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Interview with Johnny and Richie of SKIN&BONE
Our man, Woody, chats with new Midlands band, SKIN&BONE.
Interview by Woody
Hey Johnny, Richie! I know you guys well from your previous band Tara's Secret. I know you are keen to start the next chapter of your musical careers with Skin & Bone, but is it just Tara's Secret by another name or what should we expect from Skin & Bone?
Johnny – Hey Woody, You're not pulling any punches here are you? If we were going to be doing TS we may has well have stayed where we were. SKIN&BONE may have some comparisons as 3 members of Tara's Secret are still playing together and that Richie and myself are still writing together but as far as style and sound it's a totally different band.
Richie- exactly, we would have carried on (maybe) Skin & Bone is different, there's going to be points of reference, simply as Johnny and I wrote a lot of the TS music, however the whole thing takes on a whole different dynamic now.
The demise of Tara's Secret seemed to come out the blue and followed the band's third and most critically acclaimed album 'Vertigo'. The album seemed to be pushing the band onto bigger things so what wrong for you guys to split when things were going so well?
Johnny – As a band we had been together for the best part of 9 years, writing, performing and recording, pretty much doing it all in house. Every time we produced a new album Richie would always comment that if we split up tomorrow he would be proud of what we had achieved. I have to agree with that. "Vertigo" was a great album to write and record, we had a fantastic time and yes I'm very proud of what we did. So we found ourselves trying to write album 4. I think we got 3 tracks demoed but the spark seemed to have gone. Nothing went terribly wrong but sometimes you know when to throw in the towel.
Richie- You know, we had come as far as we could. We were starting to write to a "formula" and that seemed so unnatural to me, particularly as the songs we had been working on after "Vertigo" were mainly from my musical ideas and if it's a workable idea, its worth giving it a go, not throwing it out because it sounds akin to AC/DC or who ever. So ultimately it was time to move on .
I think I know the answer to this one as I know you very much view Tara's Secret as the past, but will any of the Trowbridge/Beardsley compositions from those days appear in live sets or in re-recorded form in the future?
Johnny – We have spoken about this, it's not a no go area but right now we are having so much fun writing and perfoming brand new songs we don't see a reason to go back to those songs. Maybe if we were going to re-record they would have to have the SKIN&BONE style to them.
Richie- Well its planned that we'll re-record "Spectrum Wheel"!!! (laughs), why not give it the Megadeath mix? . You know Woody we convene in a rehearsal studio and can walk out with three songs in the bag, so why play the old songs from a band that we have history with its not as if we had hits with them which would then make sense to play them, But who knows. I loved being a part of some of those songs, Beauty Queen and King of MeVille – though we'd maybe approach them differently .
Right, Skin & Bone, how did the band form and who is in the band?
Johnny – At last I thought you would never ask! (laughs) I think Richie, Simon and myself still wanted to play together, but do something totally different. As we have said before why do the same thing again. We all have so many influences from a very broad range of music, not all rock! We wanted to put something together that we enjoyed doing and that's how SKIN&BONE was formed. so let's introduce the band. On drums Simon Perkins, Simon came with us after the Tara's Secret split he replaced JT just after we recorded "Vertigo". I love Simons playing it's a cross between Cozy Powell, John Bonham and Animal! One of the best things in S&B is everyone has a free reign, this allows Simon to really let loose on every song.
Richie -We looked for the right bass player for a long time. While we wrote songs we auditioned so many people. We even had a guy play with us and commit to the band but the temptation of a full time gig with a tribute band was far too great for him. We got a short list down of people we wanted to see, one of them was Scott Clarke. We met him over a beer and we got on straight away. Then we heard him play and knew that we had found the missing part of the puzzle. I often lose track when we play as I find myself spellbound with Scott's musical abilities.
Johnny – We wanted the line up to be right, not only from a playing point but from a personal point. Everyone gets along, everyone supports the band and it's a great atmosphere. We are all playing on the same page.
Is there a good story behind the name of the band? How did you come up with it and decide on it?
Johnny – NO! (Laughs) We sat down and each wrote down about 20 names each. Some were terrible and others worked. We knew what where the style was headed so we wanted a name that reflected that. I think after we cut the shortlist down to 10, SKIN&BONE kept coming back. I would ask people what they thought of my favourite 3 names and S&B was the winner. I think sometimes you hear a band name and know what you are going to get. SKIN&BONE says it all, it's no nonsense rock n roll.
Richie – We had a cracking idea, to put all the names into a Teapot, Johnny to then (dressed as the Mad Hatter) to put the lucky persons name from the hat.
I've been fortunate to hear a few rough demo's and whilst I recognise the Trowbridge/Beardsley 'sound' I feel the songs are a lot darker and heavier, will this be the overall feel of the band's sound or can we expect a few upbeat fun tracks akin to stuff we heard on 'Vertigo'?
Johnny – It's all fun, just depends how you look at it! We have written so many tracks for the album, it's not all dark. I think we have found a good balance of light and shade. I think from a writers point of view I have written songs that I like and the rest of the band like. Before we did our first show we sat down and said "Do you think they will get it?" Some didn't!
Richie – Oooooooh ,we have a sound! A music journalist once suggested "I was in the wrong band (little did he know how right he was) as I was more of a Hard Rock guitar player … guess what, he was right. Its a very natural writing process where we'll jam on something and hey presto !!! there's never a " Let's write an Reo Speedwagon type of tune ".
I'm sure I remember Johnny saying the debut Skin & Bone album has the working title of 'The Exceptional Child'. Is this still going to be the title and is there a meaning behind it?
Johnny – Yes you are right, good memory. It's still going to be the title and the song is going to be there as well. A great friend of mine passed away suddenly 2 years ago, he lived in my spare bedroom up until he died. At night we would stay up and drink and he would tell me stories of his very colourful life. One of these was that as a child he was featured on a tv documentary about gifted children. At the age of 6 he could speak 5 different languages one of them being Latin, his episode was called "The Exceptional Child" Now I never believed him and used to joke calling him "Exceptional" but he could speak Latin and he would often use it to chat up women. Joking I told him that our next album would be named after him and when he passed away I knew I had to write a song about him. He was a great friend and this is how he lives on.
Can you tell me about some of the Skin & Bone songs that will feature on the album, song titles, how the songs were written and any stories and meanings behind them?
Johnny – So we wrote about 20 tracks for this album. Some of the early stuff was quickly discarded but as we found our sound Richie and I soon got into our stride writing some great songs. I'll list the ones I enjoyed writing and I'm sure Richie has some as well. "Burn the Blue Sky" is a song all about the moment love dies. That last argument, all those things you never said that just come out in the heat of the moment. That point where the perfect blue sky is torn down. When I was a boy I was in love with a girl in my class. I would have done anything for her unfortunately she hated me. But when she was with her friends she told them all how much she liked me. I just thought this would be a great idea for a song. "She Loves Me" is all about that girl! Another great track is "High Society" this was one of the last songs we wrote along with another great song called "Mary" High Society is all about dreaming of being better, of getting out of the 9-5 and living the high life, "Mary" I suppose is the follow up to the Tara's Secret song "Rock n Roll Beauty Queen" another girl on the road to self discovery.. I love singing this its really bluesy and Richie does an awesome solo. Some other great tracks include "Walking Shoes" and a song you may be familiar with Woody, "Revenge Mile" this was a track we played once with TS before we split, it kind of showed where we wanted to take the band and when we started writing we all wanted to carry on playing this. Its very different to the TS version but still rocking.
Richie – We usually all hold up in the studio and work through an idea which we'll all contribute on the idea and we all have a free reign (shred or dead!!) with our own parts . For me " Let It Rain" has special place as it was one of the first tunes we worked on and to me it's a great rocker for all the right reasons – Johnny's lyrics are superb (he never ceases to amaze me with his vocal abilities and song writing skills) Simon and Scott are an amazing rhythm section who gel so much …..that just leaves me to foul things up !!!
Another song I love very much is "Fallen From Grace " wonderful vocals with a great bluesy feel and then goes into a super heavy tune . " Healer" is a tune that was described as "Brutal " when we first played it in Sheffield recently ….Thank you, mission accomplished.
Is there any news on when the album will be recorded and released?
Johnny – We are just about to book the studio time in and we cant wait to record. We looked at several studios this time and spoke to lots of people. We finally chose the Old Library in Mansfield, great guys to work with and they get what we are doing. There is no point trying to work with people that don't get the band and where we are coming from. We hope to get the album out in October time ready for the Xmas rush.
I know you guys are keen to get the album released through a record label and management to help promote and push the band forward. Do you think the album will be released on a label or are you guys again looking at releasing the album independently?
Johnny – We are in deep talks with a label and management as we speak. When we started SKIN&BONE we wanted to have the support of a label and a good management team. We spoke to various people, some of them were expecting TS pt2 and they didn't realise that we had moved on. Others really did get us but I think right now labels and management are looking at finances a lot closer than they did 10 years ago. But a few really do understand that we are not on the nostalgia ride and this is something that they can really work with.
Skin & Bone will be making their live debut in the West Midlands as part of a strong three band line-up which includes Brummies Daylight Robbery and Wolvo hair metal new boys Shyne. The gig takes place at a new venue Lucy's in Hednesford on Friday the 24th of May. Are you guys looking forward to it, what can we expect from you and are you nervous about playing virgin territory?
Johnny – We are really looking forward to coming over and raising the roof. It's going to be a great night. There are 3 very different bands playing so fans are going to have a great night out. I have been itching to get back over to the West Midlands, you guys rock hard. It's also gonna be fun showing people there is life after TS!
Richie – I've been there before when we recorded Tara's Secret's "Spectrum Wheel" where the guy lost all the tracks we had painstakingly recorded !!! Ahhhhh!! He also suggested I use a different type of Pick! he came close to getting Chillied !! ( raw chill juice put on his car door handle ) .
I believe you'll be getting a good set length even though you're the main support to Daylight Robbery. What songs should we expect, will we hear most of the new album and should we expect any 'unusual covers' I remember you guys once talking about doing a rocked up Lady Ga Ga song 'Edge of Glory' or something like that?
Johnny – We are gonna try and get as many songs into the set as we can. Yes you will hear pretty much all of the album as well as some stuff that we just love playing. As for covers, We didn't just talk about Lady Gaga we played it!!! But I think the days of filling the set with other peoples songs are behind us now, although on occasion we have been know to pull some Chickenfoot out of the bag. You will have to wait and see.
Richie – Yes we have a great version of Stayin' Alive where Scott plays the Bavarian cheese flute. There's also a medley of Hectors House / Scooby Doo .
It's not easy getting gigs and just as hard to get a gig with a decent number turning out to see original artists. So I know you're keen to build up live followings in different areas, so I'm presuming if this goes well you'll be back in the area in the future?
Johnny – You try and stop us. We are already planning our return. To be honest we have played more shows in our first year then we did in the last year of TS. I think due to the nature of the music we are doing now we seem to be welcomed by a lot more venues. We have built up a great fan base here in Sheffield and they follow us round so expect Yorkshires finest at the front in Hendsford.
Richie – Yes indeed, its great that Daylight Robbery asked us to do this, so I truly hope we will get back to play again soon .
Do you have any other live dates lined up this year?
Johnny – Yes they seem to drop out of the blue. We are playing the Sitwell Tavern, Derby on the 25th May and then my birthday show on 17th July at M.F.N, Ilkeston. That's going to be fun! But more get added all the time. It's great that we are getting so much support from venues and organisers.
Richie – we are working so hard a getting pre-production of all the songs done, next it will be recording the album so there will be more gigs it's just a matter of juggling things.
Is there any Skin & Bone gossip or hush hush 'you didn't hear this from me' secrets you can divulge?
Johnny – We have lined up an amazing producer and guitarist for this album. Jay Parmar has released his own stuff on Steve Vai's label and he also works with some amazing people including George Lynch. He is as excited as we are about this album, and that's what makes it even better. So we cant wait to work with him. There are so many other things going on but I don't want to jynx them. I just cant wait to get the album out and let everyone see what all the fuss is about.
Richie – Yes Jay is a great friend of mine and an amazing inspiring influence on me so I'm looking forward to having him at the helm keeping us in check and saying "More Guitar!, More Guitar … this time louder haha. Seriously it will be excellent.
Is there anything else you would like to add or say to those reading?
Johnny – Come down to Lucy's bar and rediscover Rock n Roll on 24th May. So far we have been blown away from the support of our fans both old and new. I'm so proud of this band and what we have achieved. Here's to so much more.
Richie – Look forward to seeing all of you at Lucy's Bar be part of a great night .
http://www.skinandboneband.co.uk/
Midlands Rocks


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The first review on Naked Cow Beef Jerky will be on a 2.25 ounce/64 gram bag of their honey flavored 100% grass-fed beef jerky. This bag was kindly submitted by one of the co-owners, Ron Myrick.


TP-LINK 150Mbps Wireless N Adapter is a Network Adapters hardware device. The Windows version of this driver was developed by Qualcomm Atheros Communications Inc.. The hardware id of this driver is PCI/VEN_168C&DEV_002D&SUBSYS_0301168C; this string has to match your hardware.
You can download from the link below the driver setup file for the Qualcomm Atheros Communications Inc. TP-LINK 150Mbps Wireless N Adapter driver. The archive contains version 3.0.1.154 released on 2013-05-03 of the driver.
This driver received an average rating of 3.2 stars out of 10438 votes.
Take a look at the list of detected driver updates. Scroll the list down until you locate the Qualcomm Atheros Communications Inc. TP-LINK 150Mbps Wireless N Adapter driver. Click the Update button.


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Alta Loma edges Ontario
By Redlands Daily Facts | redlands@dfmdev.com |
September 15, 2012 at 12:00 a.m.
ONTARIO – Alta Loma's homecoming game will be one its coaches, players, students and fans will not soon forget.
The Braves withstood four big offensive plays by the Ontario Jaguars and won a 36-35 thriller to improve to 3-1.
Braves coach Joe Szczepanski said he was happy his team escaped with the victory.
"We definitely made some mistakes out there tonight, but we were able to survive," he said.
The contest was not without controversy as an apparent Ontario go-ahead scoring drive was thwarted by the Braves at the 1-yard line.
Jaguars quarterback Jacob Estrada was trying to score when Alta Loma's Ernest Palma suddenly started running the other way with the ball.
Palmasomehow grabbed the ball from Estrada and scored a 99-yard touchdown on a play that was discussed by the officials and both head coaches for quite some time.
The play stood, and the 14-point turnaround was official.
Ontario needed only 18 seconds to score on its first play from scrimmage. Eduardo Cervantes took the handoff, headed around the side and scored untouched on an 80-yard run.
The Braves countered with a 59-yard drive on 14 plays but could only muster a 21-yard field goal by Andrew Davis. Alta Loma then kicked off to Ontario, which is where lightning struck twice in two consecutive plays.
Cervantes took the handoff again and scored on another 80-yard run. The Jaguars' extra-point attempt was blocked and they led, 13-3 after only two plays from scrimmage.
With Ontario leading 16-13 going into the third quarter, Alta Loma took the kickoff and moved the ball from its 39 to the Ontario 21.
On third and five from the 16, Alta Loma quarterback Nico Martinez dropped back to pass and was flushed out of the pocket. He wound up passing the ball to Ontario lineman Jeff Clausell.
The Jaguars then moved the ball from their own 39 to the Alta Loma 1-yard line and kept their their drive alive with a fake punt that moved the ball to the Braves' 21. Estrada ran the ball twice to the Alta Loma four and then to the 1.
That's where the controversial play happened.
Even when they were up, 36-23 late in the game, the Braves knew they had a fight on their hands. Ontario proved just that by scoring twice, first on a 79-yard touchdown pass from Estrada to Kyle Zendejas and the Jaguars then recovered an onside kick.
Estrada then scampered around right end for a 20-yard touchdown but the Jaguars failed on the conversion attempt for the second time in a row. Ontario got the ball back once again with 44 seconds left but they were on their own 4-yard line.
They could not accomplish anything and Alta Loma ran out the clock.
The Braves have one more nonleague game next week at GrandTerrace.
Ontario (2-2) opens play in the Mount Baldy League as they host Chino.

redpajama_set_name: RedPajamaCommonCrawl


Pear Almond Tart is my new favorite tart. Pears poached with cinnamon, cardamom, and vanilla bean arranged on top of almond cream…are you kidding? What's not to love.
I love make ahead desserts. All aspects of this recipe can be prepped in advance, which makes the pear almond tart perfect for Thanksgiving.
In fact, the entire tart can be assembled and frozen before baking. (See notes in recipe) Score!
In a deep saucepan, add all of the ingredients for the poaching sauce and pears. Simmer over medium-low heat for about 30 minutes or until the pears are tender. Remove pears from liquid and cool completely. Set aside.
Cream butter and almond paste together until smooth and there are not lumps.
Add egg, cornstarch, and almond extract. Mix until smooth.
Dock the bottom of tart crust with a fork. Make sure the crust is in a removable bottom tart pan.
Evenly spread almond cream. Refrigerate until ready to top with pears.
Slice the pear halves into 1/8-inch slices and arrange on top of almond cream.
Place the small tip of the pear into the center of the tart.
Sprinkle slice almonds in all the spaces where there isn't a pear. Place the tart on a parchment lined baking sheet and place in a preheated 375F oven for 40-50 minutes or until the crust is browned and the edges of the pears are caramelized.
While tart is still hot remove outer ring of tart pan. I place the tart on top of a can and the ring just drops right off. Place the tart on a cooling rack to cool.
When tart has cooled, heat the jam until thin then strain out solids. Gently glaze the top of the tart.
Take a look at the layers of soft almond cream and the delicately spiced pears. Heaven!
8- inch tart crust unbaked and pierced with a fork on the bottom (use a tart pan that has a removable bottom.
In a small saucepan add water and sugar. Stir until sugar has dissolved. Add vanilla bean, cinnamon stick and cardamom pods. Add pears and bring to a gentle simmer. Cook for 30 minutes or until pears are soft when pierced with a knife.
Remove pears from liquid and cool completely.
Slice each pear into 1/8-inch horizontal slices.
In a medium size mixing bowl or a mixer (use paddle attachment), cream butter and almond paste until smooth and free of any lumps.
Add eggs, cornstarch, and extract. Mix to combine. Mixture should be soft and smooth.
Evenly spread or pipe the almond cream into the 8-inch tart crust.
Place tart on a parchment lined baking sheet.
Arrange sliced pears on top on the almond cream. Place the smallest end in the center and fan the pear out to the outer edge of the tart. You will need 5 pear halves.
Sprinkle sliced almonds in all the areas where the almond cream is showing. Basically everywhere the pears do not cover.
Place in a preheated 375F oven and bake for 40-50 minutes or until the crust is brown and the pears are beginning to caramelize around the edges.
While the tart is still hot place the tart on a large round can. The outer ring of the pan should drop off. Cool completely.
Make sure the almond cream is very soft before putting in the shell.
Use pears that are completely cool, or they will melt the almond cream.
use raw sliced almonds; toasted ones will burn as the tart is baked.
Variations of this tart can be made using different fruits - cherries, plums, apricots, peaches, blueberries, etc.
The raw assembled tart will keep refrigerated for a day or two, or may be frozen. Do not freeze the baked tart, or the crust will become soggy.
Almond cream can be made in advance. Cover with plastic wrap and refrigerate. Allow to completely soften before using.
Poached fruit can be made in advance. Cool the pears and liquid separately. When both have cooled, store pears in poaching liquid and refrigerate. They will keep for one week.
Use a tart pan with a removable bottom.


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By Gifford Lee on June 4, 2020 in Beer, Beer & Breweries, Beer Styles, Craft Beer, Features, Industry, Interviews, News, People, Retail, Venues, Venues
One of Australia's finest beer bars is now one of its newest bottle shops as Sydney's Odd Culture serves up its enviable and eclectic wares nationwide.
Thorpe Hospitality is somewhat becoming the face for COVID-19 success stories in the drinks trade as the venue owners fight on amid the global pandemic.
Beer & Brewer already featured their success pivoting their two Sydney bars into online businesses, and now they're at it again.
Their Odd Culture bar – which is on the second floor of The Taphouse in Darlinghurst and a haven for the serious beer lover – is also now roaring along as a bottle shop and is delivering its rare and sought after drinks far and wide.
With the biggest collection of lambic-style beers in the southern hemisphere it was a sin not to really.
James Thorpe
"We are buying an ungodly amount of craft beer off breweries at the moment and are giving people access to products they may not have even seen elsewhere, let alone had the opportunity to try," owner James Thorpe said.
"Our focus is very much on-premise when it comes to Odd Culture, as we can create a really positive experience with matching our drink options with the right food and music. That will always remain a big drawcard for people.
"But we live in a changing world. Online retail is only going to ramp up and I fully expect the trend towards online delivery to continue post-COVID."
COVID was the tipping point to finally create the Odd Culture bottle shop, which Thorpe said was a long time coming – even if it was against his nature.
"It was a necessary transition. For a long time it should have been operating as a bottle shop. But I've cut my teeth in bars and cocktail bars and it was never that exciting to me to be selling six-packs," he said.
"But when we had the chance to sit down and assess, it was obvious that we had this humongous amount of beer in stock and it was all really competitively priced."
As well as a penchant for all things lambic, Odd Culture's bottle shop is IPA rich and heavy on the dark and strong ales, like barleywines and imperial stouts.
Individual selections from the likes of Rodenbach, Deschutes, Boatrocker and Wildflower are just the start of what's on offer, while Odd Culture also sell subscription boxes, much like those offered by Carwyn Cellars and Bucket Boys.
For example, their monthly Culture Club haze box features 12 fresh hazy IPAs, hand selected from stand-out local and international breweries, with a heavy preference for canning dates in close proximity to dispatch.
Thorpe said there was even one thirsty subscriber in the Northern Territory getting hazy each month thanks to his Odd Culture delivery.
"We do try to avoid posting through Australia Post as much as possible but it's pretty cool sending this stuff out, which often you just can't get outside of the Sydney metro area."
Meanwhile, Thorpe said his Oxford Tavern, Taphouse and Odd Culture venues did a roaring trade on Monday when restrictions in NSW further lifted.
"We recorded eight times our normal revenue for a (pre-COVID) Monday," Thorpe said.
"The pubs were full as per capacity allowances, then the delivery portal was going off every two minutes.
"I know it's early days, but if it keeps kicking along like this it could be business as usual in a few months."
Aiding The Taphouse's bounce back is their recent addition of outdoor seating at ground level which has enhanced their total capacity by a further 14 people.
news-2


Aside from the areas near the proposed MRT 7 Stations in Quezon City, areas in Mindanao, and the Bonifacio Global City, there is another area to watch out for: The Food Terminal Inc. (FTI) property in Taguig.
The 74-hectare parcel of land at the FTI area was sold to Ayala Land, Inc. (ALI) for Php24.3 Billion recently. This translates to around Php33,000 per square meter, still a good price compared to Fort Bonifacio and Makati. No less than the President of the Philippines and the Finance Secretary witnessed the contract signing last Nov. 12, and the turnover of the initial payment of Php19 Billion. The Php5.3 Billion balance shall be paid next year.
Considering that the floor price for the bidding was only P10.25 billion, and the other bids were only Php14.7 billion (Robinsons Land) and Php11 Billion (Empire East), the fact that ALI bid P24.3 Billion shows how much faith ALI has in the area. As reported in the news, the FTI property will be converted into a business district, which is undoubtedly Ayala's forte. For sure, Ayala will make sure that this investment will pay off handsomely in the future.
The FTI property is envisioned to be the gateway to southern Metro Manila. The special feature of this area will be the proposed intermodal transport system linking various modes of transportation, including the current Philippine National Railways station. A connector road has been proposed by the Department of Public Works and Highways (DPWH) which will link the C-5 Road to the South Luzon Expressway through the FTI property. There are also plans for a Bus Rapid Transit (BRT) that would pass through Pasay City to Makati City, Bonifacio Global City, FTI and the Ninoy Aquino International Airport.
With this development, I cannot help but think that the values of residential areas near FTI may be reasonably expected to improve. DMCI's Acacia Estates (including Mahogany and Verawood), as well as developments in the Paranaque service roads, and SMDC's Joy Residences near SM Bicutan may be benefited by this development. There are several other residential projects near FTI and it is possible that these developments have already been foreseen and taken into consideration by developers.


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First Reformed Church of Lancaster
40 E Orange St, Lancaster, PA 17602
Sunday Worship @ 10:30 AM
About First Reformed
FRC People
Our Organ
FRC Windows
In Our Prayers
A Church for the City
Helping overcome hunger and addiction.
Each year we serve over 16,000 free meals here on our downtown campus. Partnering with other "Meals for the CIty" churches, we ensure that men, women, and children can enjoy 3 free meals a day, 7 days a week, 365 days a year. We reach out to those overcoming addiction by hosting six 12-step programs each week, including AA, NA, & SA.
We are intentionally and un-apologetically inclusive of ALL people and declare ourselves Open and Affirming (ONA), the phrase The United Church of Christ uses to communicate our intentional and unconditional inclusion of people of different sexual orientations, gender identities, and gender expressions. No matter who you are, no matter where you are on life's journey, no matter who you are with, no matter how you identify, you are welcome here at First Reformed, United Church of Christ.
Warmly Welcoming
An extravagant welcome awaits you!
When you join us for worship, you'll be warmly greeted at the doors of the sanctuary by one of our members. In the pew, you'll find a welcome packet that gives you more information about First Reformed. Children are welcome to sit with their parent or guardian until they are dismissed for children's church. Following worship, all are invited to enjoy light refreshments, fellowship, and an opportunity to get to know each other.
Joyful Worship
Celebrating the "Still speaking God"
Our worship service begins with an organ prelude...a time to silently reflect, to pray, and to anticipate the next hour. The service includes singing hymns, reading scriptures, an inspiring sermon by Pastor D., confessing our faith, prayers, an anthem by our choir, and an organ postlude. After the service, you're invited to join us for refreshments and conversations in fellowship hall.
The folks you'll meet at First Reformed Church. . .
. . . come from various
faith traditions
or none at all. . .
. . . are people of
different ages
and lifestyles. . .
. . . come in all shapes
and sizes. . .
. . . are singles, couples, significant others,
and those who've lost a spouse or partner. . .
. . . love and care
for each other. . .
. . . are open
and affirming. . .
. . . are free to wrestle theologically. . .
. . . are intentionally
and unapologetically inclusive. . .
. . . are all over
the map politically. . .
. . . are extravagantly hospitable. . .
. . . value creativity
and the arts. . .
40 E Orange Street
Click to Email the Church Office
Click to Email the Webmaster
Parking is Available at the following locations:
Grant St. Lot behind the church (21 spaces Free on Sunday)
Christian St. Lot next to Characters (15 spaces Sunday only, Free)
Street Parking on Orange, Queen, Duke, and King (Free on Sunday)
Duke Street Parking Garage
E. King Street Parking Garage
Prince Street Parking Garage
You shop. Amazon Gives!
Accesible Campus
UCC - Open and Affirming
Church office is open from 9 to Noon only from Feb.4 to Feb. 7. Closed on Friday, Feb. 8. Thank you volunteers who are covering for Elaine while she is on vacation!
We still need help to staff the Winter Women's shelter March 1 - 5 for check-in or overnight shifts, in order to provide a warm and safe place for these women and children to sleep. Contact Tara Schram or the church office to volunteer.
A big "thank you" to Jim Chryst for organizing the great fundraiser lunch at Isaac's on Sunday. Thanks, Jim!


We're eager to tell you all about a great new program we've developed for high schools and colleges, but we're not quite ready. Just a teaser, it will provide your team with a tremendous home-field advantage and we know you'll want to be part of the program. Stay tuned! More details to follow!


HIGH POINT, N.C., July 26, 2018 – For the eighth consecutive year, High Point University has been named to the Colleges of Distinction. It is a unique college guide that honors institutions with an innovative, teacher-centered undergraduate education and a strong record of preparing graduates for real-world success.
The 2018-19 Colleges of Distinction list is based upon exemplary commitment to four distinctions: engaged students, great teaching, vibrant communities and successful outcomes, all of which reflect HPU's values-based, holistic education model. HPU was also recognized for its education and business programs in the Stout School of Education and Earl N. Phillips School of Business.
HPU is preparing graduates to lead lives of significance. In recent studies, 96 percent of recent graduates find employment and graduate school placement within six months of graduation.


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Verizon and AT&T Decline the Request to Delay Next-Generation Wireless Technology
Purity Muriuki
The US government has requested Verizon and AT&T to pause the launch of 5G because of plane safety concerns. However, these major cellular carriers have declined the Federal Aviation Administration (FAA) request to delay the new, high-speed 5G network rollout scheduled for Wednesday this week.
CEOs of these US telecommunications giants issued a joint letter on Sunday to FAA asking Pete Buttigieg, the transportation secretary, and Steve Dickson, the head of the FAA, to dismiss US airlines' concerns that the new 5G wireless service is harmful to aviation. Verizon Communications CEO Hans Vestberg and AT&T CEO John Stankey said they are ready to negotiate some temporary measures in the next six months to control their service around specific airport runways but not delay the rollout any further.
According to the airlines, the Federal Communications Commission (FCC) should delay the scheduled 5G rollout because the service will interfere with electronics that their pilots rely on. The Airlines for America wants both FCC and FAA to consider issues that are likely to occur due to this rollout.
As a result of this concern, Buttigieg and Dickson wrote to both Verizon and AT&T, proposing to their CEOs that they should delay activating 5G C-band service, particularly around "priority airports" as FAA investigates the impact that this launch is likely to have on aircraft operations.
5G network provides faster speeds to any device connected to its network, and users can link several gadgets to the internet without slowing it down. The two companies had previously agreed to delay the launch by one month but not six months because further delays will harm their customers.
The two executives wrote, "Agreeing to your proposal would not only be an unprecedented and unwarranted circumvention of the due process and checks and balances carefully crafted in the structure of our democracy but an irresponsible abdication of the operating control required to deploy world-class and globally competitive communications networks that are every bit as essential to our country's economic vitality, public safety, and national interests as the airline industry."
The scheduled service will begin on Wednesday.
Related Topics:aircraft operationshigh-speed 5G network
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By: Claire M. December 9, 2019 December 9, 2019
Articles, DCJoker, Joker Score
The Cathartic Use of Music in JOKER
Pitched and filmed as a gritty character study of one of the most iconic villains in pop culture, Todd Phillips' JOKER is a haunting, bold and visually stunning masterpiece. The story follows the struggles of Arthur Fleck – played by one the best actors working today, the enigmatic and versatile Joaquin Phoenix‒ an everyman who aspires to become a professional stand-up comedian and leave behind his job as a clown. The film is a tour de force. The gripping nature of this character-driven tragedy can be attributed to the ambition of the project (it walks a fine line between low-concept indie films and the comic-book movie genre that usually is synonymous of high budget and the search for maximum profit with little interest in what it can offer beyond entertainment) and Phoenix's stellar performance. Yet, as for every motion picture, JOKER is the result of a collaborative process.
Many aspects contributed to plunging the audience into Arthur's psyche and the descent to hell that will eventually lead him to be the Joker. For example, DoP Lawrence Sher's choice to use the large format Arri Alexa 65 camera resulted in a shallow depth of field which allowed to connect the viewer to the character and feel a sense of intimacy. For a character study that relies on the performance of its lead actor and his relationship to his environment, this is an important choice to make. The film's immersive narration corresponds to what in literature is called "1st person point of view" and borrows many devices, including an unreliable narrator. Many audiences never consider how important score is to a film and its crucial role is often overlooked. Music can play an especially vital role in telling a story and through themes, for instance, give a musical identity to characters. But JOKER takes this a step further by making music a key element which in the same respect as setting and backstory informs the protagonist's characterisation and arc. Today, we are taking a look at the cathartic role of the music in the film (original score and songs) as well as its particular relationship with the filming process itself
Hildur Guðnadóttir with her first Emmy, September 15, 2019
"I sat down with the cello to kind of just find my way into his voice and into his head. And I'm just like kind of holding onto this feeling that I had after reading the script. As soon as I played those first notes, it really hit me in the chest somehow, and it was a really strong, physical reaction that I got. And I was like, yes, this is it." ‒ Hildur Guðnadóttir (October 3, 2019 ‒ npr.org)
The entire score was thus based on the cello, a familiar instrument for the composer and one she has a strong connection to. Spontaneity, combined with that personal connection was the starting point to compose a requiem for a character who is isolated, suffers, feels both too much and not at all and has difficulties interacting with the world around him. The cello – and more specifically the halldorophone ‒ became Arthur Fleck's voice. The halldorophone is a cello-like electro-acoustic string instrument developed by Halldór Úlfarsson whom Guðnadóttir helped on the project. To convey the character's inner turmoil and the growth of the Joker persona, Guðnadóttir built the orchestration around the cello. As the story progresses, the orchestra becomes louder and louder, taking more space while the cello, still present, takes the place of a muffled conductor. The cello symbolises Arthur while the orchestra conveys the driving forces within him that gradually become more aggressive and boil beneath, until Arthur is pushed to his breaking point and by the end of the story, wholly embraces Joker.
"In the first scene where Joker is being beaten by a group of kids, the only instrument you can hear clearly is a lonely solo cello; what the audience doesn't realize is there is a full orchestra behind this, which is almost hidden. You feel these bigger forces behind it from the very beginning. As his frustration grows and the film progresses, the orchestra grows too, the angrier he gets the bigger it grows. Through all of this, I wanted to ensure the music remained very simple and uncomplicated, naïve and not particularly cool – very similar to how the audience sees him." ‒ Hildur Guðnadóttir (October 23, 2019 ‒ bmi.com)
Guðnadóttir playing the halldorophone at the FAIR residency in Copenhagen, 2009 (credit: Halldór Úlfarsson)
There was an interesting and permanent interaction between the score and the filmmaking process. Not only did the script and the character's voice inform the writing of the score but the opposite is also true. Before delving into strictly narrative considerations and the role of music (generally speaking) in characterisation, let's take a look at the influence the haunting score had on filming. The best example of that is the mesmerising and unforgettable "Bathroom scene". Initially, director Todd Phillips revealed, Fleck was to lock himself in the bathroom, throw up in the dirty toilet, hide his gun, wash-off the make-up and stare at himself in the mirror, realizing what he has done. But when with Phoenix they got on set on the day and started filming the scene, they realised it didn't quite sound right for Arthur to behave like this.
After an hour, Phillips, says, he decided to play this particular piece of music (that is now part of the final scene) to find something else: "And it was about an hour into it and I said 'Hey, you know, I got this piece of music from Hildur'. Hildur Gudnadottir is our composer and she'd been sending me music throughout, while we were shooting. And I just wanted to play Joaquin this piece of music. And Joaquin just started to dance to the music, and it was just me and him alone in the bathroom. There's 250 people on the crew waiting outside and he just starts doing this dance, and we both kind of look at each other and said 'O.K, that's the scene'." (October 7, 2019 ‒ The New York Times ‒ Watch Joaquin Phoenix Do a Creepy Dance in JOKER | Anatomy of a Scene video on Youtube). Music and dance were engrained in the story from the beginning but the actor's response to the score and his ease with improvisation gave those elements an even more significant place.
In the context of telling a story, the score makes a statement about the character and lends structure and a feeling of continuity. It helps to advance the story and set the mood. Guðnadóttir's score communicate's Arthur's arc and contributes to building a harrowing, oppressive atmosphere and tension. It intervenes at strategic points in the plot. As said previously, the score is a musical guide for the audience and the cello symbolises the main character. However, the role of music (and by extension, dance) in the film is even larger than that. Music isn't just an external element that only the audience can hear within the boundaries of filmmaking or a fictional narrative.
"It made sense to us because when I first met Joaquin and we first started talking about JOKER, I talked to him that Arthur was one of those people that has music in him. So music and dance became a theme in the film. And this is the second time we see him dancing, and it's a little bit of Joker coming out, a little bit more than the scene before and a little bit less than the next time we see him dance." ‒ Todd Phillips (October 7, 2019 ‒ The New York Times ‒ Watch Joaquin Phoenix Do a Creepy Dance in JOKER | Anatomy of a Scene video on Youtube)
Music is a leitmotiv in Arthur's life. For a character who is so introverted, suppressed and in deep psychological pain, music and dancing are a means of outward expression. Throughout the story, his dancing indicates either deep sorrow or a feeling of extreme happiness. Two sides at the opposite ends of the spectrum of human emotion. Music is cathartic for him. What is catharsis? Originally, it is a metaphorical concept used by the Greek philosopher Aristotle in Poetics to describe the effects of tragedy on the spectator. The word was derived from the medical term katharsis ("purgation" or "purification" in Greek). Aristotle stated that the purpose of tragedy (in the sense of drama, theatrical genre) is to arouse "terror and pity" in the spectator and thus to allow the release of these strong emotions. Nowadays, it is loosely defined as the purgation of the emotions or a release from tension primarily through art. There are a dozen scenes, micro-moments where Arthur dances in the film and the majority of them are private moments. The only exceptions are scenes where Fleck appears as Carnival (name his uses for his gigs as a clown) or Joker, at the very end of the film.
As a clown, entertainer-for-hire, music and dancing (as demonstrated by the scene where he dances in front of Kenny's Music Shop to Temptation Rag or the If You're Happy and You Know scene at the children's ward) are part of his work and the mask he puts on. Just like his humour and attempts to pursue a stand-up comedy career, it's a way of presenting himself to the world and at times, it almost appears as a way to cope with pain (mental or physical). In those moments, he has an audience, albeit a limited one. He wants to be heard and seen. That yearning for recognition is a prominent theme in the story. In his private life though, raw emotions are channelled through dancing, like a wordless monologue. He exclusively dances for himself and alone. Music is something he instantly connects with. Even in that brief scene where he gently dances with Penny to the instrumental version of That's Life at the end of the Murray Franklin show theme after having "a date", he does so because he wants her to dance with him and to share his joy. He responds to cheerful music in those fleeting moments of positivity. Another example is the earlier scene where Arthur dances with the gun to Slap That Bass performed by Fred Astaire as a segment from the musical Shall We Dance plays on TV. He weighs the revolver Randall gave him, points at the room, gets up, starts dancing and pretending he is being complimented on his skills by someone. Until the subway murders, there is an adequation between the situations he is in and what his short dances indicate, from an emotional standpoint.
His breath was hitching. Inhale. Exhale. Inhale. Exhale. Faster. Inhale. Exhale. Faster, faster, faster. His mind was clouded, he felt dizzy. Arthur's blood was singing. And then the music came to him.
(Photo credit: DC Comics/DC Entertainment/Warner Bros. Pictures)
The Bathroom Dance is a pivotal moment and perhaps the best illustration of that cathartic effect music has on Arthur. It follows a sequence that isn't just especially intense for the audience but for the character too. He crossed a certain line which definitively stirs him in the direction to become the Joker. It's a jarring but beautiful sequence. Let's rewind and dissect it. He shoots the three Wayne Investments businessmen. As the remaining one cries for help and looks for an exit, Arthur gets ups and the subway brakes at the next station. The subway stops. Arthur's breath becomes erratic and he points a gun at his temple, considering suicide for a split-second. He grabs his bag and gets out, follows the remaining businessman and kills him. Arthur's ears are ringing, he looks around him with an air of confusion and runs away. He finds the dirty public bathroom, locks the door behind him and leans on it, probably nauseous and barely able to stand on this feet. His breath is hitching. And then the music comes to him. He starts that incredibly bizarre, tai-chi like, slow dance as the sound of the lone cello accompanies him.
It's strangely elegant. Arthur's emotions move through his body and out of it. He turns his distress and overwhelming emotion into motion. He quite literally puts it out, it's a way for him to release tension. That numbing sense of sadness gives way to music. As he goes back to his building and walks down the corridor to Sophie Dumond's apartment, the orchestra catches up with the cello and the music thumps to his steps, like a loud beating heart. Joker is starting to emerge. This scene marks a 180° turn in Arthur's metamorphosis. From there, Arthur gets bolder, more confident and angrier too – and less passive. The numerous dance scenes that will follow show that shift, both musically and in movements. When he leaves "Ha-Has" (the agency located at Amusement Mile that employs him) on the next day because his boss fired him, he adopts an almost carefree attitude tainted with sarcasm and dances down the stairs while My Name is Carnival plays in the background. After that, he doesn't dance until he visually becomes the Joker. Then comes the scene where Arthur dyes his hair green while Frank Sinatra's That's Life plays for the second ‒ but not the last ‒ time.
The Bathroom Dance is a near antithesis of the other dance that has become the hallmark of Joaquin Phoenix's portrayal of the Joker: the Stair Dance. Arthur Fleck, now sporting green slicked-back hair, wearing a finer version of his clown make-up with a cigarette hanging from the corner of his mouth and dressed in a bright three-piece suit, appears at the top of the steep outdoor staircase he climbs every day. He dances to Rock and Glitter Part II with broad, slightly disjointed movements, flailing arms and legs. But it has a certain flair and conveys the character's total liberation. Arthur's body language was marked by tension and restraint to the point where Phoenix thought it physically uncomfortable to play the character while Joker is the polar opposite. He has that devil-may-care attitude, his gait is smooth, he is almost aerial in the way he moves. When Joker is dancing, he externalises happiness in situations that for the audience are oppressing, horrid or emotionally charged. Joker dances at the train station when the policemen who were chasing him get beat by a fervent crowd of protesters. He dances backstage at the Murray Franklin's Show (same music as during the Bathroom Dance), he dances and makes pirouettes when he is brought out on stage. After shooting Franklin live on TV, he does a little dance and walks to the camera.
"I think what influenced me the most was Ray Bolger…There was a particular song called 'The Old Soft Shoe' that he performed and I saw a video of it and there's this odd arrogance almost to his movements and, really, I completely just stole it from him. He does this thing of turning his chin up. This choreographer Michael Arnold showed me that and tons of videos and I zeroed in on that one. That was Joker, right? There's an arrogance to him, really. That was probably the greatest influence. But also disco." ‒ Joaquin Phoenix (October 6, 2019 ‒ Gulf News)
And then, of course, there is the bone-chilling denouement. It's a heartbreaking sequence where Arthur wholly embraces Joker. When the GCPD car gets hit by another vehicle, Hildur Guðnadóttir's final piece Call Me Joker starts playing. As Joker slowly rises from unconsciousness and takes stock of what is happening, cheered by the crowd, the haunting score takes a softer, uplifting turn. He looks around. Bloody, probably injured and his hair dishevelled, he dances in a jerky, broken manner. The world whirls with him, following his rhythm. When he realises that blood is dripping from his mouth, the percussion section of the orchestra intervenes, urging him on. He puts his fingers at the corner of his mouth and smears a bloody smile while his eyes are filled with tears. The cello is overpowered by the orchestra: Arthur dies and Joker is born.
The last dance occurs immediately after, in what serves as an epilogue. A greying and stubbled Arthur, presumably a few years after the main events of the film, is seen in a white room (the song White Room by Cream played as the GCPD car drove through the agitated and afire streets) in Arkham State Hospital. He's sitting across his therapist, taking on his cigarette between two controlled laughs. She asks him why he's laughing, he answers he was thinking of a joke and that she wouldn't get it. He then starts to hum the lyrics of That's Life and is shown walking down the corridor, leaving dark red footsteps behind him. He dances, very much with the same ease and strange grace he had during the Stair Dance.
Music is an integral part of Arthur a person, so till the very end, it is embedded in the character. During most of the scenes where he dances ‒ if not all ‒ the character doesn't talk. Music speaks for him whether it's through the score, the combination of score and dance or song and dance. Music reveals the facets of the character. It assumes the role of a narrative device. When the Joker persona takes command, dancing expresses a peculiar, ill-placed joy that is widely associated with such a volatile and unpredictable character. In a way, Joker is a mirror to Carnival and the man beneath. But the image that it reflects is an antonym. Where Arthur hid behind Carnival and spent his entire life repressing emotions and abuse, Joker shows what he believes is his true self. He bites back. He feels free. From his perspective, it's not a defeat but an evolution.
Posted by:Claire M.
The 10 Most Underrated Films of The Decade


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