings is distributed, followed by a series of explosions over a half hour, said campus police spokesman Kelly McIver.
When the blasts started, two electrical workers were nearby in the tunnel system, but it's unknown whether they had anything to do with the explosions, McIver said.
"They exited the tunnel quickly and were not hurt," he said.
Law student Patrice Bishop-Foster said she was listening to music and heard a popping noise, and it took a few seconds to register that the noise wasn't part of the song. The lights flickered in the gym, she said.
The university has about 24,600 students. The outage affected the southwest portion of the 295-acre campus in Eugene.
"We are working as quickly as possible to safely restore all power to affected areas of campus," George Hecht, associate vice president for campus operations, said in a statement.


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Blair County Old Order Mennonite Settlement (Pennsylvania, USA)
The Blair County Groffdale Old Order Mennonite Conference settlement was begun in 1972 by Isaac H. Martin and Elam G. Zimmerman. This settlement straddles Blair and Bedford counties in Pennsylvania. As of 1 January 2011 this community had three meetinghouses. The four ministers and two deacons served all three congregations by rotating from congregation to congregation. As of 1 January 2011 the following ministry team served the congregations--The presiding bishop was Irvin H. Zimmerman (ordained minister, 1972; bishop, 1983). The ministers were Mervin M. Martin (ordained 1973), David Z. Martin (ordained 1991), Alvin Z. Zimmerman (ordained 1994), and Jere F. Martin (ordained 2000). The deacons were Noah M. Newswanger (ordained 1994), Lawrence Z. Zimmerman (ordained 2001), and retired deacon David S. Nolt (ordained 1972). In 2012 there were approximately 160 households within the Blair County Groffdale Mennonite Community.
Martinsburg Old Order Mennonite Meetinghouse
The Martinsburg meetinghouse is a wood frame meetinghouse measuring 56 feet by 60 feet. It was built in 1972 along Cove Road.
New Enterprise Old Order Mennonite Meetinghouse
The New Enterprise meetinghouse is a wood frame building erected in 1980 along Replogle Road. It was revamped in 2001 and it measures 40 feet by 90 feet.
Piney Creek Old Order Mennonite Meetinghouse
The Piney Creek meetinghouse is a small wood frame meetinghouse that was built in 1991. In early 2011 a new permanent meetinghouse was under construction. It is located along Sportsman Road, and its dimensions were 50 feet by 64 feet.
Groffdale Conference Mennonite Church Schedules.
Records of ordinations of the Old Order Mennonites, Groffdale Conference churches, 1750 to 2010. East Earl, PA: [Earl Z. Weaver?], 2010.
|Jonathan H Martin
|Date Published
|February 2012
Cite This Article
MLA style
Martin, Jonathan H. "Blair County Old Order Mennonite Settlement (Pennsylvania, USA)." Global Anabaptist Mennonite Encyclopedia Online. February 2012. Web. 24 Sep 2018. http://gameo.org/index.php?title=Blair_County_Old_Order_Mennonite_Settlement_(Pennsylvania,_USA)&oldid=102347.
APA style
Martin, Jonathan H. (February 2012). Blair County Old Order Mennonite Settlement (Pennsylvania, USA). Global Anabaptist Mennonite Encyclopedia Online. Retrieved 24 September 2018, from http://gameo.org/index.php?title=Blair_County_Old_Order_Mennonite_Settlement_(Pennsylvania,_USA)&oldid=102347.
©1996-2018 by the Global Anabaptist Mennonite Encyclopedia Online. All rights reserved.


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Lane Closure Schedule for Monmouth Street Overpass Work
HAMILTON COUNTY (Friday, July 23, 2010) - Lane closures for next week to accommodate work to reconstruct the Monmouth Street overpass at Interstate 75 are as follows:
The right lane of northbound I-75 will be closed to traffic at 7 p.m. Monday, July 26, Tuesday, July 27 and Thursday, July 29, reopening to traffic by 6 a.m. the following day. In addition, the Bates entrance ramp will be closed to traffic from 8 p.m. until 6 a.m.
This project is the start of work for the $664 million Interstate 75 Mill Creek Expressway Project, which will improve traffic flow and enhance safety of the I-75 corridor from the Western Hills Viaduct to north of the Paddock Road interchange in Hamilton County. Over the course of 10 years, construction will rehabilitate eight miles of existing lanes and construct an additional lane in each direction.
The Monmouth Street work will remove and reconstruct the overpass, and reconstruct and convert Monmouth to a local through street between Central Parkway and Colerain Avenue. In addition, the Bates Avenue Bridge and the pedestrian bridge between Colerain Avenue and Central Parkway will be removed to clear overhead obstruction to future construction on I-75. Work on the new overpass is to be completed by Sept. 30, 2010, with completion of the entire phase scheduled for Aug. 31, 2011. The Great Lakes Construction Company was awarded the $7.192 million contract.
For more information contact:
Sharon Smigielski, Public Information Officer, at (513) 933-6511
Liz Lyons, Public Information Specialist, at (513) 933-6534


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so I'm a begginer and I have a really old Naish Aero 12m that I'm learning on and it's great but the gummi bar ends are all wripped up and now I need to replace another piece that controls depower (that I already replaced once). I really have no issues with the kite other than the bar but with money in hand and an itchy trigger finger I'm seriously thinking of buying another kite, namely the WW Rage 2. My dillema is whether I should replace the Naish (sizewise) or go with a larger WW since I'll be kiting in Alameda most of the year and another size will definitely come handy. However, since my Alameda experience so far has been in low winds where the Naish barely flies and I feel like I've been lifting 50lb bags of potatos after an hour session, I'm considering a larger kite which may altogether be a bad idea since I don't really know how Alameda is during the rest of the season.
I would really appreciate some input on the size considerations for alameda and possibly the rest of the local spots (I do understand the need for at least three kites but as all of us do, I'm sure, I'd like to spend the least amount possible for the first shot and I don't want to get another old kite).


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This discussion of immortality and optimum life obviously cannot be easily separated from religion and spirituality. This program is, in fact, about the spiritual awareness, or the "essence of things," existing in human life. It addresses many aspects of optimum lifestyle and consciousness.
What is immortality? It is usually defined as eternal life or exemption from death. In our Western culture, it seems to have more to do with fame, with one's actions in life being planted deeply in the memory of subsequent generations. Spiritual immortality arises from our ability to carry on life simply and to nourish ourselves, our family, and our world. Fame, however, may be more a matter of material immortality through monuments, books, and records. Movie and rock stars, writers, musicians, and political leaders seem to lead the lists of famous immortals. Although fame may catapult some people into mass immortality, we all are immortal insofar as our lives have touched others and are remembered through our family genealogies and our careers, as our work, children, and influences on others leave part of us with them. Our greatest sense of immortality may lie in our bonds with our children, grandchildren, and future generations. Many of these circumstances of notoriety, fame, or remembrance may last hundreds or even thousands of years; however, that does not make them truly eternal or immortal. "I dance for life, and death is something I am sure to live through," says Bethany ArgIsle, founder of The Moment Museum Corporation.
For most of us, immortality is the sense that "something," some essence of ourselves, lives on after our death. Many people believe that the spirit is eternal, that it never dies, while death of the body is inevitable; we accept death as natural, like birth. Native Americans believe in the awareness of the right time to die, which then opens the way for the new beings to populate Earth.
Many cultures also believe in the possibility of a future existence, when our spiritual being may again enter a physical form and carry on the evolution of consciousness. Some of us remember (experience "re-memories") previous lives that may influence us in our current life. Although science cannot easily prove or disprove this concept, this philosophy of reincarnation is prevalent in many religions and spiritual paths.
Our personal beliefs regarding death or eternal life may deeply affect our daily existence, attitudes, ideology, and activities. In regard to an "immortalist" philosophy, the question of whether we live forever in our physical body is not the issue here, but feeling as if we do allows us to live every day with a new attitude. We may be more relaxed, be less limited, overcome challenges more easily, feel more motivation and responsibility to our world, be more courageous and enthusiastic about learning new skills or trades (even in later years), forgive and let go of past experiences, and generally take life less seriously with a sense of being part of a greater universe.
Our ego seems attached to our physical form. Our spiritual nature or consciousness is what will live on eternally. Immortalists believe that awareness and consciousness, knowledge and wisdom, and harmonizing with the natural and universal laws, are all part of our eternal path. When we believe that life is a continuum of growth and evolution of our being, we become more responsible for our thoughts, actions, and health. We also believe in karmic patterns—that all of our actions create waves in the cosmic energy that affect the entire universe and ourselves again at some time. The "Golden Rule" is the essence here: "Do unto others as you would have them do unto you." In a sense, maybe even more appropriate for today is "do not do unto others as you would not have them do unto you."
Karma can also be seen as a balancing force in the universe. Even supposedly evil acts may be programmed through some karmic patterns. With ignorance and unconsciousness still part of the earth's energy vibration, we attract both light and dark experiences and cycles.
Being immortalist in concept and action enhances our responsibility for life—our planet, our children, our own bodies, and each other. We must serve life and do the best we can to care for our human body, supporting and allowing it to be a clean, clear temple of the living Spirit. We want to live at the peak of our potential and express our purpose. Most of us begin with health, vitality, full life potential, and a clean temple and then interfere with it by our lifestyle (and environment), which affects our thoughts and actions and subsequently our outcome and experience, or that of our children's, who must deal with our actions. When we are not in touch with or believe in a spiritual, "immortal" philosophy, we may then generate and perpetuate an acceptance of a more "deathist" philosophy where we treat our body with self-abusive habits, as if it matters very little, appearing as if we would just as soon destroy it and get out of here as fast as possible; this seems to correlate with a consciousness that also supports war or destructive relationships of any type—getting the most out of a situation rather than giving the most, or better yet, seeking balance and harmony.
Believing in death as an ominous presence and an end, as many people do, allows other feelings, such as fear, helplessness, apathy, limitation, and self-deception, to enter, as described in Rebirthing: The Science of Enjoying All of Your Life, by Jim Leonard and Phil Laut. We then have no choice in life and live as if it will be over sooner or later, so why try to be our best or create optimum health. The "death" that is hidden in each of our cells then affects our health, life, and consciousness. Accepting death (or illness or aging) is like accepting the concept that three meals a day is right or that consuming animal meats is necessary for health. That has been most people's experience and beliefs, yet if we do not allow other possibilities, we can never know for sure or may limit potential new experiences. Those with a deathist philosophy may actually develop an urge to die, become judgmental, and resist change. Many deathists struggle inwardly with life and its issues and challenges. Others live more through their children, whom they may see as life, than through their own capabilities, purpose, and potentials.
With this deathist philosophy, we can more easily accept destructive health- and life-destroying habits, eat dead foods, and take dangerous devitalizing drugs—because we are going to die anyway. In the Bible and other religious and spiritual writings, disease represents sin and the presence of Satan in the body. The Essene Gospel of Peace, as translated by Edmond Szekely, suggests that fasting can clear Satan (representing negative thinking, disease, and death) and sin from our body and shine new light on our life. After three days of fasting, Satan starves, and we start to feel more alive and positive (although we may meet our own shadow and darkness during those days). And then we can begin to live fully every day beyond fear of death or "the end." We realize that there is no end—life is eternal, consciousness is a forever-moving force of which we are its key vehicle. We are of it, and it is of us. Feeling more immortal than mortal can actually help us be even more involved with and grateful for life and enjoy it with greater abundance, grace, and success because we can look beyond the shortcomings and problems, handle stress, and be positive and motivated toward our future.
Much that I have written in this book is supportive of optimum life, vitality, and longevity. How we feed ourselves influences all of these by-products and also may provide the basis for our attitudes and activities in life. Remember, good foods, good thoughts, good actions—and in that order. And feeling good about ourselves, loving ourselves, will generate the desire for good foods.
Breathing provides our primary nutrition, oxygen, and is at the center of life experience, attitude, and feeling immortal, eternal, and connected to Spirit. Some breathing techniques may help us better deal with life and move away from degenerative and death activities. Rebirthing (or conscious breathing) is one such technique. It is said to help us open up to memories, both of this life and possibly of other lifetimes, to experience total recall. Some body therapies or certain therapists or healers may also help us release memory patterns stored in our body tissues. There may even be, as some advanced therapists suggest, specific acupuncture points connected to these energies.
Many teachers believe that unpleasant memories are what create disease. Past negative or painful experiences that still live inside us and generate emotions of anger, frustration, fear, isolation, and hate must be handled. Forgiveness and integration of the past is essential to living totally and healthfully in the present.
Remembering and processing these past experiences in a loving, supportive way helps us to heal aspects of our life that may have been painful and generated some "deathist" attitudes. Until we can become aware of previous experiences, we cannot really deal with them. As we release these patterns, the emotions that have been blocked can be integrated more easily and clearly. The process of moving from disease to healing requires bridging the subconscious-conscious separations through reacquiring self-knowledge. Re-memory that comes from breathing, therapy, and meditation allows us to listen and learn and helps us to gain access to our subconscious while conscious. Very deeply, we already know everything we need to know to heal and guide us through our life.
Although immortalists may do all they can to carry on life, support health, and bring about healing in and around them, paradoxically they may have little or no attachment to the physical form. So they care and they do not care—that is, they care about spiritual values more than about the body—and these values actually motivate deeper concern for the physical condition; the body is a vehicle to carry out their purpose and expression. Their beliefs may allow them to lay their life on the line and be capable of going all the way to serve their "divine mission," and this state of being usually follows a feeling of being tapped for a special purpose. Truly, we each have a special purpose, yet usually this becomes more significant when it goes beyond the self. The bigger Self is humanity and the spiritual realm, or God. St. Francis of Assisi attempted to bring unity to his followers and those around him. He wanted people to come together toward a greater vision, to stay connected, and build together—a church, a community, a spiritually bonded life. He found this difficult, as most were involved in their own "path" or reality. This message is likewise important today, in this "Aquarian Age"—where larger families might merge together for greater vision, grander feats, and greater service. Yet most of us are too busy to take the time to join with others to create new models for our future that might go beyond our "self" world.


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This is a wonky white stoneware goblet or wine glass, wheel thrown, with a scarred terrain exterior, and hand built pedestal foot. It is signed and dated, glazed in a satin melon green on the interior, and a golden yellow glaze with black highlights on the outside, and electric fired to about 2170 degrees Fahrenheit.
This piece measures approximately 6 1/4 inches tall and 3 1/4 inches wide at the mouth. It can safely hold 6 fluid ounces.
Contact me with any questions.
Payment must be received before shipping. Nebraska residents will be charged 7.25% sales tax, calculated automatically upon checkout. Customers who opt to pick up their order from me directly may also pay in person.
Domestic orders (USA):
I ship items within 1-3 business days, though usually it will be closer to one day than three. Please check the listing and/or your invoice for shipping times. All shipping times are estimates.
Customers who are local to Lincoln may pick up their order - contact me for more information.
International orders:
International packages are shipped using International First Class Mail for items under 4 pounds or Priority International for heavier shipments. Please allow 4-6 weeks for the delivery of your international package.
You are responsible for all duty, customs, or any other charges imposed by your country above and beyond the USPS (United States Postal Service) postal charges that you already paid. These may be due when you pick up your package.
I will do my best to check on any restrictions of what can be shipped before I send out a package. If for some reason your purchase can not legally be sent to you, I will refund your money.
Charges for international mail can be hard to estimate. If I have over charged you for shipping, I will refund the difference.
All items are packed with the utmost care -- wrapped in bubble wrap, air bags, and double boxed when necessary. If you fear it may break in the mail, pay to have it insured. I DO NOT OFFER REFUNDS OR REPLACEMENTS FOR ITEMS THAT BREAK IN THE MAIL. PERIOD. So don't ask.
I use a combination of new and clean, reused packing materials.
I do not include any sort of receipt or invoice in my packages - one can be printed from your Etsy order.
But please contact me if you have any problems with your order.
Please let me know if there are any problems with your order. I can't do anything about items lost in the mail if there is no tracking information, sorry.
RETURNS, REFUNDS, AND EXCHANGES ARE UNAVAILABLE, PERIOD. I DO NOT OFFER REFUNDS OR REPLACEMENTS FOR ITEMS THAT BREAK IN THE MAIL. PERIOD. So don't ask.
Custom orders:
I can create (or recreate) most items in my shop though not always with the exact same clay, glaze, or look (think siblings or cousins instead of twins.) My turnaround time is typically 3-6 weeks though rush orders are possible.
Gift wrapping:
HAHA NOPE. If you've ever seen one of my wrapped packages you'd probably pay me to ensure I don't wrap your purchase. I make things out of clay, not paper and ribbon.
I am open to consignment for most all of my work - contact me for more information.
Wholesale orders are currently available for pendants and jewelry trees only - please contact me for further information.
Gallery or other venue: Contact for more information.
lol sure, in this hell world of monopolies having all of your information and then some, an artist on Etsy is gonna be real shady with your info. GTFO.


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Lisa Milroy
Set of Keys on a String, 2013-14
Acrylic and watercolour on paper
23.5 x 28.5 cm
Price: £800 unframed
From Hands On, a drawing commission by Lisa Milroy for the John Radcliffe Hospital, Oxford. The work was comprised of over a hundred watercolour drawings of ordinary objects - from hairclips to spanners, sponges to snow globes - that had been photographed as an installation and printed on vinyl for a wall within the hospital's Emergency Department. More info here.
Please contact [email protected] for shipping options. Sales will be confirmed within 2 working days subject to availability. Approximate dispatch time: 7-10 days.