text:
Multi Instrumentalists Among Our Ranks
By Lawrence Reeves,
February 1, 2012 in General Concertina Discussion
Location:Napier, New Zealand
Taking it a stage further...
I keep threatening to have a go at the saxophone. I'm very tempted and have an offer of one on an open ended loan, but as someone said earlier, it seems better not to divide your fire
Morgana 3 posts
Dirge 4 posts
Lawrence Reeves 3 posts
catty 5 posts
John Wild
Location:Gillingham, Kent. U.K.
I'm a multi-instrumentalist - I play treble English concertina, tenor English concertina, baritone English concertina, and i have tried a bass English concertina!!
In between all that, I am still practising on a Hayden duet concertina.
ceemonster
six or seven years of piano as a kid. not a virtuoso, but good at the level of, say, the simpler mozart sonatas and popular or religious arrangements i played at some weddings and at church for sunday school class---weird CV for a future pagan/agnostic....
as a grownup, fell for oldtime music and started oldtime clawhammer banjo, which i play proficiently though not at fast speeds....through oldtime, encountered and fell for itm and thought i was going to devote the rest of my life to fiddle, a fruitless quest due to de cuervein's syndrome in my bowing hand. so devastated by that disappointment i could not bear to be around itm for a while. spent two or three years learning PA (a leg up on the learning curve because of the piano years), but not for ITM, more tango, musette, klezmer stuff. was not a stand-on-your-head-improvising virtuoso, but good enough to gig at weddings, art shows, stuff like that. then returned to ITM and spent a number of years immersed in b/c box, which i play competently and still love playing at relaxed speeds, but have never really gotten at the hyper speeds. followed and overlapping with five or so years of mad obsession with anglo concertina which supplanted b/c box and has gone very well. however...i don't like to confess this, but the fact is that i have become annoyed by anglo's limitations, and have been neglecting it for my latest and perhaps henceforth main axe, cba. i already know the basses from my PA period, and the button system is better for me ergonomically than PA. really a blast to play. and itm sounds great on it, though in a paddy carty articulation paradigm rather than a one-row melodeon articulation paradigm. i can use it for itm, musette, tango, and jazz, and for reasons it would take a book to go through, but related to the extremely limited opportunities in my locality to play ITM in the manner that i love it rather than in the hyper-fast "star band" style, and curtailed travel resources to get that need fed in ireland as i was doing for a while there, i am lately really needing other outlets, and CBA does it all. through cba, now fascinated with unisonoric concertina, and eyeing bandoneon as well.....when i need breaks from free-reed obsession, i practice clawhammer banjo as well as (extremely elementary) excursions into ragtime/country-blues guitar picking. extremely elementary. like, with tablature...
Edited February 2, 2012 by ceemonster
Location:Alessandria, Piemonte, Northern Italy
EC tenor/treble (and soon baritone/treble) - for dance music & song accompaniment.
I also dabble with härjedalspipa, willow flute and Swedish zither.
I've even been known to play melodeon (does that count as an instrument? )
I also sing.
ed. ...and I forgot, started learning Crane duet.
ed^2 ...have been playing some harmonium too recently.
Edited July 21, 2012 by SteveS
Ken_Coles
Location:western Pennsylvania and northern Indiana, U.S.A.
play better than concertina: (so-called French) horn, trumpet
Am decent now on Anglo concertina
advanced beginnner on fiddle and on tenor and bass recorder
dabble on English concertina, Cajun accordion (one row BA), two-row BA
dying to try several more!
Daniel Hersh
Location:near Oakland, California
I've performed or played for dancers on Anglo concertina, hammered dulcimer, piano, piano accordion, tin whistle and recorder. I've done a little bit of studio work on Anglo. Played clarinet then bassoon when growing up. Getting pretty decent now on Hayden and Crane duet concertinas. Can play mountain dulcimer, Chemnitzer concertina, autoharp. bombarde and simple chord zither well enough to demonstrate them to curious onlookers. I may be forgetting one or more others.
david_boveri
Location:chicago, illinois, usa
as my profile pic suggests, i was originally a flute player. i started on the silver (boehm) flute when i was 11, always with the intention of learning irish music. i added the whistle soon after and then the concertina when i was about 17. after that came the irish flute, at 19, as well as some dabbling in piano.
i can play scratchy, out of tune and out of time violin (but never in public). if you put a set of uilleann pipes in my hands i could squeeze out some simple jigs and airs, as long a you don't ask me to turn the drones on. i don't considered myself much of a bodhran player, but my grandfather taught me to play as a child; i can keep time and won't trample on the tune.
lately most of my focus has been on concertina, but i have finally learned how to do piano accompaniment in the irish style. you're not likely to catch me playing the flute or whistle in sessions, even though i suppose i am just as proficient (or bad... take your pick) at them as the concertina.
EDIT: looking at dan's response above, it reminds me: when i was in high school i played the contrabass clarinet as my main instrument for 2 years in the school band.
Edited February 2, 2012 by david_boveri
Location:near San Diego, CA
I had several years of piano lessons as a child, and played it again as an adult about twenty-five years ago to accompany Sunday school music. I now use the piano to practice the alto parts for choir songs. After college I learned to play recorder and autoharp. I can still play recorder with a bit of practice, but I do not do it often. I played guitar for about four years in the late 80's to accompany myself singing folk songs. I relearned how to play guitar three years ago, and was at the intermediate level but my guitar playing has regressed because I bought an English concertina 14 months ago. I play folk song tunes and simple classical pieces fairly well on the EC. I dabbled with a borrowed anglo concertina for two months playing carols and Irish slow airs on it. I bought a Crane duet four weeks ago. I feel as though I will be a beginner on it for a long time.
Ralph Jordan
"If you count voice as an instrument" - absolutely and definitely. Singers are musicians just as much as those who use a mechanical device (and in fact it's a far more sensitive instrument that demands a lot of care and attention)
"Can't everybody count voice at a pinch" .. I'll agree with Geoff on that one Dirge! We've all got one, but not everybody knows how to use one!
In my case, I think I would have to say that my voice is my main instrument (well you can't do unaccompanied singing and not claim it as one of your panoply ...... can you?)
I'm learning to play Maccann, so at the moment it's second string; I played guitar to accompany myself for a good 20 years until I broke my elbow some years ago (and had reached my own level of incompetence and dissatisfaction on it) and maybe I should go back to using it again and redevelop the calluses. I learned to play piano to a basic level while at school, but am exceedingly rusty; dabbled with tin whistles in my twenties, and also played Appalachian dulcimer for a few years then. (I'll whisper the fact that I possess and have been known to use a shakey egg as well).
The one who really should be posting up (and I suspect he may not ) his panoply of instruments played to a decent level (and some of them indecent ) is Ralphie Jordan. (Listen to his CD Eloise for examples of some of the instruments he has under his belt ... or elsewhere upon his person .)
Well, My Dad was a church organist, and we had a piano at home...(lots of Gilbert and Sullivan recitals from Mum and Dad!) So, I started there.
At school, I took up percussion, and ended up in the London Schools Symphony Orchestra for one season (Now that's posh!). Meanwhile I started on guitar, and then via various folk clubs in South London, fell under the spell of a certain Mr Wooff (of this parish) who persuaded me to to take up the Duet.
(I've never looked forward since!)
Other instruments? Bouzouki, Mandolin, Banjolele, Melodeon (sorry!), Bass...both acoustic and electric, Harmonium (Dads influence) Swedish shepherd flute, and for one particular project, Balalaika, Valve Trombone.
Did enjot the Tympani, hard to get 5 of the buggers on a bus though!
michael sam wild
Location:Shireoaks, Notts, UK
I started on fiddle in manchester in 1945 age 6 but gave up when the local bully threw it off the railway bridge. It was sent off to be mened but never came back and I stopeed nagging about it! Regretted it ever since. Then messed about on Irish Gran's old wooden German concertyina and a metal ended Jeffries which mysteriously was sold by my Dad in the early 50s. Nobody else was interetsed apart from my young mate who also listened to Seamus Ennis on As I Roved Out on radio
Then mouth organ aged 10 when I joined Cubs for songs round the camp fire. Taught myself £2 skiffle guitar in 1950s and played some rock rhythm guitar. Then stuck to unaccompanied singing for many years until I got a red toilet seat perloid C/G melodeon in 1962 when my Dad went to East Germany on a Trades Union conference. I had asked for a concertina as I had heard of 'Anglo-German' instrument. Started playing Irish music again on tin whistle then flute in pubs in Sheffield in the 70s when the Irishmen were working on the M1 motorway and we had lots of sessions.
Started to play D/G Hohner pokerwork melodeon with Sheffield Morris in 1975 inspired by Tony Hall and John Kirkpatrick and then in ceildh bands and sessions at Fagans and The Dog and Partridge and The Red House with an Erica and a Corona III..
Always had a fiddle around and an old Italian mandolin, later a flat backed one and a flat backed John le Voi bouzouki to pick tunes on at home. Moved to C#/D melodeon after hearing Jackie Daly in the 70s ( never liked the Paolo Soprani big B/C) but when I could afford it got a C/G concertina in the late 90s and that is where I will stay . It's great for Irish, English tunes and songswith chords in a variety of keys C,G, D, Dm, Am, Em ,F Bm and a few other accidental tunes. Luckily I dropped onto the Royal Concertina session at Dungworth and the very knowledgeable gang there.
I may get a D/G Hohner Erika melodeon conversion for light weight and sessions and sell off the bigger boxes. Tim Edey and Mally can do wonders on D/G and so can John Spiers so nice to have one. Not too interested in a Costalotti wooden Italian melodeon actually.
That's it I reckon at 72 unless I get stuck into the fiddle or flute again.! The Jeffries Duet and the Maccann Duet are pension money I think and get played for fun but not serious stuff as I haven't the time to devote to them, until Duet International comes out perhaps
I suppose the constant theme has been to make communal music with others in whatever session or dance and song scene and style operates locally to the best of my ability and to do my own thing or with a few friends and that is mainly Irish traditional music and song the constant thread I started out with.
Edited February 2, 2012 by michael sam wild
Anglo-Irishman
Location:Near Stuttgart, Germany
I'm another "voice as first instrument" multi-instrumentalist. I could soak up and reproduce music before my hands were big enough to play any instrument, and I had a good voice as a child - my first music festival was in the "boy treble" class. Later, I had singing lessons and entered festivals in the "baritone solo" class (once winning a silver medal for oratorio), and with one of the three choirs I sang in as a student.
However, multi-instrumentalism was thrust upon me by Fate.
My parents owned and played a fiddle, a Neapolitan mandolin, a mouth organ and an old German autoharp, and I started to play with them as soon as I was big enough, and soon learned to play on them. Dad showed me how to play a scale on the mandolin, and I took it from there.
Later, he showed me how to hold the fiddle bow and pointed out that the fingering was the same as on the mandolin. I didn't find the intonation on the fiddle too difficult - and, more importantly, my parents didn't find it too hard to listen to, either, although they both had a good ear for music!
The autoharp just sort of taught me by itself.
And when I'd been told that the mouth organ went "blow, suck, blow, suck, blow, suck, suck, blow", and that you could do chords on it by opening your mouth wide, that was easy, too.
When I was about 10, my father was given a derelict 5-string banjo, which he restored in his pragmatic fashion. He also bought me a simple tutor for it, and I learned 3 chords and 3-finger picking.
I was thus well equipped for the Folk Scare of the 1960s. I already knew a good many Irish songs, and had the voice to sing them, and the means to accompany them - chiefly on the 5-string, à la Luke Kelly or Tommy Makem.
However, one of my earliest musical memories was the Triumph Duet concertina that I had heard at the Salvation Army as a small child, and I always wanted to have a concertina. When I finally got one, at 18, I think, all that was available in the Belfast shops was a 20-button, double-reeded German anglo. I learned this quickly because of my early mouth-organ experience, and even used it to accompany hymns at church!
I long resisted the lure of the guitar (mainly because every folk singer had one), but on a visit to Germany I bought a used guitar-lute, learned the chord shapes from the appendix of a song-book, and had a further accompaniment instrument. I later bought a Spanish guitar, which supplanted the banjo as my main accompaniment for solo gigs.
Over the years, our old fiddle gave up the ghost, so I don't fiddle any more. Since I started playing with a folk group 20 years ago, I have procured a couple of better banjos and a better Anglo; replaced the old mandolin; bought a modern autoharp and modernised my playing technique; and taken up the whistles.
Recently, the wheel has come full circle, and I obtained a real, ex- S.A. Lachenal Crane/Triumph, which is gradually emerging as a further gigging instrument.
So in my folk group, I'm responsible for vocals, 5-string banjo, mandolin, Anglo concertina and whistles.
For solo singing, my accompaniments are on 5-string banjo, guitar, autoharp or Anglo (with Crane Duet emerging).
For instrumental solos, it's classic finger-style banjo, chromatic autoharp or Anglo (with Crane Duet coming soon, I hope).
I must admit that I'm a jack of all trades and master of none, and lack the proficiency to hold an audience's attention for a whole evening of instrumental solos on any one instrument. But songs with varying accompaniments interspersed with different instrumental solos make quite a varied programme.
And when it comes to writing songs, each instrument assists me in its own individual way. Often, the best results come when I arrange a tune that I've composed on one instrument for another instrument.
Yes, I'm a convinced multi-instrumentalist, though I do admire people who have the focus to become really proficient on one instrument!
Location:UK, Essex
I wouldn't count my voice as I can make a noise that's an approximation of singing doesn't mean I'm a singer...in the same way just coz I have ability to run doesn't mean I'm gonna enter 100m sprint.
Recorder - badly- at infants school.
Keyboard - if you count occasionally being allowed in lessons at senior school to press some keys.
Guitar/Bass Guitar - gave up because I really didn't get on with it
Penny whistle/harmonica - gave up after 2 days as it made me dizzy
Anglo Concertina - 2008-today
Melodeon 2009 - today
Fiddle - 2010- today
I would say though main instrument is melodeon, with concertina coming second and fiddle third.
Robin Madge
Location:Rossendale, England
Voice as first choice, but I prefer to sing harmonies to another's lead, particularly where I can invent different ones for each verse to highlight the mood of the words.
The first instrument that I owned was a guitar and I spent 25 years finding out that I just wasn't made for an instrument where your fingers had to spread sideways while curled round a neck - my finger tips all converge.
I play Anglo in its many forms and keys. I have also perfomed with melodeon, accordian, whistles (lots of keys), spoons, bodhran, hammered dulcimer (a long time ago) and keyboard.
I have had some success with trying out tabor pipe, hurdy gurdy, and bombarde and can manage a melody line on guitar, mandola or bass guitar.
I didn't get on with violin, basson or clarinet and I have trouble with the lips when it comes to flutes and fifes. My practice set of pipes gave me all sorts of problems but following reports from friends who have borrowed them it's not all my fault!
Irene S.
Location:Surrey, United Kingdom
Aha - I stand corrected! However, you've left out one or two out? Hammond organ,and cittern ,hammered dulcimer on that difficult first solo CD , and crumhorn in the earllier days?
About time you took up the Mongolian nose flute, I reckon !
Edited February 2, 2012 by Irene S
Further to my earlier post and a possible debate on 'multi- Vs uni-', I'll be sticking to concertina for the record i.e. for any further musical development - not conventional training or playing by ear, as I can't, but by following written work. I won't be taking Guitar/Uke learning further and will be happy to remain content on my current proficiency on these for the time being.
However, I do hope to continue to use guitar and the uke for voice accompanying/development as I've already long known how to chord and site-read since a teen in the 1980s. like driving in a way, it never leaves you. Like EC, I don't/can't play by ear - I need to know the chord and see or memorise what's written. I'll persevere with the strings until the calluses appear again - I'm still looking into a solution against this inevitability as per my recent "residue build up" post and hope to get back on my findings - I'd imagine that the Harp would certainly be a more compatible bedfellow as a [fingertip friendly] stringed instrument.
I recall an earlier thread section that had debated 'playing concertina while singing simultaneously' - definitely a worthwhile topic. Singing-along helped me to focus on my tasks, but at the end of the day singing may affect the playing - irrespective of the player's familiarisation with the piece - which, for me, I'll be able to determine after my first attempt to record shortly. I said in one of my own recent comments on another thread that Roberton's 'Mingulay Boat Song' arrangement was definitely a challenge for me due to the rhythms [postscript: and very different phrasing demands] clashing/swapping occasionally between some voice and piano parts - then again isn't this a skill that some possess/boast (?) - An older relatives EC lesson was to see how long both pupils could play different songs simultaneously!
Some priorities and other thoughts:
My priority is going to be EC throughout. I don't think that Duet Concertina is going to be an option after having a quick look at the 64 key Hayden online [postscript: this is because the extra few and far between bass notes that I'd gain do not run chromatically until A2, i.e. I'd gain a B2; A2; G2 and F2, that's all, but it's tempting on second thoughts - tone quality (and difficulty?) would be the deciding factor/s. Again, my TT has been equipped with a Bf2 so like my thirst for a BT (on the same EC button layout) I'm in no rush for an extra few bass notes, as explained below, yet]!
My range preference remains:
1) tenor-treble EC (have); then
2) baritone-treble EC (don't have) [ps: plus perhaps Duet (don't have)]; then
3) bass EC (don't have); then
4) extended treble EC (have)
Some of the notes I have to play are outside the bass range of the instrument. I then have to decide on what notes/bars or section of bars that I can raise an octave where necessary in order to retain the character of the piece. Some of these are deep double octave notes jumping down to the Bass EC range, which I'm happy to lose without detriment to the piece. This can all be pulled off by using either a TT or BT depending on the written piece. I'm lucky to have the extra low Bflat (Bf32) instead of the duplicate D#3, which helps minimise the need for the BT - meaning I can get on with a quite a lot until the latter can be acquired. I'll definitely be able to complete or extend upon my planned repertoire if so.
Bass EC 3rd on my list is one of my fancies should [if I win the lottery!] I try my hand at layering/recording the clefs independently; or in the unlikely event that I'd find a dueting partner to share the piece with. This 3rd option won't ever oust the TT [or BT?]. It would simply be experimental - forgive my greed by this point - since a treble's tonal quality is unlikely to be matched, even where the few pieces on my repertoire are doable within a bass' range, not to mention the probable added difficulty of tackling the occasional deep double octaves that I argue are unnecessary.
That said, some arrangement classics are wholly within the range of even the standard TT (e.g. Roberton's 'Mingulay Boat Song' in F, 1938), which don't go below C3, but are rare - here the pianist's hands will be pretty close to each other, almost touching at points! This is an easy one to start with as there are simply no more than 4 notes to press at any one point, but beware of a second version - I've had the unfortunate pleasure of being mesmerised by my own family get-together band's wonderful rendition of this, which I have to temporarily de-embed when on the Roberton version. As the actual Roberton arrangements are fairly bear, singing-along simultaneously is absolutely essential.
My 4th choice of EC (ET) will be for when I finally get onto: 1) high end violin/piccolo range classical soloing; and 2) traditional fiddle styles [mimicry (?) - that's what I'm doing with the piano sheet music, I think I can do the same with some of the itm books that provide ornamentation and player transcribed notation, such as the "Ceol Rince na hEireann" series; including Scottish equivalents. I have to date enjoyed some of the Kerr's "Collection of Merry Melodies" series, but admit I need to give more attention to the publisher's prescribed ornamentation, which I'd begun to start doing recently, although it might not be the best plan for all I know].
I checked my vocal range today. I marginally Fell short of a full 4 octave C3 to C7 (at Ef3 to B6). This won't explain how I can't sing (instantaneously) along to the famously high Bf6 falsetto note in Bohemian Rhapsody although I can reach half a note higher within a typical scale test on that particular register – same goes for the extreme bottom end of my vocal range. Although I'm pleased to be finally reaching some common low notes without losing the high notes when I get to them - i.e. in all those [gliding up and down] vocal notations within the 1930s standards.
If an official music teacher reads this comment, I'm outta here! I should of course be learning to conventions(!)
Or is it okay to have your own? Another debate for another post!
Edited February 3, 2012 by kevin toner
cboody
Location:Mound, MN
Well OK. Here's the list of stuff I've played in public over the years in no particular order.
Trumpet (and cornet and flugelhorn..do they count??)
English concertina (Treble-Tenor and Treble)
B/C Box
autoharp (terribly out of shape)
Bass and side drum in GHB pipe band (but not for some years)
Percussion except mallets.
Those I play, though I really think of the Box as an "anti-alzheimer's instrument." It keeps me honest.
I've played harp and guitar in public, but that was really to the public's detriment.
What I play best though is people, and I've spent about 50 years conducting choirs, wind bands, musicals, chamber orchestras, stage bands, brass ensembles and various other groups. Nothing beats the moment when things fall into place....
hjcjones
Location:Cheshire, UK
I learned recorder at school, but really wanted to play guitar but my school wouldn't give lessons, and I wasn't interested in classical music or orchestral instruments. I was given a uke when I was about 8, and then a guitar when I was about 9, but I was teaching myself and didn't really learn to play chords until I was about 12. Then I got into folk, which led me to the whistle, but I got confursed by remembered recorder fingering so went back to that.
I heard Tony Rose playing English concertina on an album and liked the sound, so I got a concertina. Turned out to be anglo (you mean there are different types?) Also built myself one of John Pearse's table-top Appalachian dulcimers. There was a local enthusiasm for hammered dulcimers at the time so I got one of those. Tinkled a bit with mandolin but it was a rubbish instrument and I never took it very far. Played enough bodhran to realise I shouldn't, and also bones - sparingly,. I sing.
Some years later I took up melodeon. These days this seems to be my primary instrument, with concertina a close second, although I'd like to play guitar more than I do.
The current active list is:
Melodeon
Self-taught on all (apart from primary-school recorder).
Location:Oslo, Norway
Been playing the fiddle for 18-years with varying intensity. Will also reach for a tenor banjo, guitar, bouzouki or whistle when among friends.


text:
ARCTIC VIGNETTES
Project 1 of 1‹‹››
Arctic Sovereignty Documentary Film
Jane first visited Canada's newest territory, Nunavut, which encompasses a large chunk of Arctic Canada, in March 1999, just before its "creation." From the fate of the iconic polar bear to global warming, what happens in the Arctic, affects all inhabitants of the planet. It's a cold fact: the ice is melting, which in turn is speeding global warming. Open water absorbs far more heat from the sun than highly reflective ice. Jane witnessed these changes aboard Canada's largest icebreaker the CCGS Louis S. St-Laurent navigating the Northwest Passage. The vessel's principal missions are science and seabed mapping. She has also had unique access to the Canadian Forces annual sovereignty exercises in the Arctic. 2013 is going to be a pivotal year for Canada and all Arctic states.
May 2013 is when Canada takes over the chair of the Arctic Council for two years. The United States is scheduled to take over the lead in 2015.
November 2013 is when Canada has to submit and present it's seabed mapping data as per the U.N. Convention on the Law of the Sea (UNCLOS).
Just as Arctic politics take centre stage today, Canada and the other Northern nations must confront shared polar realities from climate change to how best to handle the new economics. There is a development boom underway, including trans-Arctic shipping, oil and gas development and tourism.
The Arctic Council states – Canada, Denmark (Greenland), Finland, Iceland, Norway, Sweden, Russia and the United States (Alaska) – all face incredible challenges posed by the Arctic's geography, infrastructure and climate as well as military-aboriginal issues.
The Inuit do not always feel that they are part of the "dialogue."
Over a third of the population of Nunavut is under the age of 15, which is around twice as high as the rest of Canada. But, sadly, the dreams of many of Canada's young Arctic inhabitants do not materialize due to the lack of job opportunities, isolation, and complex social problems. Overall, the Inuit tend to live up to 15 years less than other Canadians.
Arctic Canada comprises around 40% of Canada's landmass, including the 19,000 islands of the Arctic Archipelago. The fragile Arctic ecosystem is under threat as a result of global warming and pollution.
Arctic Canada comprises around 40% of Canada's landmass.
May 2013 – Canada begins a two-year term as Chair of the Arctic Council, an intergovernmental forum for Arctic governments and peoples.
November 2013 – Canada must submit its findings by November 2013. Seabed mapping data as per the U.N. Convention on the Law of the Sea (UNCLOS).
Keeping the Peace: Canada's Peacekeeping Legacy
Arctic Sovereignty is in the early stages of production. Find out more about how you can get involved in supporting this documentary.

redpajama_set_name: RedPajamaCommonCrawl


Calories are the energy that the body needs to move. Calories are obtained from the food you eat everyday. After you eat, the calories that enter the body will be converted into energy for activity. Then if you do not move, the calories that enter can turn into fat and make your body weight rise.
This is why many people want to eat low-calorie foods. Unfortunately there is no food that truly contains zero calories. Every food source contains at least one calorie. Well, see the various low-calorie food sources below, let's!
Raw radish is often used as pickles or food decorations to make it look beautiful and fresh. Aside from being one of the low-calorie food sources, turnips are also high in fiber so that you can make your stomach full longer.
Quoted from Shape, there are studies that show that a slice of raw paprika only contains 2 calories. Paprika is also believed to help you burn fat faster. Plus, the content of folate and vitamin B6 in paprika can reduce swelling in the arteries and help reduce the risk of heart disease.
A small sprig of cauliflower contains 3 calories. In addition, this low-calorie food source also contains a number of fibers that are good for digestion.
According to research from the University of Warwick, strawberries are one of one of the freshest fruits that present several great health benefits. Mike Roussell, Ph.D., a nutrition consultant and researcher from the United States also recommends using strawberries and other berries as ingredients for healthy smoothies.
In addition to the sour, fresh, and sweet taste, strawberries are also useful for preventing heart disease and diabetes.
Not all green lettuce has low calories. Now, to get lettuce as a low-calorie food, choose lettuce or lettuce romaine as the basic ingredient of your diet salad.
Romaine lettuce has a fibrous texture, high in water content and which is almost zero calories. In addition, these vegetables are also a source of vitamin A, vitamin K, folate, and vitamin C.
Raw carrots are sometimes a healthy snack for those of you who want to lose weight. Besides being healthy and low in calories, raw carrots also contain 2 grams of fiber which is good for the digestive system. However, there is nothing wrong with processing carrots into vegetables or other types of food.
Besides being low in calories, fresh spinach is also a source of omega-3 and vegetable folic acid which can help reduce the risk of heart disease, stroke and osteoporosis.


Newport Beach firefighters extinguished a fire Friday morning that had fully engulfed a motor home, authorities said.
The 27-foot rig was ablaze when firefighters arrived at the scene on Southwest Cypress Street in Santa Ana Heights about 9:22 a.m.
Initial reports said horses in a nearby corral were endangered by the fire.
Firefighters found one horse in a corral at the rear of the property, but the animal escaped uninjured and was moved by neighbors, the Newport Beach Fire Department said.
The fire set the eaves of an adjacent barn ablaze, but that damage was limited to a portion of the roof, the department said.
No one was injured. The total damage was estimated at about $15,000.
The fire appears to have started in the engine area of the motor home, but the official cause remains under investigation.


text:
New records at Impressionist and Modern Art sales in London
I like1
New auction records were set at the first art evening sales this year in London. P. Cézanne, P. Signac, R. Magritte got the highest prices and lead Christie's Imp-Mod and Surrealist Evening Sale — $28.1 mln, $25.8 mln, and $24.3 mln respectively.
Christie's notched £165.7 million ($219.5 million) over the course of its Impressionist and modern art evening auctions in London on 27 February. At the first evening sale of Christie's in 2019, two world records were set at once — for the paintings of impressionist Gustave Caillebotte and pointillist Paul Signac. And the leader of the evening was the still life of Paul Cézanne, sold for 21.2 million pounds (28.1 million US dollars).
Nature morte de pêches et poires
1887, 38×46.3 cm
"Nature morte de pêches et poires" is a still-life showing Cézanne's desire to shift away from Impressionism in favour of 'something solid and enduring, like the art in museums.' Here the fruits stand for Cézanne's most profound, sublimated emotions at the moment of personal flux and creative discovery. All but a single pear, once again, are closely clustered within the protective embrace of the round plate.
The painting was once owned by the Impressionist art dealer Ambroise Vollard, and it was the first time at auction during last 40 years.
The Cézanne was offered in the "Hidden Treasures" section, which saw a number of works fail to sell, including Claude Monet's Saule pleureur et bassin aux nymphéas (1916−19) and Vincent van Gogh's Portrait de femme: buste, profil gauche (1885). Other passes included Claude Monet's Iris (1924−25) and Kees van Dongen's Madame veuve rose (1911−42).
Claude Monet. Saule pleureur et bassin aux nympheas, 1916-1919. Unpublished estimate: £40 mln. Image courtesy of Christie's.
Vincent van Gogh. Portrait de femme: buste, profil gauche (1885). Estimate: £8,000,000 - £12,000,000. Image courtesy of Christie's.
Shimmering Monet, unique Schiele, meditative Kandinsky, transparent Picabia: Impressionist and Modern Art sales in London
The Impressionist and modern art section of the sale began with an Edgar Degas portrait of perhaps his most famed subject, ballerinas in studio. Titled "Danseuses dans une salle d'exercice (Trois Danseuses)" (1873), the work went for £4.18 million ($5.6 million) against a low estimate of £800,000. It's a small painting, depicted trio of ballet dancers rehearse their steps, illuminated by light flooding through the windows behind them.
Left: Edgar Degas. Danseuses dans une salle d'exercice (Three dancers at a dance class)", 1873.
Another major collection on offer that evening was "An Adventurous Spirit: Masterpieces From an Important Private Collection Sold to Benefit a Charitable Foundation." The owner, however, can be identified as the Canadian cable-TV billionaire David Graham, who owned properties from St. Barts to St. Tropez and from London to Toronto, and who died in 2017.
The highlights of this collection were Paul Signac's 1892 painting Le Port au soleil couchant, Opus 236 (Saint-Tropez), which sold for the hammer price of £19.5 million ($25.9 million), and Gustave Caillebotte's Chemin montant (1881), which went for £16.6 million ($22 million.). The artworks produced new world auction records for Paul Signac that had stood since 2007 and Gustave Caillebotte with the previous mark set in 2011.
Paul Signac. Le Port au soleil couchant, Opus 236 (Saint-Tropez), 1892.
Gustave Caillebotte. Chemin montant, 1881.
We also remind you that the Alte Nationalgalerie, Berlin will host the "Gustave Caillebotte. Painter and Patron of the Impressionists" exhibition from 15 May till 15 September 2019. The highlight of the exhibition will be the artist's painting "Paris Street; Rainy Day", one of the showpieces of the Art Institute of Chicago, and the painter's most important work. Because of its imposing size, it has rarely travelled to Europe, and hasn't visited Europe at all since its comprehensive restoration in 2013.
The Impressionists are often associated with their dazzling depictions of light on water. Yet two in particular — Paul Signac and Gustave Caillebotte — 'were equally at home at the helm of a yacht and in front of their easels', says specialist Keith Gill
The third auction of the evening was The Art of the Surrealism sale. Seven works by René Magritte were offered, including Le lieu commun, never previously offered at auction, the most important painting of a bowler-hatted man by the artist to come to market since 1998.
Monet and Cézanne have been market stalwarts for decades, but the Belgian Surrealist fond of painting men in bowler hats is having a bit of a moment. The work, which was painted in 1964, offers a unique vision of this wandering icon. It shows him both full-face and hidden behind a column in an ambiguous landscape; simultaneously appearing and disappearing.
"Le lieu commun", being in Asian private collections for decade, with estimation price between £15 million and £25 million ($19.6 million and $32.6 million), was sold for £18.3 million ($21.2 million), anticipating a new record for the artist.
Left: René Magritte. "Le lieu commun", 1964. Image courtesy of Christie's.
Magritte's "Le Principe du Plaisir" (1937) broke an artist's record when it sold for $26.8 million at Sotheby's New York in November 2018, and now "Le lieu commun" is within striking distance of a new high mark just few months later. Other artist's painting "Le pain quotidien", 1942 (estimation price at £2 million-£3 million) was sold for £3.3 million ($4.5 million) and "La belle captive", 1946 went for £2.1 million ($2.9 million).
Le Principe du Plaisir
René Magritte. Le Pain Quotidien (Our Daily Bread), 1942. Dallas Museum of Art
René Magritte. La belle captive (The Fair Captive), 1931. Private collection from 1972.
The most anticipated evening auctions continue in London with 20th-century, postwar, and contemporary sales at Sotheby's, Christie's, and Phillips.
Based on materials from Artnet.com, Christie's official site.
Title illustation: Paul Signac's Le Port au soleil couchant, Opus 236 (Saint-Tropez) (1892). Image courtesy of Christie's.
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Tags: #auction records #christies #evening sale of impressionist modern art #gustave caillebotte #impressionists #modern art #paul cezanne #paul signac #rene magritte #vincent van gogh
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Cooke Family History
Samuel Park
Name Samuel Park
Person ID I781 Cooke Family History
Father William Park
b. 1825, Knockahollet, Antrim, Northern Ireland
d. 4 May 1911, Ballymoney, Antrim, Ireland (Age 86 years)
Mother Catherine Miller
d. Dec 1883, Ballymoney, Antrim, Ireland (Age 54 years)
Married 14 Nov 1850 Ballyweany, Antrim, Ireland [1, 2, 3]
[S297] Belfast, Northern Ireland, The Belfast Newsletter (Birth, Marriage and Death Notices), 1738-1925, Ancestry.com, (Name: Ancestry.com Operations, Inc.; Location: Provo, UT, USA; Date: 2011;), Linen Hall Library; Belfast, Northern Ireland; Periodicals & Newspapers, Irish & Reference.
[S46] Ireland, Civil Registration Marriages Index, 1845-1958, Ancestry.com, (Name: Online publication - Provo, UT, USA: Ancestry.com Operations, Inc., 2011.Original data - "Ireland, Civil Registration Indexes 1845–1958," Index. FamilySearch, Salt Lake City, Utah. General Register Office. "Quarterly Returns of Births in Ireland with Index;).
[S227] Ireland, Select Marriages, 1619-1898, Ancestry.com, (Name: Ancestry.com Operations, Inc.; Location: Provo, UT, USA; Date: 2014;).


Halloween is a time of year that everybody enjoys, be it those host parties, those who wander the streets dressed as face-eating zombies or those who love giving out treats. At Rizk, we're definitely the giving type which is why we set up the Rizk Halloween Jackpot for all to enjoy.
Congratulations, your prize is waiting for you, make sure you treat yourself to something good.
If you want to win our next Progressive Jackpot, then you'll need to keep an eye on Rizk Insider for details on all our current and upcoming promotions.


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Siasat.com/News/India/India's First: IGIA now sports dedicated private jet terminal (Ld)
India's First: IGIA now sports dedicated private jet terminal (Ld)
New Delhi, Sep 17 : The national capital's Indira Gandhi International Airport (IGIA) has entered into an exclusive league of global airports which sports a dedicated terminal for private jets.
In aviation parlance, such infrastructure facilities offer hassle free comfort and privacy to the flyers of private or charter jets or choppers.
Besides, they aid in the expansion of general aviation services at busy airports around the world as they provide designated layers of security checks, customs and immigration.
India's first dedicated terminal is located near the mega Terminal 3 of the IGIA.
The terminal was launched by GMR Group-led consortium Delhi International Airport Limited.
According to the company, the 'General Aviation Terminal' has been built to support the movement and processing of passengers flying through chartered flights from IGI Airport.
This new facility features an Apron area spread over 8 lakh sq ft with about 57 dedicated bays for parking of 'General Aviation Aircrafts'.
In terms of passenger amenities, the terminal provides spacious passenger lounges, retail and F&B sections, personal concierge services.
It supports a common processing area with customs and immigration and immediate access to private jet aircraft stands from the Terminal.
The terminal can handle over 50 passengers every hour and can cater to 150 private jet movements on a daily basis, including 'Code C' type aircrafts.
Speaking on the new infra facility, Civil Aviation Minister Hardeep Singh Puri said: "The new 'General Aviation' terminal at Delhi airport is th e need of the hour…."
According to the Minister, the terminal will provide significantly support to the growth of India's civil aviation sector.
Industry player JetSetGo's CEO & Founder Kanika Tekriwal said: "With the newly launched airport terminal for private jets we will address two major things – 'Time and Exclusivity'."
"Earlier, our guests used to board their flights from either T1 or T3 along with commercial flight passages and took similar processes to board a private flight making it challenging for someone who is paying a premium price. Now with the new terminal, our guests will be able to fly with us in almost no time and utmost privacy."
The terminal will become fully operation from September 20 after it has gone through the deep sanitisation process.
rv/sn/sdr/


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Q: Wordpress enqueue lightbox script outside it's normal use Wordpress "SimpLy Gallery Block & Lightbox" plugin.
Works as lightbox with default Wordpress galleries. However, if I put the same gallery code into template with do_shortcode:
<?php echo do_shortcode('[gallery size="medium" link="file" ids="355,351,350,349"]') ;?>

lightbox doesn't launch. Like the plugin didn't enqueue itself correctly.
How to set Wordpress to enqueue the plugin code (this one or any other) on every template I want?

redpajama_set_name: RedPajamaStackExchange


The blue goose dressage/CT in cochranville? Since I haven't sat on my horse since the end of august… I was planning to Sunday but it looks like rain.
Let me see if I can 1. Ride my horse 2. He's sound and 3. I can learn an intro test! I know it's intro but still!


Efforts to assist the disenfranchised in Latin America received a shot in the arm from the Populorum Progressio Foundation to the tune of $2.1 million following the foundation's most recent meeting.
The new funding was agreed upon at the July 9-12 meeting of the Populorum Progressio Foundation's administrative council in Guadalajara, Mexico. The contributions, which come mainly from the Italian Church, total $2,108,300 and will be distributed to some 200 new development projects.
The projects aim to support the poor indigenous mixed race and Afro-American rural communities of Latin America and the Caribbean, according to a communiqué released by the foundation yesterday.
Support for these at risk communities has included numerous Popes, including Paul VI, Servant of God John Paul II and Benedict XVI.
This year the countries that presented the greatest number of projects were Brazil (39), Colombia (35), Peru (27) and Ecuador (18).
The process for presenting a project for funding involves various ecclesial communities and by pastoral groups submitting an application for the project to the local diocesan bishop, who then passes the application along to the administrative council, the foundation explains.
"They are all aimed at the integral development of peoples and involve the following sectors: 29.9 percent to agriculture, livestock and small businesses; 33.2 percent to public service infrastructures such as the supply of drinking water, fencing, toilets and communal halls; 19.46 percent to the building of schools, houses and health centers; 12.3 percent to professional training, communication, tools and publications; 5.14 percent to healthcare: medical equipment and staff training," according to the administrative council.
At the end of the meeting, a new president and vice president of the administrative council were elected, respectively, Cardinal Juan Sandoval Iniguez, archbishop of Guadalajara, Mexico, and Archbishop Edmundo Luis Flavio Abastoflor Montero of La Paz, Bolivia.


Randy Exline drives the #89 Street Stock Class car. He lives in Stockton, Iowa. His home track is Davenport Speedway but he can also be found racing at Quad City Speedway.
He began racing in 2000 at Hawkeye Raceway in Street Stock Class because he needed a new hobby that was fun and competitive. His first win was in 2004 in Street Stock Class at Davenport and Quad City Speedways. Career highlights include finishing Top 5 for Points at Davenport Speedway.
The thrill of racing for Randy is the speed. His most exciting racing moment was when he won his first Heat Race and finished second at the Quad City Speedway in the Feature. He is most proud of the time he and Tony home built their first car that won three Heat Races on a 1/2 Season at Quad City Speedway.
Randy's racing hero is Dale Jarrett. Of racing, Randy says, "It's an awesome sport to be in."
His favorite racing website is www.drttrak.com .


Both practical and stylish! This model accommodates 7 passengers comfortably, and provides features such as: power front seats, front fog lights, and leather upholstery. Smooth gearshifts are achieved thanks to the 3.3 liter 6 cylinder engine, and for added security, dynamic Stability Control supplements the drivetrain. All wheel drive maintains traction at all four corners.


It's been a month since Panini America released the wildly successful 2014 Dragon Ball Z Trading Card Game, an epic relaunch of the popular TCG that has received rave reviews and intense levels of participation in shops across North America.
In the weeks since that historic revival, DBZ gamers new and old have returned to the game in a huge way, creating packed houses and renewed excitement with a series of in-store tournaments.
It's been a glorious week on the Dragon Ball Z front as Panini America's triumphant reintroduction of the popular Trading Card Game has been met with rave reviews and passionate participation from all over North America. Today, we're bringing you another batch of must-see images, including all of the preview images that we provided to our partner sites (at DBZ Top Tier, DBZ Fanatics, Retro DBZ and the Panini DBZ Facebook News Page), San Diego Comic-Con Promo Card images and more.
But before we get to the images, our very own Aik Tongtharadol has provided an all-new FAQ document that addresses many of the questions that have come up in this first week of release. Enjoy and stay tuned to the Official Blog of Panini America Dragon Ball Z for additional coverage.
The big day has arrived. Finally, Panini America's 2014 Dragon Ball Z Trading Card Game is live. The triumphant return of the iconic TCG brings with it immense excitement and anticipation. Today, we're here to fuel that excitement with a gallery that takes you pack-by-pack through one 24-pack Booster Box. We'll follow up next week with a comprehensive video starring game creator Aik Tongtharadol to discuss some of the highlights from the first full weekend of release.
In fact, it was Tongtharadol and our development team who fashioned a must-read list of release-day FAQs to help veterans and newcomers alike. So we'll lead with that. Stick around after reading the FAQs for the pack-by-pack gallery.
When it comes to previewing Panini America's highly anticipated 2014 Dragon Ball Z Trading Card Game, we've shown you the Commons. We've shown you the Uncommons. Today, though, we're bringing you a thorough preview of Rares and Ultra Rares included in the triumphant return of the Dragon Ball Z TCG, out everywhere tomorrow. The four Ultra Rares shown in the gallery below have yet to be revealed. Many Rares have been previewed on our partner sites at DBZ Top Tier, DBZ Fanatics, Retro DBZ and the Panini DBZ Facebook News Page — the others are shown below for the first time.
The long-awaited release day tomorrow promises to be a busy one here on the Official Blog of Panini America Dragon Ball Z as we'll provide an insightful Dragon Ball Z FAQ post and a must-see gallery that takes you pack by pack through one 24-pack Booster Box. Until then, though, enjoy the Rares and Ultra Rares that follow.
On the heels of yesterday's revealing look at the Prizm and Common cards coming to Friday's release of the 2014 Dragon Ball Z Trading Card Game comes today's preview of the set's Uncommon cards. In the gallery below, we showcase 37 as-yet-unseen Uncommons from the set. You can check the previously released Uncommons from our partner sites at DBZ Top Tier, DBZ Fanatics, Retro DBZ and the Panini DBZ Facebook News Page.
Uncommons will be randomly inserted at a rate of four per Booster Pack; Commons will fall roughly six to seven cards per Booster Pack. Check out the gallery below and stay tuned to Panini America's Official Dragon Ball Z Blog for a must-see preview of the set's Rare cards.
We've spent the better part of the last month here on the official blog of the Panini America Dragon Ball Z Trading Card Game providing exclusive glimpses of the set in advance of Friday's highly anticipated release date. But now that release week is finally here, we're about to ramp up our previewing efforts. Today, we're giving you the world-premiere first look at the set's Prizm cards and the Common cards that you haven't seen yet either here or on one of our partner sites.
Panini America's Optichrome Prizm technology has taken the sports card world by storm in the last three years, but they've never before appeared in a Dragon Ball Z release — until now. Beginning Friday, the Prizm technology will begin gripping the gaming crowd in a big way. One look at the images below and you'll understand why. Each Starter Deck of the 2014 Dragon Ball Z TCG will include five base Prizm cards and one Prizm Rainbow parallel.
Editor's Note: The following transition guide was written by Richie Williams, an external playtester for Panini America's 2014 Dragon Ball Z Trading Card Game and the author of the game's official rulebook.
When Panini America's Dragon Ball Z Trading Card Game hits stores on October 17, many of you will be experiencing it for the first time. I hope your fresh perspectives bring some new innovations and excitement to the environment. Others of you, however, are coming in as former players of the DBZ CCG. What's new? What's the same? This article will detail the changes to the game and get you ready to go on day one.
Hot on the heels of last week's world premiere reveal of the first three Demo Decks and 75 card images from Panini America's upcoming 2014 Dragon Ball Z Trading Card Game, company officials on Tuesday afternoon provided a new installment to keep enthusiasts busy between now and when the game releases on October 17. Today, the company released Demo Decks featuring Orange Goku, Namekian Piccolo and Black Krillin. Those three decks can be accessed as printable PDFs using the links below.
Accompanying today's Demo Deck releases are must-see images featuring all 75 cards comprising the three respective decks. Panini America will release additional card previews in the coming weeks here on Panini America Dragon Ball Z; fans can also look for exclusive images to be previewed on partner sites Retro DBZ, DBZ Top Tier and DBZ Fanatics. Until then, check out the new Demo Decks and card previews after the jump.


Good morning, I hope everyone is having a great weekend so far.
Today's card uses one of the test pieces I had left over from last month's Crackle Medium projects.
I had applied CM to a piece of silver mirri card, then painted it with Geranium Martha Stewart acrylic paint.
I sprinkled Fran-tage shaved ice fragments over Fluffy Stuff & heated it gently until it puffed up.
I matted & layered the crackled card onto black card & a white square card blank & finished with tiny dots of Xmas Red stickles on the trees & a length of diamond mesh.
I'll be back tomorrow with the winner of the giveaway.
Lovely card. Great background effect and love the tree stamps.
Gorgeous Christmas design, the crackle is so effective!
That's really effective. The trees look almost 3d.


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PROFESSIONAL ARTISTS ANDREW WALSH, JAMES NETZ, AND KAREEN KING INSPIRE CREATIVITY IN RESIDENTS
The In a New Light Gallery was alive with excitement on August 10, 2019 as nearly one hundred Northwest Passage residents, staff, and supporters gathered to celebrate the conclusion of their fourth Artist-in-Residence (AiR) Season titled "Healing in the Riverway". The AiR program was developed to provide a therapeutic experience with art for the youth of Northwest Passage. Each summer professional artists are welcomed to historic Schaefer Cabin on the Namekagon River to share their talents and philosophies with young people struggling with mental health issues.
This summer the kids spent two weeks in June with returning artist and professional photographer, Andrew Walsh. Andrew came from Portland, OR to lead the kids in nature photography and create unique double exposure portraits of each photographer, merging their image with a natural element that holds meaning for them, creating wonderful and unique works of art. The kids then spent two weeks with professional nature photographer James Netz, a local artist who splits time between the Twin Cities and Hayward. James is passionate about the outdoors and capturing its beauty and was able to inspire the kids to use their cameras to see nature as art. The final artist to visit Northwest Passage was Registered Drama Therapist, Kareen King from Osage City, KS. Using artistic modalities like storytelling, poetry, creative expression, metaphorical exercises, music, and improvisation, Kareen helped the kids capture their thoughts and feelings in written biographies and reflections, and vocalize their experiences through song and spoken word performances.
The unique resident portraits and photographs will be on display at the In a New Light Gallery, located at 7417 N Bass Lake Road in Webster, through September 2019. Admission to the gallery is free and open to the public M-F from 9:00 am – 4:00 pm. For more information about Northwest Passage, please call 715-327-4402 or visit nwpltd.org.
This program was supported in part by grants from the Wisconsin Arts Board, National Endowment for the Arts, Arts Midwest Touring Fund, and the St. Croix Valley Foundation.
Courthouse Corridor Features Inspiring NWP Images
The main hallway of the Polk County Courthouse has recently taken on a new look. A variety of breathtaking photographs now adorn the walls thanks to a partnership between Polk County Judge Jeff Anderson and Northwest Passage. The two joined forces to create the "Compassionate Hallway", a project Judge Anderson has been pondering for nearly four years. The goal of the "Compassionate Hallway" is to help calm the setting for those undergoing some of the most stressful and emotionally challenging moments of their lives. Whether a victim or a defendant, a witness or divorcee, a family member of someone affected or the child of someone undergoing a stressful situation, many find themselves forced to wait in the hallway outside the three courtrooms with little to look at other than other anxious faces or the commercial shade of neutral beige that covers the length of the hallway. The "Compassionate Hallway" project turned the long hallway into a stage for a display of photographs from around the world.
Julie Hall, Development and Communications Director, said "When Judge Anderson contacted Northwest Passage to be part of the Compassionate Hallway project it was a natural fit. His desire to create a space to offer inspiration and encouragement in the courthouse building closely aligns with Northwest Passage's mission of restoring hope to those we serve. We're happy to have been a part of making Judge Anderson's vision a reality".
Northwest Passage's success is due in large part to its high-impact experiential programming. They have implemented a powerful therapeutic arts program, In a New Light, and showcase their residents' inspiring artwork to the public at the one-of-a-kind In a New Light Gallery in Webster, WI.
Funded with private donations and grants, the In a New Light program has provided an opportunity for Northwest Passage's youth to travel around the country, and even internationally, capturing amazing sunsets, beautiful wildlife and serene wilderness scenes with their cameras. Along the way, many also captured parts of themselves that were otherwise out of reach.
Mark Elliott, Executive Director, said "Many of our kids' lives have been defined by their mistakes, they've never received positive feedback or acknowledgment for the good things they've done. When they take a photograph they can be proud of, then see that photograph displayed to the public and be so well received, it has the potential to tap into feelings they may have never experienced. Feelings like pride, self-confidence, and acceptance. That can be a defining moment in the lives of our kids".
The Compassionate Hallway features 70 of these inspirational photographs, each including a reflection, portrait, and biography of the photographer. The Compassionate Hallway is open to the public during regular business hours at the Polk County Court House.
Your support helps fund In a New Light programming and projects like the "Compassionate Hallway"!
A selection of iconic photographs from Northwest Passage's "Under the Surface" collection recently inspired visitors to the Dwight Foster Public Library in Fort Atkinson, Wisconsin. The exhibit, entitled "Under the Surface", hung in the library from March 1 to April 1, 2019, and was one of the most attended exhibits held in the library's history. Anne Moser, librarian for the Wisconsin Water Library at UW-Madison, held a talk on March 9 entitled "Great Lakes Challenges and Opportunities" as a compliment to the underwater photography on display.
Many library visitors felt compelled to write to the artists and share their thoughts and interpretations of the exhibit.
Wow! Absolutely gorgeous and inspiring. I hope you give yourselves credit not only for your talent but for the courage it takes to be vulnerable enough to share yourself with others in this way. Thank you for touching my heart today, and best wishes to you all.
Visitor, Dwight Foster Public Library
This exhibit took my breath away. What a fantastic program! I am blown away by how these kids have overcome pain and hardship and channeled emotions and experiences into creating great art. Thank you for sharing!
Yoyi
Amazing photos. So very proud of these young artists, not only for their photos but for the difficult changes they are making in their lives. Wonderful program!
I am the librarian responsible for bringing exhibits to our library. This exhibit generated the most comments – all positive – of any exhibit we have had in the past 8 years. People loved the subject and quality of the photos. They were moved by statements of the students. They were happy to hear about the great program that produced the exhibit. Kudos to all.
Amy Lutzke
Assistant Director/Reference, Dwight Foster Public Library
The Dwight Foster Public Library has a long and interesting history and operates in its second century with a proud record of achievement. Since its inception in 1890, the library has added greatly to the quality of the cultural life of its community with a constantly expanding variety of educational and informative materials and services including a community space to showcase art, like that of Northwest Passage residents, that addresses environmental and mental health issues.
Passage Makes it into the Pages of Enduring Gift
We here at Northwest Passage know the importance and value of nature. We take advantage of the pristine wildness of the St. Croix River and its tributaries regularly with our residents through our nature photography programming, In a New Light (and Under the Surface). It is with this appreciation that we are excited to celebrate a recent publication–famed nature photographer, Craig Blacklock's– "St. Croix & Namekagon Rivers: The Enduring Gift." We have long admired Craig's work and are thrilled he chose to capture the spirit of the St. Croix; the National Park in our own backyard.
Of course, it is no coincidence that Craig's book was published in 2018, the 50th anniversary of the Wild and Scenic Rivers Act. It was through a partnership with the St. Croix River Association that this work of art came to be in recognition of this impactful legislation that protects the gorgeous river we all know and love. The Wild and Scenic Rivers Act of 1968 was co-sponsored by Sens. Gaylord Nelson and Walter F. Mondale and sought to protect a handful of riverways from the harmful impact of humanity by giving them a special designation and with that, protections. Both the St. Croix and Namekagon are two of the original eight rivers protected and are evidence of the program's success.
The gift this legislation has been to our region is incalculable. It is truly a unique experience to be on a Wild and Scenic River. The undisturbed water's edge is as though civilization is miles, if not decades away. We're lucky to have over 252 miles of this wild terrain, and we're lucky to have a book that captures this treasure so beautifully.
We make our appearance on page 79 opposite of a gorgeous shot of St. Croix State Park – be sure to check it out.
There is photo exhibition at the Mill City Museum, in Minneapolis. Located in the museum's central Mill Commons from April 12 through June 24, 2018. We recommend you make time to see these photos up-close and in person at the exhibit, or order your book now by visiting stcroixphotography.com.
The river is full of energy,
full of life in a constant flow.
I feel like my life is just like the river
I have all this energy, and my life is now just beginning for the first time.
Derek, 17
Former Lakeshore Resident
The glassy world of today
Will never shine quite that way.
Tomorrow comes and goes
Just like the river flows.
We are pebbles beneath the glass,
We are redder than the mountain pass.
Our real selves just below air.
Trying to live without a care
We're stuck in the water, oh so deep
We can't go anywhere, cannot leap.
We are deep and meaningful.
You know it's true.
We are the rocks of every hue.
Aarin, 15
There are so many beautiful aspects of life that we never see and we never know about, unless we look. Sometimes we have to look in the places that are dark, scary, and unfamiliar to find the greatest beauty of all. I was really surprised to find out that there were sponges in freshwater ecosystems, and now I've had an opportunity to capture their beauty to share with the world.
Jonathan, 17
Revived
Into the water I went
Washing away the pain the scares left
I watched the memories float down the stream
Away from my thoughts, away from me
Submerged in the peaceful current
I left myself go for just a moment
As I rose up out of the water
The sun seemed to shine brighter
I knew I was going to be okay
Jade, 16
Former Prairieview Resident
Northwest Passage wins Arts in the Community Award
Northwest Passage executive director, Mark Elliott, received an Arts in the Community Award on behalf of Northwest Passage from Arts Wisconsin, a part of Wisconsin's statewide community cultural development organization.
The award was presented at the ninth annual Arts in the Community Awards event on Thursday, October 19, 2017, during the League of Wisconsin Municipalities' 119th annual conference, at the Radisson Paper Valley Hotel in Appleton, WI.
These awards, presented by Arts Wisconsin in partnership with the League of Municipalities, "celebrate visionary leadership in and committed advocacy for the arts in all corners of the state," says Arts Wisconsin Board President Ann Huntoon. "We're proud to partner with the League of Municipalities to present these awards, and appreciative of the sponsors who make the awards possible."
Mark Elliott has led Northwest Passage, which provides innovative residential mental health services to at-risk youth ages 12-17 and their families through innovative mental health services, since 2000. NWP's cornerstone therapeutic arts program is In a New Light, using photography as a medium for expression and healing. Since 2012, photography art by NWP youth has been supported by the National Park Service and other national, state and local funders. Their work has been featured at the In a New Light Gallery in Webster and more than 40 locations locally and nationally.
The In a New Light Gallery in Webster showcases NWP students' artwork to the public, giving youth a platform upon which to use their art to rewrite society's narrative about themselves and other vulnerable youth like them. The gallery has filled a decade-old arts and culture void in the area and is one of the few art galleries in Burnett County.
Therapeutic Art Program Helps Reshape Youths' Futures
Arts bring out kids' strengths; help them heal
Outside, the world is lushly green, it's pouring rain, and the tune "Here Comes the Sun" floats through the room. There's a low murmur of voices: nine girls are engaged in shaping animal figures out of clay or drawing fish figures on cardboard. Occasionally there's laughter at a comment from the instructor's baritone. You can feel it's a happy place.
That's exactly one of the outcomes Ian Karl aims for by having Chris Lutter-Gardella as Northwest Passage's August Artist-in-Residence at the remote Schaefer Cabin located in the Namekagon River watershed. Ian is Northwest Passage's Experiential Program Coordinator in charge of the program.
The Artist-in-Residence program is one of several NWP art programs that evolved from the organization's 39 year history of promoting a therapeutic lifestyle for their clients. Over the last six years, art has emerged as a strong component of Northwest Passage's mission. So much so, that one mile south of Webster on State Road 35 NWP opened the In a New Light Gallery.
Puppets, masks relate to nature
The Gallery features the kids' art – primarily nature photography – and is open to the public. Why that name? Because through this program the clients are able to see the world around them in a new light and see themselves in a new positive light: capable and creative. That's a fulfillment of the NWP mission: to restore hope through innovative health services for at-risk children and families.
But back to Chris and the girls at the Schaefer Cabin. During his four-week session from July 17 to August 14, thirty-two boys and girls ages 6-17 in four separate groups, came to the cabin in shifts, working on art projects, described by Chris: "We're creating masks, puppet art pieces and props that relate to the natural world here in the northwoods and also globally that will appear in a music video called Life is Better With You."
The content is consistent with each group. There are three projects: making masks with clay and paper mache, building insect puppets, and creating fish figures In addition to the educational connection with nature, Chris demonstrates conservation and environmental responsibility by using primarily repurposed and recycled industrial materials.
He explains: "For the bumblebees, which was our kick-off/warm-up project with the boys the first week, we used plastic bottles that I got from a bottling company down by Stillwater. Wire clothes hangers we used for handles and legs; plastics from mattress bags we repurposed into bee wings.
"For the fish, we're using recycled cardboard boxes; we'll put scales on them made out of heavier plastic packaging from the furniture industry. The clay forms are mostly recycled clay from the ceramics industry – clay that can't be fired that typically ends up being dumpster-ed. Newspapers and paper bags we use for the paper mache, with burlap for the fringes around the masks."
Chris connects the projects to cosmology – the nature of the universe: "The bumblebees are our connection with the air. We call them the 'Keepers of the Air.' The animals we're making like the bear, the cougar and other creatures we consider 'Keepers of the Land,' and the fish are the 'Keepers of the Water.' That encourages the kids to think in terms of elements and different realms the animals help take care of."
Some of the girls worked in pairs to create masks of various animals, real and imagined: cougar, bear, elephant, and dragon. Candice and Lorena were working on the dragon. Candice commented on the art project: "I like it. I feel like it's a way to express your feelings, and it's a good way to cope with how you're feeling, too, and how to interact with people. It makes me feel like I can do something that I wasn't able to do before."
She said she and Lorena like the reemergence of the dragon in popular culture and they wanted to bring one to life. Candice added, "It also represents fire, and I feel like no one else has fire as an animal, so, we're like, 'let's do a dragon.'"
Attitudes turn around
Chris has worked with youth in the past. He observed, "The girls are just loving it. They're really getting into sculpting the clay forms for the masks. They seem really invested and dedicated, excited about their pieces. When the art projects are completed, Chris explains, "We'll take the kids outside and do some fun playing with the masks and props in the woods and along the [Namekagon] river and get some video of that."
Cassie Bauer, a summer intern and student in Digital Media Production at Drake University is documenting and producing the video. Musician Kathryn "Kat" King is providing the accompanying music. The final film will be a rendition of Michael Frante's Life is Better With You. It will premiere at the Taste of the Trail event at the In a New Light Gallery on September 23rd.
The residual and significantly more important outcomes are reflected in the kids' turn-arounds of attitudes and feelings. Ian noted, "Every one of the kids involved seemed happy doing what they were doing. They were smiling, fully engaged. This sort of activity allows them to separate from their problems, they can block out other noise in the world and focus on the task at hand."
"When we're engaged in things we enjoy, get fulfillment from and see the results of our work, we're happier, content and feel a sense of achievement. This fits in to the idea of taking a strength based approach to problem solving. When you help kids find their strengths and give them opportunities to thrive, the mental health challenges they're facing have the potential to take a back seat. Being engaged in tactile art in a unique location where you can physically feel you're leaving your troubles behind is really powerful and beneficial."
He continued, "If we consistently focus on the kids' problems, the mental health challenges and the diagnoses, then all the energy goes into focusing on that. But if we can help them find their strengths and what they have to offer others, they are happier, more content and work better together as a group. And that's exactly what we see going on at the cabin. When you go to a unique place like [Schaefer Cabin] and are guided by a professional artist with the constant, calm, consistency and experience that Chris provides – that is priceless."
In a New Voice Program
Recently, Northwest Passage has been expanding their creative programs into an experimental writing project called, In a New Voice. The program is highly poetry based but also includes creative non-fiction like a personal essays, journal entries or short stories. Before the residents begin their reflections, they go out in nature and do various activities like hike, canoe, examine rocks, trees, plants and animals. This serves as a way to spark inspiration for their poetry.
Using the material they created from their reflections, they begin to transform those poems into "motion poetry." Motion Poetry is where the kids pair their poems with images and possibly music in a video format. The residents have been involved with the entire process from the writing, storyboarding, editing and shot selection.
Soon the the program hopes to incorporate a spoken-word component with the residents performing a piece or to in a live reading setting!
I'm here to share my secret.
Be quiet and you shall see.
All the things floating around me will fill your heart with glee.
It will take your breath away and drop your jaw so low, for…
I've travelled from here to there and brought back an amazing glow.
You think you know me oh so well
But you're only at the start.
I've travelled past the comets and been burned by the hearts of stars.
I've travelled to the planets and seen their awful scars
I've made my way through supernovas and been spat out just as hard.
I've seen so many planets with mountains high and chasms deep
Galaxies so beautiful they make a giant weep.
I'm the one to wake the planets and send the moon to sleep.
I've seen the sun's great power, with an attitude so rare;
Don't underestimate the sun for she might give you her ugly glare.
Be careful where you travel, don't go so far.
Make sure to be safe and always remember who you are.
Don't tell me that you know me.
That, "right here is what you are."
I am the universe in motion.
I was born by the stars.
Ancient Traveler
Calm, Windy
Chirping, Swimming, Fishing
Trees, Grass, Park, McDonalds
Walking, Laughing, Crying
Noisy, Crowded
Inspiration by: "I am a Tree" Laleta Davis-Mattis
I am an owl
A wise, wise owl
I am constantly on the prowl
I search up high
I search down low
There are many places that I can go
I see the mice running around
So that I can swoop them off the ground
Then take them to my nest up high
Which is up, up, up in the sky
I think about how the human race
Could possibly get me misplaced
How the destruction of trees
Is as far as I can see
And I ponder if they get my nest
Will I then call those humans pests
For the rest of eternity.
Check out more In a New Voice videos here!
Northwest Passage Hosts English Author as part of Artist in Residence
Apr 7, 2017 | 0 comments
PASSAGE KIDS AND STAFF ALIKE GREATFUL FOR PETERS' VISIT
Northwest Passage and over 50 guests welcomed English author, Andrew Fusek Peters, to the In a New Light Gallery to do a book reading of his latest book, Dip: Wild Swims from the Borderlands. He spoke of his time spent swimming in wild waters and presented his gorgeous photography from the rural English countryside to a packed house.
Peters kept the crowd entertained as he connected over real life struggles. He shared the trials of his bout with severe depression and alcoholism that transformed his life. "32 years clean and sober," he pointed out to hearty applause by the crowd. He warmly regaled us with moments from his book discussing the role water played in his reformation, "As I slowly mended, it was partly the action of water, that great liquid of life, which had one of the most profound effects on me. It's an element that is both changing and changeless."
Executive Director, Mark Elliott, is always happy to see conversations like this take place in a public space. In part, it's what makes the In a New Light Gallery such a special place. "Like it or not, almost every single one of us is touched by mental illness and the consequences of the absence of treatment, such as alcohol and drug abuse. These conversations are vital to breaking down the stigma surrounding mental health in our communities. We thank Andrew for coming here to share his journey with our kids and with the public."
One particular passage from his book resonates with us here at Passage: "This is the water that heals, restores, fills me with glow-worm gladness." Wisconsin has her own special waters and we here at Passage have been taking advantage of their powers to heal for nearly forty years now.
Northwest Passage cares about the artistic growth of our kids. We invite artists to come in, as an artist in residence, to guide them on journeys of self-expression through the language of arts. Art is an important part of the Northwest Passage philosophy of living a therapeutic lifestyle. Read more about the eight elements at http://nwpltd.org/passageway/.
Tropical Adventure: An Expedition to Dry Tortugas National Park
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KIDS EXPERIENCE DEEP CONNECTIONS
Water is medicine and adventure is transformative. When we cast aside our reference points and dive into something completely new, we can see who we are, feel who we are, with deeper clarity. The true journey of any grand adventure is ultimately an inward one.
As you've likely heard, the young artists of Northwest Passage have spent the past three summers submerged in Wisconsin's rivers and lakes to photograph a story of otherwise unseen magic and beauty. Their award winning photographs have been celebrated in exhibitions, presentations, magazine articles, and videos. Imagine, if you will, snorkeling alongside the kids in their "home waters" of the St. Croix National Scenic Riverway: maneuvering in the cool, swift waters; peering through the dark currents in search of fleeting shots of timid fish. Now imagine an aquatic world as different as possible from the rivers of the north. You're probably imagining a place much like Dry Tortugas National Park.
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Dry Tortugas is a tropical paradise of crystalline waters overflowing with life. This tiny cluster of islands 70 miles by boat from Key West, Florida is an underwater photographer's dream. Overlooking these waters is Fort Jefferson, an immense pre-civil war era sea fortress and one of the largest masonry structures in the western hemisphere. Fueled by the generous funding and guidance of the National Park Service Submerged Resources Center (SRC), the National Park Foundation, the Richard Parrish Foundation, and the staff of Dry Tortugas National Park; Jaden, Jonathan, and Johnny—three of our all-star program alumni—brought their unique artistic vision to these exotic waters last month. With the guidance of world-renowned underwater photographer Brett Seymour of the SRC, they spent a week capturing the essence of the islands. Joining Brett and the kids were program leaders Toben LaFrancois, Ben Thwaits, and Austin Elliott, along with retired NPS diver Bob Whaley, and filmmaker Jesse Placky, who was working with Curiosity Stream to film our experiences.
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Our adventure had one additional companion. Throughout our trip, Hurricane Matthew was stalking several hundred miles to the east. While we were extremely fortunate that our itinerary carried on as scheduled, Matthew's high winds occasionally forced us off the water or limited our snorkeling to the lee sides of islands. But despite these challenges, the photographers discovered magic. It was a week immersed in a Neverland of coral reefs, giant groupers, and shipwrecks patrolled by packs of barracudas; of sun and salt and sweet sea air.
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But Johnny, Jaden, and Jonathan also discovered a deeper layer of Tortugas magic, as it quickly became apparent that this expedition was about far more than just underwater photography. The Tortugas experience was about connecting deeply with incredibly generous and talented National Park Service mentors, guides, and leaders, whose passion for this place was inspiring, and who made us feel embraced and at home in a distant land. It was about living within the rich history of Fort Jefferson, which NPS historian Kelly Clark brought to life for us. It was about night skies of unmatched brilliance, delicious red snappers on the end of our line, and a crocodile named Carlos who seemed to bond with our team.
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Above all, the Dry Tortugas was a peak experience of deep connection. Connection to peers, to mentors, to nature, to the past, to oneself. And we all know that connection is the ultimate catalyst for healing. But don't take it from me. Here's what our young photographers had to say:
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On my way to Dry Tortugas, I had so many ideas of what he place will be like, but I completely underestimated what it would be like. When it was in seeing distance of the fort, I was amazed by the size of it. it looked like something in a movie. Living here felt like a dream. Walking around the fortress and learning about all the history made me feel honored to stay in such a beautiful historic place. Being in Dry Tortugas has been such an amazing experience, and it has been everything I've been needing. It was really good to cut away from the world and be somewhere new. Seeing all this amazing life and being able to capture photos of it has been an experience of a lifetime.
Dry Tortugas is an amazing place. It is simply one of the most beautiful places on earth. It is still hard for me to believe that I was there. You might be able to look this place up on google, but when you see in with your own two eyes it will all change. This place has so many things to do. Anyone who will ever come to this fort will fall in love at first sight. I still try to come to reality that there is a place like this on earth. This place can change you in a good way. It made a lot of things in life make sense to me.
Johnny, age 17
The Dry Tortugas National Park is astonishing to say the least. Above the surface is the old Fort Jefferson which in itself is amazing, but under the surface is where the real beauty is. There's a vast array of fish that are colorful and tropical. I've never seen any animals that are so colorful and diverse. Along with the fish are the breathtaking coral reefs. The coral reefs are the center of activity for the fish. It looks as if it's straight out of a fish tank or something out of the movies. It's actually hard to put into words what's under the water in the Dry Tortugas, so that's what photographs are for. This experience was overwhelming, in a good way. There was so much to take in and everything was so new to me that I was at a loss for words being a part of the expedition. The trip really has proven to me that good things do come out of negative situations. It was by far the most astonishing thing I have ever done. It has also made me feel extremely grateful towards Northwest Passage organization and the National Park Service that I was able to experience these things.
Jaden, 18
Sights set High
"Mankind has always dreamed of taking to the skies, and when they did, their outlook on the world changed forever."
Elias, age 16
FLIGHT PEAKS YOUNG MAN'S INTEREST IN BECOMING PILOT
Riverside client, Elias, was one of the participants of Northwoods Flyers EAA Chapter 1537's annual Young Eagles event held at the Burnett County Airport, as part of our "In a New Light" programming.
"I took photos of the pilots and their young passengers before they took flight."
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After the first round of kids went on their flights, there was a short lull in participants, and so Elias got his opportunity to fly. He and his mentor pilot walked around the plane checking over the plane before he got strapped into the backseat.
"I was able to take on the skies myself along with pilot, Tom Wilde, in his Bellanca Scout Aircraft. A while after takeoff Tom offered to let me try to fly the plane myself. After a bit of hesitation, I took the controls and felt what it was like to be a pilot."
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It was an experience that Elias hopes to repeat.
"Once it was over the only thing on my mind was when I was going to do that again?
Seeing things from above was very different than on the ground, it almost made me feel a little insignificant seeing the vastness of the world we live in.
I can only imagine what it must feel like to go to space!"
Elias has since become an EAA Student Member and started Sporty's Learn to Fly Course online. Northwoods Flyers EAA Chapter 1537's Young Eagle event and program has sparked an interest in Elias that he may not have found so soon in his life, if ever.
The Young Eagles program was started by the Experimental Aircraft Association (EAA) in 1992. It gives children between the ages of 8 and 17 the opportunity to fly free in an airplane. According to the EAA web site, the program's mission is "to introduce and inspire kids in the world of aviation" and our local chapter met their mark with Elias and hopefully more of the 35 kids that took part in the day or the 250 they have taken up in the last four years.
"There were lots of smiles and thank yous – it makes it worthwhile. I love being able to share the experience of flying with kids. I am thankful for our local pilots who donated their time and fuel."
Roy Ward, Pilot and Event Organizer
In Northwest Passage's nearly 40 years of development, we have learned that real, sustainable change occurs when our clients connect with their community, explore their identity, develop their passions, appreciate time in nature, attend to their relationships, discover effective recreation opportunities, learn healthy nutritional habits, and move their bodies. This Young Eagles program has met many of these therapeutic lifestyle choices.


Discussion in 'Extreme and Water Cooling' started by Keiser`, Jan 18, 2019.
are you going to run the water from the cpu block into gpu without cooling it again or will you run cpu into rad then to gpu then to rad then to cpu?
Do you require this radiator setup to cool the water if the temp only changes by 1 or 2 degrees within the loop? Or is it 1/2 degree per block?
I am going 32 on gpu and 45 on cpu under load.
yeah thats about the same for me with 2x280s..
cpu can get a little hotter ( 2700X ) but thats due AMDs aggressive power peaks.
If you are not planning to oc your 9900k, 2 360 rads would be ideal for 9900k + 2080, for soft tubing the order of GPU and CPU blocks have no impact in performance, flow rate is 300-400L per minute, so fluild will cycle something like 5 times a second, thus no temperature difference in fluid. Adding more rads and help temp under load for long period of time and reduced fan noise, but effect is not significant, add another 360 probly can redice fluid temp by under 5°c.