text:
Goodbye, Dolly!
After 46 years of advice on all things teen girl related, Dolly's closing up shop (in print, at least). Melanie Burns explores what this might mean for language around sex, relationships, and sexualities.
Yijarni: True Stories from Gurindji Country – a sad, marvellous historical canon
The Wave Hill Walk Off is commemorated widely but what happened to Gurindji people on their own country before the Walk Off is less well known. A new publication, told bilingually in Gurindji and English, shares what Gurindji people want the world to know about what happened. Greg Dickson reviews Yijarni: True Stories from Gurindji Country.
Australians win medals at the Linguistics Olympiad
While our athletes are in Rio, Australian high-school students have come back from Mysore (India) with gold and silver medals from the International Linguistics Olympiad! Hedvig Skirgård and Dominique Estival report.
LOTEs in the Election: your guide to linguistically-talented candidates (2016 edition)
It's election time again! But where have all the LOTE-speaking candidates gone? And why are they hiding? Allie Severin takes a look at the linguistic talents of this year's candidates for the Federal Election.
Crikey's Language Blog
Follow @fullysicblog on Twitter
How to solve Australia's language learning crisis
With the "moribund" state of language learning in Australia in the spotlight, Ingrid Piller busts some myths, arguing that it does not have to be this way and that something can be done about it.
Testing the critical literacy of voters, educators and…politicians?
While the Minister for Immigration and "Border Protection" has been scrutinising refugees' literacy and numeracy, the Australian Government has had its sight set on another group's abilities: Australia's pre-service teachers. Elisabeth Griffiths asks if the Literacy and Numeracy Test for Initial Teacher Education Students is worth its salt.
How to be a Shady Fish: Speaking like a Queen on RuPaul's Drag Race
Do we ever sound like our authentic selves? Or is the way we talk always dependent on who we are talking to? Guest blogger Cass Bleechmore looks at the way the contestants of RuPaul's Drag Race communicate and create a shared identity. Despite using a distinctive lexicon, drag queens are just doing what we all do: using language to construct group identity.
Five use a mysterious preposition
Lurking in the seemingly innocuous pages of a classic children's story is the perplexing use of an extraneous preposition. What's it doing there? And what can it tell us about how language changes? Richard Ingold investigates.
"I am determined to be tenacious in relation to the use of my language": Bess Price and breaking the English hegemony in NT Parliament
Aboriginal Northern Territory MP Bess Price is fighting to be able to use her first language, Warlpiri, in parliament. She argues that it's only fair given it's her first language and the language of half her constituency. The Parliament's Speaker continues to affirm that English is the language of the Assembly. Greg Dickson explores the debate further:
From 'Captain's call' to 'refugiado': WOTY 2015
It's that time of year again. Linguists and wordsmiths the world over have come together to decree which word(s) should be given the top honour and crowned 'Word of the Year 2015'. Not everybody decides on the same one though, so here at Fully Sic we've collated a list for all your word-loving needs.

redpajama_set_name: RedPajamaCommonCrawl


text:
use std::collections::HashMap;
use std::collections::hash_map::Entry::{Occupied, Vacant};

pub fn run() {
    println!("********* HashMap<i32, String> examples *********");

    let mut hash : HashMap<i32, String> = HashMap::new();
    hash.insert(0, String::from("hello"));
    hash.insert(1, String::from("world"));
    hash.insert(2, String::from("a"));
    hash.insert(3, String::from("z"));
    hash.insert(4, String::from("phil"));

    // Iterate the keys.
    // The iterator element type is &'a K. In this case, &String.
    for k in hash.keys() {
        println!("k = {}", k);
    }

    // Iterate the values.
    // The iterator element type is &'a V. In this case, &String.
    for v in hash.values() {
        println!("v = {}", v);
    }

    // Iterate the values mutably.
    // The iterator element type is &'a mut V. In this case, &mut String.
    // So we can append to the strings.
    for v in hash.values_mut() {
        println!("v = {}", v);
        v.push_str(" suffix");
    }

    // Dumping again shows we did append all the values.
    for v in hash.values() {
        println!("v = {}", v);
    }

    // Iterate the KVPs.
    // The iterator element type is a tuple, (&'a K, &'a V). In this case, (&'a i32, &'a String).
    for (k, v) in hash.iter() {
        println!("hash[{}] = {}", k, v);
    }

    // Iterate the KVPs mutably (just the value is mutable).
    // The iterator element type is a tuple, (&'a K, &'a mut V). In this case, (&'a i32, &'a mut String).
    for (k, v) in hash.iter_mut() {
        println!("hash[{}] = {}", k, v);
        v.push_str("/2");
        println!("hash[{}] = {}", k, v);
    }

    // Manipulate an entry in place.
    {
        let val = hash.entry(12).or_insert(String::from("new"));
        println!("We just inserted the value of {}", val);
    }

    {
        let val = hash.entry(12).or_insert(String::from("new2"));
        println!("Second time around, we got back the original value of {}", val);
    }

    {
        let val = hash.entry(13).or_insert_with(|| String::from("new 3"));
        println!("The thing that gets inserted can be a lambda {}", val);
    }

    {
        // There is not much you can do with a VacantEntry except insert something.
        match hash.entry(200) {
            Occupied(entry) => println!("The entry key is {}", entry.key()),
            Vacant(entry) => {
                println!("There is no entry, but we can insert one");
                entry.insert(String::from("insert for vacant entry"));
            }
        }

        // But an OccupiedEntry has some interesting methods. See the docs.
        match hash.entry(200) {
            Occupied(entry) => println!("The entry key is {}", entry.key()),
            Vacant(entry) => {
                println!("There is no entry, but we can insert one");
                entry.insert(String::from("insert for vacant entry"));
            }
        }
    }

    // v is of type &String.
    match hash.get(&3) {
        Some(v) => println!("Found value of {}", v),
        None => println!("No entry for key of 3")
    }

    // v is of type &mut String.
    match hash.get_mut(&3) {
        Some(v) => {
            let x = v.clone();
            v.push_str(&x);
            println!("Found value of {}", v)
        },
        None => println!("No entry for key of 3")
    }

    // retain allows us to remove items that we don't want.
    println!("Retaining entries where length is less than 20");
    hash.retain(|&k, ref mut v| v.len() < 20);
    for (k, v) in hash.iter() {
        println!("hash[{}] = {}", k, v);
    }

    // Drain gives us an iterator of tuples (like iter()).
    // After we use the iterator, the hash is empty.
    let d : Vec<_> = hash.drain().collect();
    println!("After drain, the hash has {} entries", hash.len());
}

redpajama_set_name: RedPajamaGithub


Historically, Abruzzo was a rural and poor society somewhat isolated from the rest of the country. This might explain why between 1901 and 1915 alone, a million people emigrated from Abruzzo and neighboring Molise – many to the United States. Thirty percent of Abruzzo is covered by nature reserves and three national parks, helping Abruzzo earn the distinction as the greenest region in Europe. Parco Nazionale d'Abruzzo protects endangered species such as the Marscian Bear and the Appennine Wolf. Although it is Abruzzo's most populated city, the port of Pescara isn't the most alluring of destinations. Further inland, the regional capital of L'Aquila is a far more interesting and beautiful place; in fact The Financial Times has called it "the most handsome city in Abruzzo." Emperor Frederick II founded the town in 1240, supposedly by joining 99 villages together.


Designer and illustrator working in Norwich, England.
Student of economics. Interested in international finance, trade, management and statistics. Big Fan of The Doors and The Lizard King. Love cooking, photography and sport (especially tennis).
Advogado, meio músico, católico e curte a vida com a @carla_lanatovitz num relacionamento sério e divertido!


text:
Q: How to get trainable weights for a manual run of session in Keras? Because I'm manually running a session, I can't seem to collect the trainable weights of a specific layer.
    x = Convolution2D(16, 3, 3, init='he_normal', border_mode='same')(img)

    for i in range(0, self.blocks_per_group):
        nb_filters = 16 * self.widening_factor
        x = residual_block(x, nb_filters=nb_filters, subsample_factor=1)

    for i in range(0, self.blocks_per_group):
        nb_filters = 32 * self.widening_factor
        if i == 0:
            subsample_factor = 2
        else:
            subsample_factor = 1
        x = residual_block(x, nb_filters=nb_filters, subsample_factor=subsample_factor)

    for i in range(0, self.blocks_per_group):
        nb_filters = 64 * self.widening_factor
        if i == 0:
            subsample_factor = 2
        else:
            subsample_factor = 1
        x = residual_block(x, nb_filters=nb_filters, subsample_factor=subsample_factor)

    x = BatchNormalization(axis=3)(x)
    x = Activation('relu')(x)
    x = AveragePooling2D(pool_size=(8, 8), strides=None, border_mode='valid')(x)
    x = tf.reshape(x, [-1, np.prod(x.get_shape()[1:].as_list())])

    # Readout layer
    preds = Dense(self.nb_classes, activation='softmax')(x)

   loss = tf.reduce_mean(categorical_crossentropy(labels, preds))

    optimizer = tf.train.GradientDescentOptimizer(0.5).minimize(loss)

    with sess.as_default():

        for i in range(10):

            batch = self.next_batch(self.batch_num)
            _, l = sess.run([optimizer, loss],
                            feed_dict={img: batch[0], labels: batch[1]})
            print(l)
            print(type(weights))

I'm trying to get the weights of the last convolution layer.
I tried get_trainable_weights(layer) and layer.get_weights()but I did not manage to get anywhere.
The error
AttributeError: 'Tensor' object has no attribute 'trainable_weights'

A: From looking at the source* it seems like your looking for layer.trainable_weights (it's a list not a member function). Please note this returns tensors.
If you want to get their actual values, you need to evaluate them in a session:
weights1, weights2 = sess.run([weight_tensor_1, weight_tensor_2])

*https://github.com/fchollet/keras/blob/master/keras/layers/convolutional.py#L401

redpajama_set_name: RedPajamaStackExchange


I am moving mailboxes from on-prem exchange 2010 to Office 365.
If I run Get-DistributionGroupMember "Office2 Staff"
$DGMembers = Get-DistributionGroupMember "Office2 Staff"
I get every mailbox in the organization and not the 20 mailboxes on the "office2 Staff"
again I get all mailboxes in the org.
Any ideas on how I can get just the users in the distribution group?
The 1st modification you provided works an absolute treat. Thank you indeed.Saves me a truckload of time. Thanks again.
The import-csv is however throwing an error.
Thank you indeed. Works a treat.
The topic 'Get-MoveRequest | Get-MoveRequestStatistics' is closed to new replies.


text:
West Jordan school employee charged with child abuse
By: Jeff Tavss
WEST JORDAN, Utah — An employee at a West Jordan school for struggling teens was arrested after allegedly breaking the wrist of a student.
Tyler Haung Feinga, 21, a staff member of West Ridge Academy was charged with Class A Misdemeanor child abuse on May 4, although the incident occurred on Jan. 4.
According to the arrest documents, the 15-year-old student was being loud and disruptive when Feinga put him in an"escort hold" to remove him from class. When the student resisted, Feinga applied more pressure using the "Bent Wrist Procedure."
Feinga said the wrist procedure is used "when residents are harming staff, harming peers, run risk, or causing damage to the West Ridge property."
The student told police that he heard his wrist "pop" while being removed by Feinga. He claimed he was in significant pain and could not move his wrist. The student was taken to the doctor after several days of being in a "great deal of pain."
No one answered calls at West Ridge Academy when FOX 13 reached out to learn if Feinga was still employed at the school.


Since age six( I am 50)...my dad was a great musician and he had lots of albums and he stuck a mandolin in my hands at age 6.
First I remember is Flatt and Scruggs at the Bell Auditorium in Augusta, GA.must have been 1965 or 66..I was 4 or 5...I remember the suits they wore and how the crowd loved them...and my dad going to the record table and talking with Paul Warren, their fiddle player.
I play a 1991 John Hutto mandolin...he made about 143 of them and mine is number 50...his work is well known and appreciated....they go for about $15,000 if you can find someone willing to part...mine is unique in that I had him put "The Flowers" in the head-stock.
Hank Williams, Bill Monroe were the two biggest stars...of course, my dad, would be the biggest since he was the one who taught me to play. He had their records and I wore them out as a kid learning their songs. Flatt & Scruggs, Stanley Brothers, also were huge influences.
I have my own band, The Doug Flowers Band.we play bluegrass shows throughout the southeast part of USA. I also worked with Little Roy & Lizzy Show, Clinton Gregory, Betty Fisher, Avalanche, and Flatbed, as well as Gerald Smith.
Hank Williams.....it would be cool to hang out with him.
I have performed in front of thousands before, so hard to say which was the largest event over the years.
My most memorable was performing three songs on the Grand Ole Opry when I was 16.
Bill Monroe box set....I first heard the original Columbia record when I was about 5..
CD one of the box set that featured Flatt and Scruggs in his group with the sound that defined bluegrass music.
Doug Flowers hasn't uploaded any pics yet.
Clinto Gregory singing a great song, Looking for a place to fall apart.
Wind Gap, PA - Little Roy and Lizzy - Rawhide First ever show with the hot new band, Little Roy and Lizzy Show....this was in 2009...glad to say I was an original member and played two years with them until they got too busy for me,,,,,I still work full-time.
Making Plans Our band Avalanche performed in North Georgia for many years and was a featured group at the Riverhaus Pizza in Helen, GA....Jim Dawg Iler on lead vocals and guitar, Eddie Hoyle on banjo and baritone harmonies, Dwayne Flowers on bass, Chuck Nation filling in on fiddle, and of course, myself on mandolin and tenor vocals.
ALL OVER ME..song written by me and Gerald Smith..


text:
Home » MLB » MLB Baseball » Cleveland To Close The Season Hosting Alex Cobb And The Tampa Bay Rays
Cleveland to close the season hosting Alex Cobb and the Tampa Bay Rays
Frank Lorenzo | September 26, 2014
The Cleveland Indians will try to finish the regular season on a high note this Sunday, September 28 when they host the Tampa Bay Rays at 1:05 PM ET at Progressive Field, in what is the last game of the year both franchises.
For both teams, it will be about regrouping and finding what missed this year to get to the postseason. Cleveland was in all the way in the race for a wildcard spot, but in the end other teams were just better.
"We know this last week was pretty much our season," said center fielder Michael Bourn. "We're not going to run from it. We're going to stand up to their competition."
The Indians will send to the mountain right-hander Danny Salazar, who started in 20 games in the season and posted a 6-8 record with a 4.25 ERA. Salazar was smashed by the Kansas City Royals 7-1 on his last outing.
"He came out of the chute working ahead, throwing a real good fastball and probably the best change up we've seen," said manager Terry Francona of Salazar's last presentation. "All of a sudden it was like a switch (went off).
"His pitches were up; his tempo and delivery slowed down and his fastball started leaking back over the plate and it was up. It was almost like two different pitchers. And a lot of it happened with two outs and nobody on."
Tampa Bay will start Alex Cobb, who posted a 10-8 record with a 2.75 ERA in 26 starts this season.
Frank Lorenzo
MTS co-founder Frank "Let It Ride" Lorenzo has been betting on sports since he was legally allowed to do so. (Did he do so before then, too? No comment.) He enjoys very strong coffee, neon lights, and passing on his wealth of betting knowledge to anyone who will listen.
MLB Related Resources
MLB Betting 2021 - The Ultimate Guide
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MLB Betting Lines – Best Baseball Odds
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Updated: 2022 World Series Futures – Mets Make Big Moves
Updated: 2022 World Series Futures – Braves Move Up
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MLB Baseball | December 21, 2021
Trent Reinsmith
MLB Baseball | November 27, 2021
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Hospitality Upgrade | A Spa with a Hotel: What Would Change?
The question intrigued me. By identifying the hotel first before the spa, we acknowledge the importance of the lodging operation. In North America, unlike in Europe where extensive spa resorts are common, the spa is a non-core amenity. Its effective and productive operation is generally accorded a lower oversight priority – often much lower than the rooms division or the F&B operation.
This question prompted me to recall my own experience with hotel spa operations. Over the last two decades, I have examined many hotel-based spas. Although they're almost always a potentially significant revenue generator, they have been consciously (or more often, unconsciously) given a back-seat position in terms of examination, management focus and performance expectations.
Every hotel spa I have examined has had considerable room for operational improvement and increased revenue generation.
1. Hotels rigorously track guestroom occupancy, but often neglect to apply the same metric to the spa. In my experience, if we divide the total number of available treatment room hours in a day, week or month by the number of used (e.g., sold) treatment room hours, the resulting spa occupancy figure would be in the 25 percent to 35 percent range, maybe even lower. That means that 65 percent to 75 percent of the time the facility is empty, generating no revenue.
We can control variable costs during those empty times by not having contract technicians on duty, but fixed costs remain. More significant, the opportunity cost of those unoccupied treatment rooms – not only in terms of lost service revenue but also in lost spa product sales and possibly lost F&B sales – can be appreciable.
2. I once visited a resort with a large spa. They managed the rooms operation diligently, including attentively monitoring reports from the hotel's PBX to track reservation department call volume, hold times, average talk time and abandoned calls. Performance was well within industry norms. They answered 80 percent of calls within 20 seconds and allowed less than 5 percent of incoming calls to hold so long that the caller hung up or abandoned.
The resort's spa used the same PBX as the resort. I asked how the spa's call handling metrics compared with those of the reservation department. No one knew. They didn't produce reports for the spa, or monitor statistics. Unbeknownst to both resort and spa management, the average hold time was often longer than 20 minutes and nearly 25 percent of callers hung up because their calls were not answered.
3. Most hotels have ongoing email communication with past overnight guests. But only a fraction keep a client mail list for spa users and periodically communicate with local patrons. Remember, these clients are typically open to short-notice or off-hour specials. They make repeat visits, generate additional F&B income, refer their friends for spa services and buy gift cards.
Is there a frequent client program for the spa that prompts clients to return and rewards them in some small way when they do?
4. Rooms occupancy forecasting is vital to efficient (and profitable) hotel operation. Attaching the same priority to spa appointment forecasting is much less common. Not only does accurate spa forecasting enable appropriate staffing (and delivery of promised levels of customer service), it highlights opportunities to generate additional business.
Recognizing periods of high demand opens up opportunities to engineer service availability. You can mark less profitable treatments as unavailable. (Do you know which of your services is the most and least profitable?) You can carefully manage treatment room assignments to minimize down time, and have contract technicians available.
Also, are you applying cancellation penalty, deposit (or full prepayment) policies for high demand periods?
Periods of low demand offer equally interesting opportunities. Aside from closely controlling labor costs, they open up promotional opportunities. Why not offer 30 percent off a manicure when combined with a facial? How about a free bottle of skin care product with a massage? Or maybe a mid-week Happy Hour discount on late afternoon or evening appointments? Perhaps a F&B offer – a cocktail or two-for-one appetizers in the bar. The options are endless once the forecast reveals when you can – and should – get creative.
5. Meetings and conferences, especially those that include participants' spouses, offer another often-untapped opportunity. Send them the spa's phone number and email address for appointments or advance consultation on treatment options in advance of arrival. Offer nominal discounts. The event organizer may be interested in paying for a relaxation break – when a spa or fitness center representative spends a few minutes during a coffee break describing wellness techniques and highlighting spa services.
Do we have the best possible spa staff? Do they need further training?
Is our revenue manager giving the spa an appropriate portion of time considering its revenue potential?
Are the spa operating hours optimum?
Do we offer the right treatments and products?
Do we capture the right portion of local business?
Is the spa a positive asset to the hotel?
There are numerous spa management systems available, system such as Book4Time, ResortSuite SPA, SkyWire, SpaSoft and TAC Reservation Assistant. Each can increase spa operation efficiency.
If a spa management system is in place, an easy question is, are you using it fully and effectively? What features are not being used today that might be helpful?
If we thought about it as a spa with a hotel, would we prioritize the attention, resources and expectations differently?
John Burns is president of Hospitality Technology Consulting and he can be reached at john@burns-htc.com.


In the years Go Wallpapers has been around it has managed to stock up a nice collection of wallpapers in the puplic domain. Each of the categories of Go Wallpapers displays eight wallpapers at a time with up to twenty pages to browse through in some categories. To find the gems at Go Wallpapers check out "Most Popular".


text:
Franz Christian (eller François-Chrétien) Gau, född 15 juni 1790 i Köln, död 31 december 1853 i Paris, var en tysk-fransk arkitekt.

Gau kom 1810 till Paris tillsammans med sin vän Jakob Ignaz Hittorff, studerade vid akademien där samt i Italien och Nubien och blev 1826 naturaliserad fransman. Han var en av representanterna för det uppblomstrande studiet av gotiken.

Gau restaurerade kyrkorna Saint Julien le Pauvre och Saint Severin och uppgjorde ritningarna till Sainte Clotilde, hållen i Rhenlandets katedralers anda. Den fullbordades efter Gaus död av Théodore Ballu, som i ett och annat avvek från Gaus plan.

Gau var 1824-48 i Paris föreståndare för en arkitektskola, huvudsakligen avsedd för tyskar. Bland hans lärjungar var Gottfried Semper den mest betydande. Gau utgav 1824 Les antiquités de la Nubie och samma år de två senare delarna av François Mazois' "Les ruines de Pompeji".

Källor

Noter

Franska arkitekter under 1800-talet
Tyska arkitekter under 1800-talet
Personer från Köln
Födda 1790
Avlidna 1853
Män
Ugglan

redpajama_set_name: RedPajamaWikipedia


text:
Home » Music » Baroque » Meet The Recorder
Meet The Recorder
1996 (click images to enlarge)
This is the first in a series of occasional posts about the recorder, its historical and contemporary repertoire, its champions, and its place in music education.
Being a recorder player has been a humbling experience. The recorder is not highly regarded in American musical culture, and most people who know of the instrument only know it because they were given a cheap plastic recorder in elementary school and learned to play a few simple tunes on it in a classroom setting. Occasionally I meet someone who is familiar with it from its occasional use by folk music groups or recognizes the instrument from the opening of Led Zeppelin's Stairway to Heaven (or perhaps I've Seen All Good People by Yes). Most people – including many classical musicians I have met, and many elementary school music teachers who actually teach recorder to their music classes – are unaware of or uninformed about the recorder's long history, or of its beautiful if modest historical repertoire that includes works written specifically for recorder by masters including J.S. Bach, Händel, and Vivaldi, or of it's employment in virtuosic avant-garde compositions since the 1960s.
When I meet someone for the first time and they learn I am a musician, almost invariably the first thing they say is "Oh, what do you play?"
Being a multi-instrumentalist, this is a loaded question to try to answer – just telling them I'm a multi-instrumentalist doesn't answer their question at all and perhaps leaves them with the impression that I'm indecisive. Like recorder players, multi-instrumentalists are not common and are also misunderstood – many people seem to believe it's not possible or at least unlikely that anyone can learn to play more than one instrument proficiently, although many famous musicians and composers have done so. I've probably been asked this question thousands of times by now, and my answers – which usually depend on context or mood – may include that I sing and play piano, lute, and recorder, might include harpsichord or even guitar, and often also mention that most of my working life as a musician has been as a director (I know, not an instrument). When I watch the faces of others as I tell them I play recorder, I cringe inwardly at their expressions as their imagined estimation of my possible musical powers instantly plummets. It's as if I had told them I was a chef and when asked what dishes I had spent years learning how to make well, told them I made peanut-butter and jelly sandwiches. Many, many times I have been told next: "Oh, I didn't know that was a real instrument."
A humbling experience.
A Real Instrument
I did not learn to play the recorder as a child. My sister did however. She wanted to play the oboe very earnestly from an age deemed to young to begin, and took private recorder lessons for a couple years until she was told she was old enough to move on to clarinet. (She did eventually become a fine oboist.) She had a beautiful wooden Moeck soprano, and I remember the few times I tried to play it (at that age I played piano and horn) having great difficulty finessing the subtle breath required for the tiny instrument, and giving up quickly in frustration. Recorder was not a part of my public school music classes (when I had them). My next experience with a recorder was in an undergraduate music education class, when I was given a cheap plastic soprano and told to learn how to play it and to perform an assigned piece by the next class meeting, along with the rest of the class. None of us were given any instruction.
Chinese New Year parade at Blue Rock School, 1992
Fast-forward to 1991, when I began my first full-time teaching position at a small private school for grades K-6 just outside New York City. I was tasked with designing and implementing an ideal music program for the school, which was to include both vocal and instrumental music as well as traditional dance. I decided to include a recorder program as the instrumental component of this program, bought a soprano and an alto, and began to teach myself how to play.
Quickly I realized that in order to teach recorder well I needed to learn to play it well, and I took my recorder study seriously, seeking out private lessons and other chances to learn from professionals, and attending performances featuring (mostly Dutch) recorder players when they came through town. Luckily I was in New York, where all sorts of opportunities are available that simply don't exist elsewhere. Also luckily, I was already a trained musician, had learned how to practice efficiently, and was able to develop my technique to the level where I could approach the more difficult (and rewarding) repertoire relatively quickly.
I took lessons for several years with Steve Silverstein, a veteran wind player, inventor, and craftsman who has a background in early music and worked extensively as a clarinet and saxophone player. Steve not only played recorder, he had made them (one of the treasures of my instrument collection is a "Van Eyck" soprano Steve made), and he also had extensive experience in the early music field on other wind instruments including cornetto, serpent, racket, crumhorn, etc., and he possessed a vast music library. Not only did I learn how to play the instrument, the recorder (and later, the lute) became for me the key that unlocked the door to hundreds of years of music that previously had been mostly just a silent supposition. My formal music education had included little music before that of our friend Sebastian – most of my experience of early repertoire had been singing a few renaissance pieces in a choir performing madrigal dinners. I was to learn that my entire previous conception of music history (as I had been taught) was severely truncated – our musical tradition didn't begin with Bach but rather, Sebastian stood at the end of a long tradition replete with a fabulous variety of musical styles, masterpieces, personalities, and instruments – some of which are the forerunners of those of today, and some not, all with their own charms, foibles, and unique repertoires.
a consort of renaissance recorders from Syntagma Musicum, 1619, by Michael Praetorius
The recorder's beginnings date from at least the late Medieval period: the oldest known surviving instrument was built in the fourteenth century. During the Renaissance the recorder developed into a family made in different sizes (and therefore ranges) that utilize basically the same technical approach for each instrument. Unlike most modern violinists or sax players (whose instruments are also made in families of different sizes), an accomplished recorder player is fluent in playing all members of the family, and can switch easily between instruments during a performance. Recorder players playing in consort will typically take turns playing different members of the family during a performance or rehearsal.
Playing "in consort" was typically what recorder players did during the Renaissance – prevailing tastes in the fifteenth and sixteenth centuries were for instrumental ensembles having a homogeneous sound, and members of one instrument family were most likely to play with others playing instruments from the same family. It was also common for composers not to specify too closely preferences for what instruments were to be used when performing consort music; for example Anthony Holborne's 1599 collection Pavans, Galliards, Almains, and other short Æirs both grave and light, in five parts is described on the cover as being for Viols, Violins, and other Musicall Winde Instruments. Publishers could hope to generate more sales if the music was accessible by players of more than one instrument, but also composers did not generally write for the specific timbres of individual instruments to the extent composers of the Baroque and later periods would (to which we have become accustomed).
Recorders during the Renaissance were typically made in sets tuned to each other, and were built with a cylindrical bore, usually in one piece. This design allowed the instruments to have a more uniform dynamic throughout their (more limited) range than instruments built later. Renaissance recorders have a strong, full tone which blends well in consort, and it was (and is) common for a consort of recorders to be employed to play music originally intended for voices as well as instrumental music.
The popularity of the instrument waned during the early years of the Baroque period but was revived by the end of the seventeenth century for recorders sporting a new design – built in three pieces like the new Baroque flutes, these instruments could therefore be tuned, and featured a conical bore. The new design resulted in a recorder with a bigger range (over two octaves) that played much more powerfully in the high registers than in the lowest part of the instrument's range. These features were well-suited for the instrument's primary use as a solo instrument, accompanied by continuo.
The first half of the eighteenth century saw the apotheosis of the recorder's employment in the historical repertoire. Some of the greatest composers of the day included works specifically for recorder in their catalogs, notably Händel, whose six remarkable sonatas for recorder and continuo are perhaps the finest works written for recorder during the historical period, and Telemann, whose output includes more music for recorder than any other composer of the time, from both accompanied and unaccompanied solo pieces, to duets, chamber works, and concerti. J.S. Bach included parts for recorders in various combinations (often in pairs) in some of his cantatas, and famously, wrote parts for them in two of the Brandenburg Concerti.
With the rise in popularity of the style galant through the century, new instruments supplanted the old ones. The lute – the most popular instrument in Europe for hundreds of years – faded into obscurity, the violin family had already largely replaced the viols, the piano was in development and would replace the harpsichord by the end of the century, and the transverse flute – with it's brighter tone and much greater dynamic range – would replace the recorder. With desires growing on the part of musicians and audiences for larger ensembles and more powerful instruments, use of the recorder mostly disappeared and the instrument was largely silent through the nineteenth century, Romanticism, and the ensuing cult of dynamics…
Arnold Dolmetsch, (1858 – 1940), who was born in France but spent most of his life in England, is credited with the revival of the recorder (and within the English-speaking world, many other aspects of the Early Music movement) in the early twentieth century. Recorders are still being made under his name to this day. The instrument was soon appropriated by music education pedagogues for use in school music programs, which ultimately resulted in the inexpensive, mass-produced recorders most people are familiar with.
But it is really the Dutch who are responsible for it's return as a concert instrument. The efforts of Kees Otten (1924 – 2008), led to the elevation of the instrument's status in the Netherlands, where students have been able to study recorder performance at Dutch conservatories since the 1950s. Frans Brüggen (one of Otten's students), who died last year, is probably the most important recorder player in history, and did more in his career as a virtuoso performer and teacher to establish the instrument's integrity on a sound footing with other musicians, composers, and audiences than anyone before or since. In the past fifty years not only has the instrument and its historical repertoire been revived – along with so many others that went into hibernation during the Classical and Romantic periods – Brüggen and his students led the way for its acceptance as an avant-garde instrument, developing extended techniques which have been utilized by many composers of contemporary music for recorder.
The United States is still behind much of the world in accepting the recorder – indeed in accepting early music in general – as bona fide. There are few, if any, degree programs where a student can declare a major in recorder performance (or study it at all), and most higher learning opportunities that do exist are at the graduate level, such as Juilliard's Historical Performance program, established only in 2009. We still have a way to go.
The Tampa Bay Early Music Consort 1997, with Carl Klein and Theresa Villani
Through the 1990s I was as active as I could be as a performer on recorder and lute, and was fortunate to find other musicians who were also interested in exploring the old repertoire, as well as opportunities to perform regularly as a soloist. As many have found however, earning a living as a performer of early music is a daunting proposition anywhere, and especially in the U.S. I have earned literally hundreds of dollars playing (insert lute or recorder here). After the birth of our second child I set aside ambitions to "make it" as an early music performer and concentrated my energies mostly on my teaching career and family life.
with student ensemble Music City Recorder Quartet after a performance at the Parthenon, Nashville, 2007
When I was employed in K-8 schools I was able to have thriving recorder programs at a couple of schools I taught at for several years. With careful instruction and a supportive environment, children take well to the recorder and are able to achieve remarkable music-making in a relatively short period of time. At each school where I taught these programs most students were capable of playing consort music in four or five parts by fifth grade, with the most accomplished students performing advanced literature such as selections from The Art of Fugue before they hit their teens.
When I began teaching high school students in 2007 my opportunities to teach recorder almost vanished as my efforts focused on piano, orchestra and choir, although I did find opportunities to work recorder into my choir programs occasionally. I still manage to find opportunities to keep my hand in – I have played recorder for services at a local church where a friend is music director once or twice a year for many years now, played on a Bach cantata with Music City Baroque in 2010, and generally try to keep an eye open for any excuse to pull out my instruments and work something up for a gig.
More importantly, the effort I put into learning how to play recorder and explore its repertoire taught me valuable lessons about musicianship including phrasing, articulation, ensemble skills, a greatly expanded view of music history, and many other aspects of the musician's craft that I found myself constantly applying in my work as a teacher and conductor.
The flip side of the humility that playing the recorder has taught me is a satisfaction I often feel after a performance, when someone whose exposure to recorder music was previously limited to the typical American experience in elementary school approaches me and says something like "I had no idea the recorder could be played like that!".
Tags: avant-garde, Baroque, Classical Music, Early Music, Music, Music Education, recorder, Renaissance
By walterbitner in Baroque, Early Music, Meet, Music Education, Renaissance, The Recorder on April 18, 2015 .
← SOUNDCHECK for all students	Brahms Requiem at West End UMC →
M. Campbelle-Holman says:
Refreshing!
rmichaelw says:
What a cool and informative post. Loved th clips. I was surprised you didn't mention th theme song to "Taxi". It food for th recorder what " Family Affair " did for th harpsichord!
Janet Epstein says:
Nice to see a thoughtful article giving recorders their due respect! How about mentioning the local chapter of the American Recorder Society? We're still going strong!
walterbitner says:
Hi Janet – sure! Feel free to mention information here about the local ARS chapter.
Mary Burger says:
Thanks for a fun read and interesting information about the recorder and clips with people of various ages playing wonderful music. There is so much to learn about this instrument and the music written for it. Good to hear a voice from the early music world. Look forward to the next article.
Nashville Early Music Festival 2015: Saturday « Walter Bitner says:
[…] continuo complement – as here with cello and harpsichord – in many years, although there was a period of my life when I did this all the time and took it very seriously. Usually if I am the soloist I will just have keyboard accompaniment or otherwise I am part of an […]
How to Teach Recorder Fingerings « Walter Bitner says:
[…] a system like this treats the recorder like a real instrument. Students who already use a numerical fingering system for their violin or piano study, etc. will […]
What Kind of Blog Is This? « Walter Bitner says:
[…] 10. Meet The Recorder […]
Ernesto Schmied says:
Very nice article. I'd say that the recorder still is quite unknown even in Europe. The main problem resides in letting this fact affect those who really love this fantastic instrument.
Thank you! I agree, but I also feel it is good for professional players and the recorder playing community to promote acceptance of the instrument among mainstream musicians and their listeners!
My Top 21 Posts in the First 100,000 Views « Walter Bitner says:
[…] Meet The Recorder April 18, 2015 ~ 740 […]
Three Days in London « Walter Bitner says:
[…] collection in the early 1990s when I began both teaching music at Blue Rock School and seriously studying early music performance in metropolitan New York City. When one enters the Treasures of the British Library exhibit, the first item in the case to the […]


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Objective: The analyses were conducted to identify possibly suicide-related adverse events in Pfizer-sponsored, phases 2 through 4, placebo-controlled, completed studies of sertraline in adult patients and evaluate the risk of suicidality with sertraline versus placebo.
Method: U.S. Food and Drug Administration (FDA)-defined search methodology was used to identify possibly suicide-related adverse events in short-term, all-duration/all-indication, and psychiatric studies of sertraline. Categorization of possibly suicide-related adverse events was based on the approach developed by the Columbia group for the FDA's analysis of pediatric suicide risk with antidepressants. The incidences of possibly suicide-related adverse events were calculated for individual classifications and for the predefined combined category of suicidality along with the sertraline versus placebo relative risks and corresponding 95% CI limits. Exact binomial CI limits were calculated for the individual treatment group incidences. Age group analyses were also performed using the age limits defined by the FDA.
Results: Ninety-nine suicidality events were identified among 19,923 sertraline- and placebo-treated subjects participating in 126 studies conducted between the mid-1980s and the mid-2000s. Four cases of completed suicides among 10,917 sertraline-treated subjects yielded an incidence of 0.04% (95% CI = 0.01 to 0.09) and 3 cases among 9,006 placebo treated subjects yielded an incidence of 0.03% (95% CI = 0.01 to 0.10). There were no statistically significant differences between sertraline and placebo in any of the individual categories or combined suicidality risk category across all performed analyses.
Conclusion: Results of short-term, all-duration, and psychiatric studies analyses, as well as age-group analyses, performed in accordance with the FDA-specified search strategy, show no significant increase in suicidality risk in adult sertraline- versus placebo-treated patients.


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The Faeries: From Folklore to Metaphysical Reality
By Dr Neil Rushton
John Anster Fitzgerald, 'The Intruders' (c.1870)
From New Dawn Special Issue Vol 12 No 5 (Oct 2018)
What are the faeries? Where do they come from and where do they go when they're not interacting with their human observers? Faeries have been an important part of the folkloric repertoire for hundreds (perhaps even thousands) of years, and while they are portrayed in the popular imagination through faerie-tales and have become disneyfied through the 20th century, their main presence is in the myriad of folktales and anecdotes from every part of the globe.1
They usually (though not always) take a humanoid form, and interact with human societies as ambivalent supernatural entities, appearing in our world to both co-operate with people and as general arbiters of mischief, while also living in their own Otherworld, sometimes accessible to humans either through accident or abduction. While the phenomenon is ancient, the belief in these metaphysical beings continues, and there are thousands of encounter reports from all over the world every year, as demonstrated in a recent survey by The Fairy Investigation Society.2
Folklorists are usually ambivalent about the faeries; they are likely to keep their distance from them, so to speak. While happy to record and discuss the beliefs of people who tell stories and anecdotes about them, most folklorists speak the language (at least in official publications) of the reductionist, materialist worldview that has held sway in Western civilisation for the last few hundred years, and they'll be nervous about assessing the potential actual reality of metaphysical beings. In the materialist's world, faeries simply cannot exist. They must be reduced into a categorised cultural belief system, and any discussion of them will usually be couched in the accepted language of scientific rationalism. This creates a problem for any folklorist (or anybody else) who wants to look behind the stories and investigate the possibility that the faeries can be incorporated into our consensus reality as a genuine phenomenon.
The scientific orthodoxy has been challenged recently by a range of philosophical hypotheses such as Idealism, backed up by quantum mechanical theory and experiment, which reinstates consciousness (not matter) as the primary mover and creator of reality.3 When this is done, entities such as faeries are allowed back into the universe as an authentic phenomenon, and if we start to look in the right places, we begin to find that they are indeed everywhere… we just need to know where to look, or more accurately, how to look.
The Electromagnetic Spectrum, Dark Matter and Dark Energy
Our normal waking consciousness experiences less than 1% of the entire electromagnetic spectrum. If we take into account the current (mainstream) scientific hypothesis that this electromagnetic spectrum itself composes less than 6% of the universe, with the mysterious Dark Matter and Dark Energy taking up the rest, then we are at a good starting point to understand that our version of reality is extremely compromised.4
We may have the technology to utilise the unseen wavelengths in the spectrum, but they are not accessible to our ordinary consciousness. Dark Matter and Dark Energy are entirely inaccessible to our technology, and remain for the moment nothing more than theory based on the by-product of mathematical equations.
We also have to take into account the recent theoretical mind-bender that the universe may actually be a Matrix-like virtual reality hologram, put in place by (depending on who you listen to) a supreme being, aliens or future versions of humans, the latter option coming from ex-NASA scientist Dr Rich Terrile.5
With this level of uncertainty about the reality we inhabit, and in order to gain an understanding of the world in which we live (and the unseen entities that may exist alongside us), we might be advised to fall back on the only known certainty allowed us: consciousness.
The Origins of the Faeries in Altered States of Consciousness
Our earliest known artistic portrayals of the world, and how human consciousness interacted with it, come in the form of cave paintings from all parts of the globe, starting c.35,000 BCE. Many of these cave paintings include humanoids and therianthropes, otherworldly entities that have been recorded alongside geometric imagery, stylised animals and landscapes. They are in effect our earliest known folklore. What state of mind were our Palaeolithic ancestors in when they were painting these strange entities in often difficult to access caves and shelters?
The anthropologist David Lewis-Williams has made the convincing argument that these cave and rock-shelter paintings were produced by shamanic cultures to represent reality as perceived in an altered state of consciousness.6 Twenty years ago this idea was anathema to anthropologists, but since the work of Lewis-Williams, and many others, the theory has tipped over to become an accepted orthodoxy. There are hundreds of motifs in the cave paintings that correlate with the visionary states of people in an altered state of consciousness, brought about most especially by the ingestion of a psychotropic substance. The basic premise is that the shamans of these Palaeolithic cultures transported themselves into altered states of consciousness and then painted the results of their experiences on the walls of caves and rock shelters – experiences that frequently included therianthropic beings and supernatural humanoids that correlate in many ways with later faerie types.
In his 2005 book Supernatural, Graham Hancock vividly utilises Lewis-Williams' work to discuss the continuity through time of entities experienced in altered states of consciousness, coming to the conclusion that the faeries of our historic period are one and the same as those portrayed in prehistoric caves.7 And writers such as Carlo Ginzburg and Emma Wilby have argued that there is a direct link between prehistoric shamanic storytelling and the folklore embodied in classical, medieval and later periods, that often incorporate entities such as nymphs and faeries; supernatural beings that interact with humanity when the conditions are right.8 Those conditions may well be reliant on the human participants undergoing an altered state of consciousness as a result of the ingestion of psychotropic compounds. There is certainly a preponderance of mushroom imagery associated to historical depictions of faeries, most especially the highly psychedelic red and white Amanita Muscaria (fly agaric) mushroom, and the psilocybin mushroom, both prevalent in Europe and Asia. If these historic folkloric manifestations of interactions with supernatural entities can be linked to the cave art of prehistory and preliterate societies, then we have a continuation of relationship with an alternative reality, accessed through altered states of consciousness, over a very long period of time.
The highly psychedelic red and white Amanita Muscaria (fly agaric) mushroom, often associated with faerie depictions.
Many of the European faerie motifs repeated in stories and anecdotes through the centuries to the present day were already in place during the medieval period. When folklorists began to collect these stories in earnest from the 19th century onwards, they found a belief in faeries amongst rural populations that was probably very close to the medieval belief and understanding of what faeries were and how they interacted with humanity. Many of the stories include situations where the protagonist interacts with the faeries in what seems an altered state of consciousness: Faerieland doesn't comply to Newtonian physics, it is consistently inhabited by strange humanoids and therianthropes (the faeries), and there are lots of recurring story motifs that are highly suggestive of an autonomous reality being described.
This is not consensus reality – this is the folklore recording stories from people operating outside consensus reality. The folktales about faeries have been overlain with much allegorical storytelling, but at their root the realities they describe are of people in altered states of consciousness, perhaps not too far from the realities experienced by the Palaeolithic cave painters and our shamanic ancestors.
WY Evans-Wentz, Rudolph Steiner & Metaphysical Nature Spirits
When the folklorist WY Evans-Wentz travelled around the Celtic world at the beginning of the 20th century, collecting stories and anecdotal experiences about the faeries, it was clear that most of his interviewees rated clairvoyance as the best way of altering the conscious state to a position where it could interact with the faeries.9 Seership or second-sight was the method of entering, or at least viewing, an alternative reality inhabited by a relatively consistent cast of characters, usually recognised as the faeries.
He met one such (un-named) Irish clairvoyant in Rosses Point, County Sligo. This seer talked about various types of faeries that inhabited the landscape of Sligo, "making them sound like a cross between nature spirits and mystical visions." But Evans-Wentz was just as interested in the mechanics of interacting with the faeries as he was with the stories themselves. How did the seer interface with them?
I have always made a distinction between pictures seen in the memory of nature and visions of actual beings now existing in the inner world. We can make the same distinction in our world: I may close my eyes and see you as a vivid picture in memory, or I may look at you with my physical eyes and see your actual image. In seeing these beings of which I speak, the physical eyes may be open or closed: mystical beings in their own world and nature are never seen with the physical eyes.10
The rural people interviewed by Evans-Wentz consistently affirmed that clairvoyant alteration of consciousness was the best sure-fire way to see the faeries. By the time Evans-Wentz visited these communities, there was a sense that the number of people gifted with second-sight was dwindling; cutting down on communication with the faeries.
Evocative image demonstrating the slightly perverse nature of traditional faeries – Arthur Rackham's 'Illustration from Christina Rossetti's Goblin Market' (1933).
At the same time these rural communities were feeling the increasing pressures of modernism there was a reaction by organisations such as the Theosophical Society and the Anthroposophical Society to incorporate metaphysics into an understanding of reality. And their prime metaphysical technology was clairvoyance. The Austrian philosopher and esotericist Rudolf Steiner attempted to explain the mechanics of clairvoyance, when a person must transform their usually passive thought forms into something more dynamic. In normal consciousness, thoughts:
…allow themselves to be connected and separated, to be formed and then dismissed. This life of thought must develop in the elemental world a step further. There a person is not in a position to deal with thoughts that are passive. If someone really succeeds in entering the world with his clairvoyant soul, it seems as though his thoughts were not things over which he has any command; they are living beings… You thrust your consciousness into a place, it seems, where you do not find thoughts that are like those in the physical world, but where they are living beings.11
Steiner described the specific elemental animating forces at work in the natural world, when perceived clairvoyantly, in what he calls the Supersensible World. For Steiner the elementals in the Supersensible World existed as a range of beings, from devas, which are responsible for entire autonomous landscapes, through to the smaller nature spirits charged with the growth of vegetation.
Steiner (basing his epistemology on that originally developed by the 15th-century alchemist Paracelsus) divides these entities into four main types corresponding to earth (Gnomic), water (Undines), air (Sylphs) and heat/light (Salamanders). This is the faerie realm, existing as a non-material autonomous reality that crosses over with ours, and which can be accessed via a clairvoyant altered state of consciousness. Steiner thought everyone has this innate ability, but they had to be taught how to use it… it had somehow become almost forgotten amongst humanity.
This idea finds common ground with the recent work of biochemist Rupert Sheldrake, who proposes that morphogenetic fields are the formative causation allowing life on earth.12 Sheldrake's description of this organising principle behind the natural world is issued in the language of biochemistry, but what he postulates is basically the same as Steiner's vision of nature spirits in action. There are invisible forces that are as essential in ordering life on earth as accepted non-material forces such as gravity. Sheldrake calls these morphogenetic fields "the memory of nature." In effect, Steiner saw nature spirits as anthropogenic representations of these morphogenetic fields, imposed upon them through the thought forms of the observer, who perceives them clairvoyantly.
The Faeries & DMT
What allows this access to otherworldly realms and the entities that seem to exist there? The answer may lie with the substance called Dimethyltryptamine – DMT. This molecule is one of the main active ingredients in the Ayahuasca brew used by Amazonian shamans, but it is also produced endogenously in everyone's brain, potentially (but not definitely) in the pineal gland. It's usually safely dispersed around the brain and body for functional duties, but it seems that under certain circumstances it can be released in higher quantities, causing an altered state of consciousness. There is some evidence that this can happen during a frontal lobe epileptic seizure, as recorded in the well-documented 17th-century Cornish story of Anne Jefferies' abduction by diminutive faeries when she suffered a 'convulsion fit' and was transported (at least in her mind) to a numinous world inhabited by the faeries.13 The author Eve LaPlante has used historical and contemporary examples to demonstrate that Temporal Lobe Epilepsy can provide access to an altered state of consciousness where the human mind participates in a reality several steps removed from the consensus material world. This often includes full immersion in alternative landscapes and contact with non-human intelligence.14
The late and great Terence McKenna was an enthusiastic user of the synthesised form of DMT to access different realities and coined the term "self-transforming machine elves" for the creatures he regularly found there. As if to confirm Terence's assertions, a research study conducted between 1990 and 1995 in the General Clinical Research Center of the University of New Mexico Hospital by Dr Rick Strassman found that volunteers in the study injected with varying amounts of DMT underwent profound alterations of consciousness.15 This involved immediate cessation of normal consciousness and transportation to a different realm of reality with divergent physical properties, and inhabited by a range of creatures described as elves, faeries, lizards, reptiles, insects, aliens, clowns (yes, clowns) and various therianthropic entities. One woman even describes a pulsating entity that she called 'Tinkerbell-like'. The experiences, especially at higher doses, represented to the participants a parallel reality that was 'super real', not a hallucination, not a dream, but a substantial built reality with full sensory interaction plus telepathy.
The experience reports from the study are irrational, absurd, frightening, illogical and surreal. There is no question of any of the volunteers physically leaving the hospital bed during their experiences, but for all of them (without exception) the DMT-world was every bit as real as the one their minds left behind. After the injections participants frequently talked about 'blasting through' or 'breaking through a barrier' after which they found themselves in a realm with its own laws of physical space and movement, and its own inhabitants.
There are dozens of recorded experiences from the study, and the participants are all engaging in a non-physical reality directly with their consciousness, seemingly separated from their physical selfs. Some of the experiences agree in type to certain aspects of the faerie phenomenon. But what the research demonstrates is that under the right conditions, human consciousness can operate within a distinct and separate universe inhabited by a range of apparently autonomous entities [For more on this, see Peter Meyer's article 'An Ecology of Souls' on page 23]. These entities may be one and the same as the metaphysical beings recorded in prehistoric cave art and historic folklore, by people who were describing the beings encountered during various types of altered states of consciousness, brought on either actively or passively.
The faeries may change superficially through time, adapting to the expectations of the culture they are part of, but if it is human consciousness they are interacting with, this is no surprise. Underneath the cultural masks, the faeries begin to reveal their true selfs.
Art by Ylenia Viola, 'A.I.R.' www.fairytalesneverdie.com
Materialism vs Consciousness
There are many reasons why folklore about the faeries exists, and it certainly seems that interacting with them during an altered state of consciousness is one of them. Are they real experiences? They are subjectively real, but what is the objective reality?
A clairvoyant may suggest that we need to override our five senses with a dynamic type of consciousness that commands prominence over the material world. They would probably agree with Aldous Huxley's description of a universal consciousness being "Mind at Large" and that the brain is a "reducing valve transceiver," that can be retuned by a variety of methods. Huxley did this with Mescaline and LSD.16
The brain certainly gives us a very limited view of what is actually going on around us. Altering the transmission to the brain seems to allow non-material consciousness more of a free rein. As in a dream, an altered consciousness is able to construct metaphysical realities. It can communicate with the entities it finds there, and bring back a report. The relative consistency of the inhabitants of this alternative reality may suggest that they live there all the time, non-physical, and only able to interact with our physical world when conditions are right for an individual's consciousness.
This is the crux: does consciousness create physical reality, or is consciousness an epiphenomenon of the brain? If the former, then the realities experienced in altered states of consciousness can be accepted as true, with their own autonomous existence. If the latter, then while entities such as the faeries may be subjectively real, they do not exist objectively within the visible electromagnetic spectrum. This is the materialist/physicalist view. Although even physicalism has to adhere to its own rules and allow for the hypothesis that well over 90% of the universe consists of non-physical form: Dark Matter and Dark Energy. Maybe that's where the faeries are, waiting to be found.
This article was published in New Dawn Special Issue Vol 12 No 5.
If you appreciate this article, please consider a contribution to help maintain this website.
1. The best introduction to faerie ontology is Katherine Briggs, An Encyclopaedia of Fairies (1976). There are dynamic illustrations (based on Briggs' book) in Brian Froud and Alan Lee, Faeries (1978)
2. www.fairyist.com/survey/
3. blogs.scientificamerican.com/observations/coming-to-grips-with-the-implications-of-quantum-mechanics/
4. science.nasa.gov/astrophysics/focus-areas/what-is-dark-energy
5. in5d.com/we-are-living-in-a-hologram-designed-by-aliens-says-nasa-scientist/
6. David Lewis Williams, The Mind in the Cave: Consciousness and the Origins of Art (2002)
7. Graham Hancock, Supernatural (2005)
8. Carlo Ginzburg, Ecstasies: Deciphering the Witches' Sabbath (1991); Emma Wilby, Cunning Folk and Familiar Spirits: Shamanistic Visionary Traditions in Early Modern British Witchcraft and Magic (2005)
9. WY Evans-Wentz, The Fairy-Faith in Celtic Countries (1911), www.sacred-texts.com/neu/celt/ffcc/
10. Evans-Wentz, The Fairy-Faith, p. 60
11. Rudolf Steiner, Nature Spirits: Selected Lectures (1995). 'Perception of the Elemental World' (1913), p.177-78
12. Rupert Sheldrake, The Presence of the Past: Morphic Resonance and the Habits of Nature (1988)
13. deadbutdreaming.wordpress.com/2017/09/23/the-faerie-abduction-of-anne-jefferies/
14. Eve LaPlante, Seized: Temporal Lobe Epilepsy as a Medical, Historical, and Artistic Phenomenon (1993)
15. Rick Strassman, DMT: The Spirit Molecule (2001)
16. Aldous Huxley, The Doors of Perception (1954)
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Dr Neil Rushton has a PhD from The University of Cambridge, and writes about archaeology and folklore for a variety of online and offline outlets. He published his first novel, Set the Controls for the Heart of the Sun, in 2016. His blog-site investigates the role of the entities most often known as the faeries, from a range of folkloric and esoteric perspectives: https://deadbutdreaming.wordpress.com. He can also be reached on Twitter @neilrushton13 and www.facebook.com/thefaeriecode.
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From New Dawn 101 (Mar-April 2007) Enlightened people are like spiritual dynamos: they have a very strong presence which touches the people they come into contact with, transmitting something of their enlightenment to them. Even people who aren't at all […]
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Betty Goldberg Glasser, nee Betty Stein died on May 22, 2002. A gathering was held for her at her house in Anaheim on May 26.
It was a perfect Spring day in Anaheim, warm but with a gentle breeze and clear skies. Her friends from "The Living Tradition" played music at the gathering. Friends and family gathered, mostly outside on the south east side of the house, where tables had been set up. All the people who've assisted, attended and have sent us kind words have helped show us and each other how Betty always managed to make good things happen around her. Thank you.
Here are links to some of the comments that were presented at the gathering and sent to us. A poster board was placed on an easel with all the notes that had arrived by that time. Here is a selection of those that I (Jeffrey) have an electronic copy of.
The gathering was, as Betty would have wanted, a musical event. Betty's friends in "The Living Tradition" and "The Occasional String Band" played music and sang, and other friends and family joined in with songs that she used to share a long (and not so long) time ago. Among the songs were Union maid/Red wing , The Strangest Dream , The Joys of Love (Plaisir d'amore) , a Russian folk song Where is the Street? , If you miss the train I'm on (500 miles) , I Never Shall Marry , The Hobo's Lullaby , By the Waters of Babylon . They also played some old-time instrumental music. At other times recorded music by her friend Mary McCaslin was playing.
We are just beginning to set up a photo gallery. Please note that currently it is very experimental and mostly for testing.
Please get in touch with us if you have any photos, or stories or information about Betty and her family and friends that you would like to share on this site. It is maintained by Jeffrey Goldberg and Jonathan Goldberg. Contact Jonathan Goldberg <goldberg@bbri.org> for contribution of content and Jeffrey Goldberg <jeffrey@goldmark.org> for technical matters about the site's functioning, design and for corrections of typographical errors.


Mark Wahlberg has launched an angry tirade and David and Victoria Beckham, urging them to go back to the UK because the paparazzi camped around their house is ruining his life.
The actor lives on the same road as the Beckham family, after the L.A. Galaxy star, his wife Victoria and their three children moved to Los Angeles last year.
And the Planet of the Apes actor loathes his new neighbours, because he now has a swarm of photographers constantly perched outside his front door.


Black mold can be found in nearly any place in the home or commercial building, but there are certain places that it seems to favor. Dark, damp and tucked away places are often the first places that you will stumble upon black mold. It can be growing for months before it is noticed or can be found relatively quickly because of the smell. It is important to know how to deal with the mold properly and to remember that there are steps that must be taken to prevent it from coming back. You can also work to keep black mold from ever starting in the first place, especially if you know an area might be more susceptible.
It grows best on softer or more porous surfaces that are high in cellulose and low in nitrogen content.
It also grows best in dark and tucked way corners because it can become established before anyone notices it.
Black mold likes to grow where there is a constant or near constant presence of damp to wet conditions. These conditions are all why basements are nearly ideal for this mold to set up and start growing.
You will likely find black mold in the back of cabinets where water may run down from poorly sealed fixtures or on walls that are directly adjacent to leaky pipes. Corners with poor air circulation are also good places to look if you suspect that you have a black mold problem.
Other places to look for black mold include ceiling panels, flooring (especially carpets), and behind appliances such as hot water heaters and washers. Flooring and walls near basement windows are also highly likely to have black mold problems.
The Centers for Disease Control and Prevention (CDC) has an informational booklet as well as information on their website about black mold. Because all mold should be treated the same, it is not as important to identify what type it is as it is to just find it wherever it might be.
It is important to find all areas of mold because if you have it in one place it is more likely that you have it in several other places as well.
Black mold is greenish-black in appearance and may either appear slightly furry or hairy or more clumpy. Another type of mold is slimier in appearance and is not formed in the same way as black mold and its directly related cousins.
What Are Common Causes of Black Mold?
Moisture is the most common cause of black mold and comes from a variety of sources. Leaky or sweaty pipes, poorly sealed sinks, faulty appliances, water damage, and flooding are the most likely causes of this problem.
High humidity may be one of the most overlooked causes of black mold, especially in a home that has been assessed for every other type of water damage.
Black mold can be prevented by lowering the humidity in the home, which will reduce things like pipe condensation.
Check for water leaks periodically. If your water bill suddenly spikes upward without any known reason, you might have a leak. Some leaks are so small that they may not cause the bill to go up by enough to really notice so a visual exam of exposed pipes is also a good idea.
Watch for damage around basement doors and windows especially after very heavy rains. If the floor in the basement gets wet and takes a long time to dry, you are more susceptible to black mold. Consider adding floor drains in addition to the sump pump if there are none already in place.
Remove any damaged pieces of wall or ceiling material and thoroughly clean any surface that might have been contaminated with mold spores.
Carpeting might be tricky to save, especially if the mold is extensive or the carpet has a deep pile. Some commercial cleaning products are too toxic to be used by the average person, especially in a basement where airflow might be minimal. It is easier to replace a carpet than to recover from a serious illness.
Your absolute first step here is to determine if your family's health is at risk. According to the CDC, black mold becomes toxic only to those who have compromised health issues, allergies, or sensitivities to mold of any kind or those who have chronic lung issues. Those people may also be at risk for issues with the cleaning process so they should be moved to a different location until the house has been cleaned and the air cleared out.
Your second step is to find and eliminate the water source. Faulty pipes should be repaired or replaced. A dehumidifier might be needed to address the humidity problem. Seal leaky sinks and fix or replace faulty appliances, windows and doors. If you do not take these steps, the black mold will just come back over and over again until you do.
All hard surfaces can be cleaned using water and detergent. The use of bleach for mold removal is discouraged by the EPA. Use gloves and a mask to protect yourself from airborne mold spores. Open windows or use fans to help with air flow and to aid in the drying out process.
Soft or porous materials that have only light mold might be cleaned with a similar method, however if the mold is extensive or there seems to be substantial damage, the item will need to be replaced. This includes ceiling panels and wall sections. Some wall sections may need to be removed to access pipes as well.
If you're not confident in your ability to remove mold effectively and safely, hire a professional. Get free quotes from local professionals on our estimates page.


text:
namespace U413.Domain.Entities
{
    using System;
    using System.Collections.Generic;

    public partial class Topic
    {
        public Topic()
        {
            this.Replies = new HashSet<Reply>();
            this.Followers = new HashSet<TopicFollow>();
            this.Visits = new HashSet<TopicVisit>();
        }

        public long TopicID { get; set; }
        public short BoardID { get; set; }
        public string Username { get; set; }
        public System.DateTime PostedDate { get; set; }
        public string Title { get; set; }
        public string Body { get; set; }
        public bool ModsOnly { get; set; }
        public bool Locked { get; set; }
        public bool Stickied { get; set; }
        public System.DateTime LastEdit { get; set; }
        public string EditedBy { get; set; }
        public bool GlobalSticky { get; set; }

        public virtual ICollection<Reply> Replies { get; set; }
        public virtual ICollection<TopicFollow> Followers { get; set; }
        public virtual ICollection<TopicVisit> Visits { get; set; }
        public virtual User User { get; set; }
        public virtual Board Board { get; set; }
    }
}


text:
Category Archives: Texas
Posted on August 30, 2017 by sturdeeroe66
Pickers and Poets: The Ruthlessly Poetic Singer-Songwriters of Texas by Craig E. Clifford (Editor), Craig Hillis (Editor), Texas A&M University Press, 2016
Let's start with an activity. Go over to your collection of LPs and/or CDs. Take every one by a Texan artist out and put it on the floor. Unless I am mistaken there should now be a big mess. Blind Lemon Jefferson, DRI, Stevie Ray Vaughan, Scott Joplin, T-Bone Walker, Guy Clark, Janis Joplin, Waylon Jennings, 13th Floor Elevators, a Tejano compilation, Sir Douglas Quintet, Bob Wills, Pantera, Ornette Coleman, and, wait a minute, you own a Pantera record? Notice how many are on the floor. It's remarkable. Now tidy them up and come back to hear about a new book, Pickers and Poets: The Ruthlessly Poetic Singer-Songwriters of Texas.
All over the world there are regions in other countries that were once independent nations. Mercia, Java, Burgundia, Venice, Sikkim, and Galicia are just some of the ghost states that linger in the wider federations to which they now belong. Texas is another such place. From 1836 until 1846, the Republic of Texas had its own president and was recognised by many other countries including its big neighbour to the north, the United States.
Is this why so many of your records come from Texas? Perhaps it is. When Willie Nelson grew weary of Nashville in the late 60s, he grew his hair, started smoking industrial amounts of weed, and, to really make his point, threw his battered guitar in the pickup and moved to Austin. He crossed a border; he emigrated. Yes, I know he was from Texas originally but the point is that Austin, though only a long day's drive from Nashville, represented another place entirely, another country – with all the implications of that phrase.
Pickers and Poets is not a comprehensive history of Texas music – it is, rather, a series of short essays about the state's song writing tradition as it has played out since the late sixties. The extensive blues tradition in the state is not part of this book, nor is Texas jazz – an amazing story – or the wondrous Tejano music. Most of the artists profiled here could be classified roughly under the 'Americana' banner. The book is set out more or less chronologically beginning with figures like Steven Fromholz, Michael Martin Murphey and on up to contemporary songsmiths like Hayes Carll. In between, we meet such familiar figures as Kinky Friedman, Ray Wylie Hubbard, and James McMurtry. Willie Nelson gets two pieces.
I was sold when Willis Alan Ramsay turned up in one of the first essays. In the chapters that follow, it becomes clear that many songwriters continue to hold him in very high esteem. He recorded exactly one album in 1972. It sold poorly and disappeared almost immediately. But what a record! You'll recognise one song on it. Yes, Willis Alan Ramsay wrote Muskrat Love and, what's more, it's a great song. His version, that is. He also wrote Angel Eyes, a song that you will either play or wish you had played at your wedding.
But it's Townes Van Zandt who haunts almost all of the essays. He never had anywhere near the success he deserved and his story is not a happy one. However, his influence is beyond question. He was never a Nashville identity but many of his songs are standards on the Opry stage. It's arguable that the entire Americana scene is his creation. Big call? Okay, but flip through the pages of No Depression and try to imagine a world where Townes had never existed. It's not easy. I would argue, as many have, that his influence is comparable to Bob Dylan's.
Blaze, Townes, and Rex (as in Rex's Blues)
Townes was a hard living character indeed and as Steve Earle has observed, a terrible role model. His friend and partner in crime, Blaze Foley is mentioned in many of the essays. Blaze was Townes' Townes, the embodiment of Kris Kristoffersen's Pilgrim character and the ultimate cosmic country gypsy. Willie, Waylon, Tompall Glaser and Billy Joe Shaver are famous for the 'Outlaw' brand of country. Blaze was the pure product. And then some. His casket was covered in duct tape before he was buried. Beat that Gram Parsons!
If you are curious about the Folk/Country/Americana scene that has developed in Texas over the past half century, the book does a good job of creating a viable chronology. The original generation – Jerry Jeff, Townes, Guy Clark, Rodney Crowell, and so on – were essentially folkies inspired by Bob Dylan but well versed in honky tonk, Western Swing, and sometimes bluegrass. Willie was a Nashville insider who brought a modern country sensibility with him, not to mention a whole pile of talent scouts who sniffed change in the air. The hippie/redneck/trucker/shitkicker scene around the Armadillo World Headquarters in Austin wound down in the early eighties but songwriters continued to gravitate to the small city. The next generation, which included Steve Earle, Lucinda Williams, Lyle Lovett, Robert Earl Keen, and many others regarded Nashville with suspicion, if not outright hostility. Successive waves have included talented Texans such as Ryan Bingham and Sam Baker.
The introduction includes a cringe-worthy explanation of why so few women are included but the chapter devoted exclusively to them is perhaps the best in the book. There are also chapters on newish singer songwriters like Kacey Musgraves and Terri Hendrix in the last section of the book. The whole thing, at times, seems edited by committee so perhaps they forgot. The chapter on Don Henley (yes, from Texas, shame about his anaemic music) was mercifully brief but still too long for this reader. The sections on figures like Steve Earle and Lucinda Williams contained far too much general information that is already widely available. The chapter on Rodney Crowell, on the other hand, was fascinating. Guy Clark seemed underplayed throughout the book though the essay by Tamara Saviano bodes well for her recent biography of the man. But these are just quibbles about an engaging and informative book. Any book on music that I have to put down so that I can listen to an artist or album that I don't know gets high marks from me. It took me weeks to get through this one! Discovering David Rodriguez alone was worth the cover price.
If for some reason, you didn't end up with many records on the floor in the activity at the beginning of the review, this is required reading. For folks who are still tidying up, there might be, believe or not, still some gaps in your collection. Poets and Pickers might help to fill them.
Teasers: Both of the editors have written doctoral theses on Texas music. The analysis of lyrics and lyrical traditions in the book are truly insightful.
Willie Nelson on The Midnight Special, introduced by Captain and Tennille!
Posted in 1960s, 1970s, 1980s, Americana, Country, Folk, Texas, Uncategorized	| Leave a reply
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text:
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Old Dominion vs Florida Atlantic (Apr 26, 2019)
2019 Old Dominion Baseball
Old Dominion at #28 Florida Atlantic
Apr 26, 2019 at Boca Raton, Fla. (FAU Baseball Stadium)
Old Dominion 7 (25-16,8-11 C-USA)
Player ab r h rbi bb so po a lob
Bryce Windham 3b 3 2 2 0 3 0 0 1 0
Matt Burch 2b 6 2 1 0 0 2 1 2 0
Vinnie Pasquantino 1b 6 2 2 4 0 1 7 0 8
Andy Garriola lf 4 1 1 0 0 1 2 0 0
Ryan Teschko rf 5 0 1 1 0 2 1 0 0
Matt Schwarz cf 5 0 1 0 0 2 4 0 0
Will Morgan dh 5 0 2 0 0 2 0 0 1
Tommy Bell ss 3 0 2 2 1 0 2 3 0
Jared Hancock c 5 0 0 0 0 1 10 0 5
Tommy Gertner p 0 0 0 0 0 0 0 0 0
Aaron Holiday p 0 0 0 0 0 0 0 0 0
Hunter Gregory p 0 0 0 0 0 0 0 0 0
Totals 42 7 12 7 4 11 27 6 14
Florida Atlantic 2 (28-13,14-5 C-USA)
Rivera cf 4 0 0 0 1 1 4 0 1
Montes 3b 4 1 2 0 0 1 1 1 0
Urbaez 2b 3 0 0 0 1 1 1 1 1
Summerall 1b 4 1 2 2 0 1 5 1 2
Pages c 3 0 0 0 1 2 11 0 0
Morgensen rf 4 0 2 0 0 2 1 0 0
Nizza dh 3 0 0 0 0 0 0 0 0
DeSantolo ph 1 0 1 0 0 0 0 0 0
Hartigan lf 4 0 0 0 0 1 2 0 2
Josey ss 3 0 0 0 0 1 1 2 2
Murray ph 1 0 0 0 0 0 0 0 0
Sanderson p 0 0 0 0 0 0 0 0 0
Carter p 0 0 0 0 0 0 0 0 0
O'Connell p 0 0 0 0 0 0 0 0 0
Swan p 0 0 0 0 0 0 1 2 0
Totals 34 2 7 2 3 10 27 7 8
Score by Innings                    R  H  E
Old Dominion........ 300 013 000 -  7 12  0
Florida Atlantic.... 200 000 000 -  2  7  4
E - Montes(7); Urbaez(7); Summerall 2(3). DP - FAU 1. LOB - ODU 14; FAU 8. 2B - DeSantolo(4). HR - PASQUANTINO(9); Summerall(5). HBP - GARRIOLA, A.; BELL, Tommy.
Old Dominion ip h r er bb so wp bk hbp ibb ab bf fo go np
Tommy Gertner 2.2 2 2 2 2 2 0 0 0 0 10 12 3 3 55
Aaron Holiday W,4-1 3.1 3 0 0 1 4 0 0 0 0 13 14 4 2 61
Hunter Gregory S,2 3.0 2 0 0 0 4 0 0 0 0 11 11 4 1 51
Florida Atlantic ip h r er bb so wp bk hbp ibb ab bf fo go np
Sanderson L,7-2 5.0 9 4 4 2 7 0 0 1 0 24 27 6 1 98
Carter 1.1 2 3 2 1 2 0 0 1 0 7 9 1 1 39
O'Connell 0.2 0 0 0 1 1 0 0 0 0 2 3 0 1 13
Swan 2.0 1 0 0 0 1 0 0 0 0 9 9 2 3 31
Win - HOLIDAY, A. (4-1). Loss - Sanderson (7-2). Save - GREGORY, H. (2). HBP - by Sanderson (GARRIOLA, A.); by Carter (BELL, Tommy). Inherited runners/scored: HOLIDAY, A. 2/0; O'Connell 2/0. Pitches/strikes: GERTNER, T. 55/27; HOLIDAY, A. 61/36; GREGORY, H. 51/33; Sanderson 98/68; Carter 39/24; O'Connell 13/7; Swan 31/21.
Umpires - HP: Linus Baker 1B: Craig Barron 3B: Tommy Cepparulo
Start: 6:30 pm Time: 3:15 Attendance: 353
Weather: 85 degrees and partly cloudy
Old Dominion starters: 20/3b WINDHAM, B.; 4/2b BURCH, Matt; 1/1b PASQUANTINO; 9/lf GARRIOLA, A.; 18/rf TESCHKO, R.; 10/cf SCHWARZ, M.; 7/dh MORGAN, Will; 11/ss BELL, Tommy; 50/c HANCOCK, J.; 44/p GERTNER, T.;
Florida Atlantic starters: 1/cf Rivera; 7/3b Montes; 6/2b Urbaez; 8/1b Summerall; 17/c Pages; 10/rf Morgensen; 26/dh Nizza; 24/lf Hartigan; 2/ss Josey; 28/p Sanderson;
Old Dominion 1st - WINDHAM, B. singled to center field (2-2). BURCH, Matt singled down the lf line (2-2); WINDHAM, B. advanced to second. PASQUANTINO singled to right center, RBI (1-0); BURCH, Matt advanced to third; WINDHAM, B. scored. GARRIOLA, A. struck out swinging (0-2). TESCHKO, R. singled to left center, RBI (0-1); PASQUANTINO advanced to second; BURCH, Matt scored. SCHWARZ, M. singled through the left side (2-2); TESCHKO, R. advanced to second; PASQUANTINO advanced to third. MORGAN, Will struck out swinging (2-2). BELL, Tommy walked, RBI (3-0); SCHWARZ, M. advanced to second; TESCHKO, R. advanced to third; PASQUANTINO scored. HANCOCK, J. struck out swinging (0-2). 3 runs, 5 hits, 0 errors, 3 LOB.
Florida Atlantic 1st - Rivera lined out to cf (3-2). Montes singled to right center (1-0). Urbaez struck out swinging (2-2). Summerall homered to right field, 2 RBI (2-2); Montes scored. Pages fouled out to 1b (3-1). 2 runs, 2 hits, 0 errors, 0 LOB.
Old Dominion 2nd - WINDHAM, B. walked (3-2). BURCH, Matt popped up to ss (2-2). PASQUANTINO grounded into double play ss to 2b to 1b (0-1); WINDHAM, B. out on the play. 0 runs, 0 hits, 0 errors, 0 LOB.
Florida Atlantic 2nd - Morgensen struck out looking (2-2). Nizza grounded out to 3b (1-1). Hartigan grounded out to ss (1-0). 0 runs, 0 hits, 0 errors, 0 LOB.
Old Dominion 3rd - GARRIOLA, A. hit by pitch (0-1). TESCHKO, R. flied out to cf (2-2). SCHWARZ, M. flied out to lf (2-1). MORGAN, Will struck out looking (0-2). 0 runs, 0 hits, 0 errors, 1 LOB.
Florida Atlantic 3rd - Josey grounded out to ss (2-2). Rivera walked (3-0). Montes flied out to lf (3-2). Urbaez walked (3-1); Rivera advanced to second. HOLIDAY, A. to p for GERTNER, T.. Summerall grounded out to 2b (3-2). 0 runs, 0 hits, 0 errors, 2 LOB.
Old Dominion 4th - BELL, Tommy singled to left field (1-0). HANCOCK, J. reached on a fielding error by 3b (0-2); BELL, Tommy advanced to second. WINDHAM, B. lined out to cf (0-0). BURCH, Matt flied out to cf (1-0). PASQUANTINO struck out swinging (3-2). 0 runs, 1 hit, 1 error, 2 LOB.
Florida Atlantic 4th - Pages walked (3-0). Morgensen singled to center field (1-2); Pages advanced to second. Nizza flied out to cf (3-1). Hartigan struck out swinging (1-2). Josey struck out looking (3-2). 0 runs, 1 hit, 0 errors, 2 LOB.
Old Dominion 5th - GARRIOLA, A. singled up the middle (1-2). TESCHKO, R. struck out looking (0-2). SCHWARZ, M. struck out swinging (0-2). MORGAN, Will singled to left field (0-2); GARRIOLA, A. advanced to second. BELL, Tommy singled up the middle, RBI (0-2); MORGAN, Will advanced to second; GARRIOLA, A. scored. HANCOCK, J. popped up to 3b (0-0). 1 run, 3 hits, 0 errors, 2 LOB.
Florida Atlantic 5th - Rivera grounded out to ss (2-2). Montes struck out swinging (1-2). Urbaez flied out to cf (2-2). 0 runs, 0 hits, 0 errors, 0 LOB.
Old Dominion 6th - Carter to p for Sanderson. WINDHAM, B. walked (3-2). BURCH, Matt reached on a fielding error by 1b (1-2); WINDHAM, B. advanced to second. PASQUANTINO homered to right center, 3 RBI (0-1); BURCH, Matt scored, unearned; WINDHAM, B. scored. GARRIOLA, A. flied out to rf (1-1). TESCHKO, R. struck out swinging (2-2). SCHWARZ, M. struck out swinging (3-2). 3 runs, 1 hit, 1 error, 0 LOB.
Florida Atlantic 6th - Summerall singled up the middle (1-1). Pages struck out looking (1-2). Morgensen singled through the right side (1-0); Summerall advanced to second. Nizza popped up to ss (1-0). Hartigan flied out to cf (1-2). 0 runs, 2 hits, 0 errors, 2 LOB.
Old Dominion 7th - MORGAN, Will singled to center field (1-1). BELL, Tommy hit by pitch (2-2); MORGAN, Will advanced to second. HANCOCK, J. grounded out to 3b (0-0); BELL, Tommy advanced to second; MORGAN, Will advanced to third. O'Connell to p for Carter. WINDHAM, B. walked (3-2). BURCH, Matt struck out swinging (0-2). PASQUANTINO grounded out to ss (2-1). 0 runs, 1 hit, 0 errors, 3 LOB.
Florida Atlantic 7th - GREGORY, H. to p for HOLIDAY, A.. Josey flied out to rf (3-1). Rivera grounded out to 2b (3-2). Montes singled to right field (0-0). Urbaez popped up to 2b (0-0). 0 runs, 1 hit, 0 errors, 1 LOB.
Old Dominion 8th - Swan to p for O'Connell. GARRIOLA, A. grounded out to p (0-0). TESCHKO, R. flied out to cf (1-0). SCHWARZ, M. grounded out to p (2-2). 0 runs, 0 hits, 0 errors, 0 LOB.
Florida Atlantic 8th - Summerall struck out swinging (2-2). Pages struck out swinging (1-2). Morgensen struck out swinging (2-2). 0 runs, 0 hits, 0 errors, 0 LOB.
Old Dominion 9th - MORGAN, Will popped up to lf (1-2). BELL, Tommy reached on a fielding error by 1b (1-2). HANCOCK, J. reached on a throwing error by 2b (0-0); BELL, Tommy advanced to second. WINDHAM, B. singled to left field (2-2); HANCOCK, J. advanced to second; BELL, Tommy advanced to third. BURCH, Matt struck out swinging (1-2). PASQUANTINO out at first 1b to p (2-1). 0 runs, 1 hit, 2 errors, 3 LOB.
Florida Atlantic 9th - DeSantolo pinch hit for Nizza. DeSantolo doubled to right center (1-1). Hartigan lined out to ss (2-1). Murray pinch hit for Josey. Murray flied out to lf (2-2). Rivera struck out swinging (2-2). 0 runs, 1 hit, 0 errors, 1 LOB.


text:
Raffi Torres Suspension - 25 games
Raffi Torres of the Phoenix Coyotes was suspended 25 games for his hit that landed Marian Hossa of the Chicago Blackhawks on a stretcher. Duncan Keith only got 5 games for his flying elbow, which concussed Daniel Sedin of the Vancouver Canucks. James Neal only got one game for his headshot. Shea Weber got no suspension for his blow to the head of Henrik Zetterberg.
At first glance, it appears that star players in the NHL get preferential treatment when in comes to the discipline of illegal headshots. Keith, Neal, and Weber, get a far lighter suspension because they are stars, which bring in alot of revenue to the owners and league. Torres gets made an example of with a stiff suspension because he is not a star player.
Brendan Shanahan in a video addressing the lengthy suspension pointed out that Torres has five previous suspensions and a history of five identical hits to the head. He felt a message needed to be sent. The message is loud and clear to Raffi Torres who receives the longest suspension, dating back to 1989.
By: NHL Insider on Saturday, April 21, 2012


New York: Farrar Strauss & Giroux, 1984. First American edition, later printing. Hardcover. 8vo. 160 pp. Very good condition. Immaculate boards and pages. No markings. Dust jacket is very slightly rubbed along periphery but still in almost like-new condition.