The online Doctor of Education (Ed.D.) in Curriculum and Assessment is designed for professionals aspiring to be assessment and institutional effectiveness experts who can affect the institution's success and achievement through purpose, scholarship, and community. This Ed.D. prepares professionals for high-stakes careers in nonprofit professions, technical colleges, four-year universities, public and private K-12 institutions, and institutional accountability.
The student will gain scholarly expertise in the latest innovative research and best practices in learner-centered curriculum and instructional design, instructional strategies, program evaluation, and student assessment. Using real-life settings, the student will learn to think critically about ways to drive innovation and change at the systemic level and apply ethical strategies that can affect quantifiable improvement. The student will thrive in a connected body of learners.
Most Ed.D. degrees at the doctoral level across the nation concentrate on leadership or curriculum and instruction. While there are many education doctoral programs available in curriculum and instruction, there are very few in the nation that concentrate on assessment as a main theme of the degree. This emphasis on assessment will concentrate on teaching and learning through assessment along with determining the quantitative and qualitative outcomes that can improve strategies and programs. Assessment training is desperately needed in today's outcomes-based climate, creating job market demand for these skills.
You will begin the dissertation research process within the first year of your program of study. In research courses and residencies, milestones are established and you will receive faculty advisement to allow you to progress through your dissertation development, research, and defense throughout your program.
While almost all courses are offered fully online, students are required to be on campus for a one-week summer residency course during three summers. Each one-week residency will include classes and other curriculum activities focused around developing the student's dissertation.
I believe that SWU has implemented an amazing program that gives us the flexibility of online while still ensuring the personal connection they are known for.
Southern Wesleyan University offers the environment and flexibility I have been seeking in a Doctor of Education program. I have found a place that has impacted my intellectual, professional and spiritual growth.
The Ed.D. program has been an incredible opportunity for me! The professors are helpful and knowledgeable and always available to answer questions that may arise. This is a program that I would highly recommend to anyone considering more educational opportunities.
See highlights from our press conference announcement about this program.
Learn more about our online Ed.D. program from Dr. Paul Shotsberger.
* Total cost (cost per credit hour x total credit hours) is provided to aid in program comparison only. Financial information is subject to change. This does not include book and material costs.
The student must complete scholarship application form and provide proof of Palmetto State Teachers Association membership.
An earned master degree in education or related field from an institution that is fully accredited by a regional or national accrediting agency recognized by the United States Department of Education or a comparable degree from an international institution with a minimum cumulative grade point average (GPA) of 3.0 on a 4-point scale. Masters in related field must be approved by the School of Education Graduate Review Committee.
Be in good standing at all previous institutions of higher learning. Students who, for academic or disciplinary reasons, are not eligible to register in the college or university last attended will not be admitted for graduate study.
A score on a nationally standardized graduate admissions test, the Miller Analogies Test (MAT). Test scores must be no more than five years old. The requirements are a minimum MAT score of 350. An equivalent Graduate Record Exam score will be accepted. MAT FAQs below.
One page letter to the School of Education Graduate Admissions Committee explaining why this particular degree would be important to the applicant's career.
This course will explore the various types of curriculum that exist within organizations as well as goals and philosophical orientations to education. Students will delve into the ethical considerations regarding who controls the curriculum and assessment, how that control is exerted, how curricular decisions impact student learning and how you can ethically lead curricular change. 3 credits.
The Foundations of Curriculum and Instruction course focuses on applying curricular theory related to best practices in the 21st century classroom setting. Planning for instruction and evaluation of learning are the two focal points of this experience. This course is designed as an introduction to the systematic process of planning for effective classroom instruction and assessment as these tasks relate to contemporary curricular concepts. Political considerations for curriculum will be considered. 3 credits.
This course will provide an opportunity for participants to establish or advance their understanding of research through critical exploration of research language, ethics, and research approaches. The course introduces the language of research, ethical principles and challenges, and the elements of the research process within quantitative, qualitative, and mixed methods approaches. Emphasis will be placed on library and online resources. 3 credits.
This course examines curriculum, instruction, and assessment in the context of standards based education. It explores theories, methods, and procedures underlying the development and design of curriculum and instruction, the interrelationships among curriculum, instruction, and assessment. 3 credits.
This course provides students with knowledge of current concepts and issues in the area of assessment in special education and other special needs populations, with knowledge and practice in administering a standardized assessment as well as curriculum based assessments. The history of curriculum development and evaluation; the importance of aligning learning theory and learner variables; and removal of barriers to student achievement are discussed. Current issues in assessment such as assessing students from diverse backgrounds will be covered. 3 credits.
This course addresses the intermediate qualitative and quantitative research methods. Qualitatively, the course addresses forming research questions, writing field notes, and collecting, organizing, and analyzing a variety of data. The design issues of triangulation subjectivity and trustworthiness are explored. Ethics and ethical issues in qualitative research are presented. Quantitatively, the course addresses the logic of statistical inference and hypothesis testing, and provides study of analysis of variance and multiple regression, with a computer oriented approach. 3 credits.
This course is designed to provide an understanding of accountability systems, basic data analysis procedures, data management, data interpretation, and application. It is centered on understanding data as a means for improving school performance by guiding instructional and programming decisions, including the decision making processes surrounding curriculum and program evaluation. The meaning of the data to inform instruction and curricular change is the focus. 3 credits.
This course investigates curricular models and their features, with a focus on how curricular design promotes learning. Special emphasis is placed on technology-enabled curricula, designing for learning environments, blended learning, and curricular roles in innovation. 3 credits.
All programs and organizations need information about what is working or not working in order to improve. But how do individuals and organizations learn to engage in continuous improvement, where improvement happens with frequency and depth across the whole system?
This course is designed to introduce students to key concepts in improvement science and formative evaluation as a way to support learning from real-life attempts at improvement. It is meant for students who will be working or leading in educational settings where they will be asked to collect and use information to build organizational capacity and affect change, as well as for students interested in an introduction to the practice of evaluation. Students will acquire a practical set of skills, such as communicating with key stakeholders, and generating relevant evaluation questions and methods of collecting related data. Students will practice these skills in an authentic setting during a required 25 hour practicum. 3 credits.
This course addresses the advanced qualitative and quantitative research methods. This course is a continuation of Quantitative Research and Analysis I. Qualitatively, the course continues forming research questions, writing field notes, collecting, organizing, and analyzing a variety of data. Advanced methods including sampling strategies, observational and interview techniques, questionnaire construction, and data analysis are also addressed. Ethics and ethical issues in qualitative research are presented. Quantitatively, the course addresses the logic of statistical inference and hypothesis testing, and provides a study of analysis of variance and multiple regression, with a computer oriented approach. The design of multi-variable studies, multivariate data analysis, and other advanced methods using statistics computer programs will be examined. 3 credits.
This course is designed to assist students in developing those skills essential for curriculum restructuring, planning, and implementation at the school site. Three essential processes, curriculum development, assessment, and instruction will be considered with respect to relevant theory, research, and practice. Emphasis is placed on the role of responsible leadership in assuring that these processes function effectively. Critical issues in curriculum will be examined in your own settings with a focus on deciding on a curriculum intervention. 3 credits.
This course is a study of basic principles and practices of leaders consisting of defining leadership, recognizing and applying Christian professional ethics and integrity, identifying best practices in supervision, assessment and evaluation, developing and working with "learning communities," and improving teaching and student learning. Included in the study are principles and methods to evaluate and help motivate teachers by learning to utilize current research and data to improve school programs and instruction. Concepts of biblical leadership will be integrated throughout the course of study with discussion on how leaders who are Christians can make application of their biblical worldview regardless of where they serve. 3 credits.
During the first summer session students will have a week-long residence program on the main campus where they will work with professors on their research design. The students will work the rest of the summer term online and submit the draft designs for critique and approval by the primary professor. 6 credits.
During the second summer session students will have a week-long residence program on the main campus were they will work with professors on their Dissertation Committee on their methodology. They will work the rest of the summer term online and submit the draft methodology for critique and approval by the primary professor. 6 credits.
During the third summer session students will have a week-long residence program on the main campus were they will work with professors on their Dissertation Committee on their Results and Conclusions. They will work the rest of the summer term online and submit the draft methodology for critique and approval by the primary professor. 6 credits.
After completion of the core curriculum, students must be continuously enrolled until the completion and successful defense of the dissertation. Course is designed to provide students additional time and mentoring to complete his or her dissertation. Not required for graduation. 6 credits.
If students are struggling to finish his or her dissertation and students have complete all course bearing courses, students can enroll in the advising course. The advising course allows students to maintain advising contact with SWU faculty and maintain access to SWU resources. Not required for graduation. Non-credit bearing.
A score on a nationally standardized graduate admissions test, the Miller Analogies Test (MAT), is required for admission to the Ed.D. program. Test scores must be no more than five years old. The requirements are a minimum MAT score of 350. An equivalent Graduate Record Exam (GRE) score will be accepted. More info about the MAT here.
Why am I taking a standardized graduate admissions test?
The test is designed to reflect candidates' analytical thinking and provides a consistent admission requirement by which to assess applicants.
Each applicant needs to take the MAT or GRE regardless of experience or education.
When do I take this exam?
SWU must receive your score before you can be considered for admission. We recommend completing the test at least 3 weeks prior to the admission deadline in order to ensure a timely receipt of your scores. Testing centers offer a variety of dates to take the exam. Please check with your local testing center to find a date that is convenient for you.
What do I need to score to be considered for admission?
SWU requires a minimum score of 350 and cannot be more than 5 years old.
Why does the score have to be less than 5 years old?
SWU wants to ensure that the score is an accurate representation of the student. Pearson Assessments also only keeps MAT scores on file for five years from the testing date.
What is the GRE equivalent that will be accepted for consideration?
You can find the equivalency table here (PDF).
The MAT website provides a study guide as well as practice tests that should help prepare you for the test.
What is the cost of the MAT?
The cost of the MAT differs depending on the test location, generally ranging from $75-$100.
You must register for the MAT by calling your local testing center.
How long is the MAT?
The MAT consists of 120 partial analogies and allows 60 minutes for completion.
The MAT can be taken at any supported testing center.
How do I send my scores to SWU?


Since Tim Jones reactivated the good ship Census of Hallucinations after a five-year hiatus in 2012 with the release of Dragonian Days (review here) this highly productive band has released no fewer than three full albums, an EP and a double CD-R compilation of instrumentals.
The first focus of this mini CoH special is 2013's Spirit Of Yellow, the first of the three newly-recorded works since Dragonian Days, and the first of a loosely connected trilogy of albums (on Tim's label Stone Premonitions).
There have always been two pivotal aspects to the music of founder members Tim Jones and Terri-B: lysergically enhanced space rock journeys, and idiosyncratic songwriting. Spirit Of Yellow takes up the mantle of songwriting, with reinterpretations of songs from across Tim Jones' long career, as a member of CoH, in other bands and solo. Tim took the chance with this album to re-record old songs with the benefit of up-to-date production techniques, and the result is a well-rounded and highly enjoyable album. Tim wrote all the music on here, and all the lyrics, apart from those for tracks 2, 4, 6, and 9.
A nice blast from the past is the inclusion in this revived line-up of guitarist John Simms, who as a mere 18-year-old back in 1970 was part of seminal and legendary psych-metal band Clear Blue Sky, a name that will be familiar to any record collector. In their early but sadly short-lived incarnation, they were damned good too! Joining Tim and John, is co-founder Terri-B on lead vocals and David Hendry on keyboards, who joined the band for the Dragonian Days album. Multi-instrumentalist Kevin Hodge provides bass guitar and drums, as well as electric guitar and percussion.
These five are more than competent, and provide organic acid-rock with a touch of prog atmospherics, the latter particularly so on Church. Folk-psych protest is present and correct on Riding The War, and John Simms gets to add his own newly composed Bill Nelson-esque guitar and atmospherics with the Part 2 conclusion to the dream-pop of Infra Red.
Good as their possibly more well-known spacerock side is, Ephemeral Fire is a lovely slice of West Coast-influenced psych-folk that CSN & Y would have been proud of, and shows how diverse this band is. The guitar flourishes of John Simms add a neat psychedelic edge to the langourous folk-blues of Mountain Climbing, and Hieronymus is a medieval waltz in space, with a swoon-some arrangement of pure class.
This is a great introduction to the "song" side of Census Of Hallucinations and I recommend it highly. My only regret is they didn't attempt a re-working of the barking-mad rug-cutter Charlatan Express from their debut album of 15 years ago.
Radio interview with Tim Jones about "The Spirit of Yellow"


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Program Directors & Representatives
Information for Prospective PhD Students
Information for Prospective ScM Students
Program Statistics
The application opens in early fall.
The deadline to apply for the PhD program is January 7, 2020.
The ScM program has rolling admissions with an application deadline of April 15th.
The Graduate School provides comprehensive information on all aspects of the application components and process here.
Information for prospective graduate students in Physics can be found here.
Both pages link directly to the online application.
If my application is missing materials, will it receive full consideration?
Yes, all submitted applications receive full consideration. The admissions committee can best asses a complete application. When an application is electronically submitted all materials provided by the student (including self-reported scores) should be included. It is not possible for the student or the Physics department to edit an application once submitted. Materials submitted by others (e.g. letters of recommendations, official scores) will be accepted by the application after the deadline date through invitation (letters of recommendation), or if sent by GRE, TOEFL. If it is necessary to add additional information to an application, a student should contact the Graduate School. Letters of recommendation and/or official scores sent after the application deadline will not impact the consideration of an application. Be assured if the admission committee needs further information from you, you will be contacted.
Should I have an official copy of my transcript(s) sent to Brown?
Applicants are encouraged to upload a scanned image of the transcript at the time of application. An official final transcript will be required of all admitted students who matriculate.
Must I possess a bachelor's degree in physics in order to apply for your graduate programs?
No, a bachelor's degree in physics is not required. Applicants are expected to have a strong background in physics.
If I send my materials ahead of time, can someone assess my chances of admission or evaluate how I measure up to your standards for admission?
No. Admission to our programs depends on many factors. We cannot assess your chances of admission prior to reviewing your entire application.
How are admission decisions made?
The Admission Committee reviews all aspects of your application, including personal statement, recommendation letters, grades, GRE subject and general scores, research experience and related original publications, etc. There is no precise formula followed to make an admission decision but a strong showing in the above components is likely to increase your chances of admission.
Can I schedule a visit?
We are always happy to host prospective students. Please submit a Physics Graduate Admissions Inquiry Form here.
What is the application fee?
A $75 application fee must be paid when an application is submitted. Applicants who want to be evaluated by more than one graduate program must submit, and pay the fee for, separate applications to each program.
Am I eligible for an application fee waiver?
Applicants who are U.S. citizens or permanent residents may be eligible for fee waivers. Detailed information about fee waivers may be found here and here. (Please note that your completed application must be submitted 14 days in advance of the program's application deadline in order to be considered for a fee waiver. Please choose the "Request a fee waiver" option as your method of payment on the payment information page.)
Application fee waivers are not available for international applicants. In exceptional cases, the department may offer a fee waiver to international students, but this is really done for students with exceptional circumstances and a very well-established academic record. If you think this may be applicable to your case, you should contact Mary Ellen Woycik before Dec. 1.
Do I need to complete a financial aid application?
Admission to our PhD program includes at least five years of guaranteed funding, including stipend, tuition, health services fee, and health insurance, for students who maintain good standing in the program.
Because we do not provide funding for students in the Master's program, ScM program applicants may want to apply for financial aid.
Information on financial aid for domestic students can be found here. Information for international students can be found here.
Are GRE's required?
For the PhD program, the GRE general test is required and the GRE subject test is highly recommended. Please note that although the subject test is not required, the absence of a subject score makes determining the quality of your application more challenging. Nevertheless, it is possible that other portions of your application, i.e., general GRE scores, grades, letters of recommendation, can provide a consistent and reasonably whole picture of your aptitude for graduate study.
For the ScM program, both GRE general and subject tests are recommended, not required.
I've had my scores sent - why does my application still say 'incomplete'?
GRE and English proficiency scores do not automatically find their way to an application. They are sent in batches to the university and must then be matched by the Graduate School to each application. As there are many applications requiring attention, this process takes time. Be assured, all applications submitted receive full consideration regardless of the status of the application.
What are the minimum GRE scores for admission?
We do not have minimum GRE scores.
What are the average test scores of those admitted?
We do not track and share average GRE or TOEFL scores.
Are English language tests for international students required?
The Graduate School requires all international applicants whose native language is not English to submit an official Test of English as a Foreign Language (TOEFL) or International English Language Testing System (IELTS) score. The admissions committee can consider an application with self reported scores or if a student qualifies for a waiver.
Waivers can be granted to students who have earned a degree from a non-U.S. university where the primary language of instruction is English, or from a college or university in the United States, or in any of a number of countries. The application system does not automatically provide these waivers based on the education listed on an application, a waiver must be requested from the Graduate school. Without a waiver granted, the application's status will list as 'incomplete.' All submitted applications receive full consideration regardless of status. A waiver or official English proficiency score will be required for all admitted students.
More information can be found here.
What is the TOEFL or IELTS minimum score for admission?
The recommended minimum TOEFL score for admission consideration is 90 for the Internet based test (577 on the paper-based test).
For IELTS, the recommended minimum overall band score is 7.
Are photocopies of GRE and TOEFL scores acceptable?
Brown University requires official test scores sent by ETS.
You may self- report your test scores and upload copies of your score report(s) into your application. However, you must also have your official scores sent through ETS to the Graduate School.
What is the Physics code for GRE reporting?
What is the Physics code for TOEFL reporting?
What is the Brown University code for ETS reporting?
How many students enroll each year in your PhD program?
Over recent years, the incoming PhD class has averaged about 16 students per year. The target and actual enrollment for our program varies each year based on a number of factors.
How many international students do you admit?
Each year, the number of international students who are admitted to, and who choose to enroll in, our PhD program varies widely depending on the applicant pool. We are strongly committed to maintaining a fair and equitable admission process and to cultivating diversity in our student body.
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redpajama_set_name: RedPajamaCommonCrawl


clad in costumes that emphasize their femininity (full skirts, embroideries, bright colors, large hats and flowers), these women proved an inspiration to Maria Grazia Chiuri, the Artistic Director of the Dior women's collections. For the 2019 cruise collection, she interpreted these elements combining tradition and freedom in a contemporary way.
Ample and extravagant skirts are worn with fitted jackets that accentuate the narrowness of the waist, emphasized with a high belt. The collection is punctuated with different materials, such as that great French classic that is toile de Jouy, which has been revisited and modernized, its picturesque scenes featuring the introduction of a series of wild animals, including tigers and serpents.
Lace, whether light or opulent, layered in pleated flounces or perfectly rounded, is set off by black rubber boots that contrast with the more contemporary elements: transformed tulle skirts and Bar jackets possess an assertive air. The tulle blooms a powerful red as well as in superimposed powdery shades.
as white or striped men's shirts, and a slim black tie.


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Officer fired 5-shots at unarmed black woman, who yelled: "I'm pregnant."
by The Black Wall Street Times May 14, 2019
By BWSTimes Staff
TEXAS — An unarmed pregnant black woman was killed by a police officer in Baytown, Texas, about 25 miles east of Houston, TX. Believing the woman had outstanding warrants, the police officer attempted to arrest her.
The woman has been identified as Pamela Shantay Turner, age 45.
A witness' cell phone captured the exchange between the officer and woman.
"You're actually harassing me" and "I'm actually walking to my house," the woman told the officer.
A scuffle ensued between the woman and the officer.
"Why are you harassing me?" and "I'm pregnant!" she yelled.
The officer purports that the woman grabbed the taser and used it on him.
Shortly after that, the cop fired 5 times at the unwarmed pregnant woman.
Residents that knew Turner said that she "wasn't a bad person," but may have suffered from mental illness. They said that they frequently saw her walking her dog around the neighborhood.
The officer was said to be wearing a body cam during the incident, but the video won't be immediately released due to the open investigation.
The Baytown Police Department issued the following statement on Facebook:
New docuseries "March" centers around HBCU marching band
"Baytown Detectives are on the scene of an Officer involved shooting in the 1600 block of Garth Road. It is very early in the investigation however what detectives have learned thus far is one of our officers, an 11 year veteran with the department, was patrolling an apartment complex in the 1600 block of Garth Road when he came across a 45-year-old female that he knew from previous encounters and knew she had outstanding warrants. The officer contacted the female and attempted to arrest her at which time a struggle ensued, forcing the officer to deploy his department-issued Taser at the female. It appears that as the officer was then attempting to handcuff the female she was able to gain control of his Taser and turned it on the officer, Tasing the officer, which forced the officer to draw his duty weapon and fire multiple rounds at the female, striking her at least once. The female has been pronounced deceased at the scene. The Harris County District Attorney's Office is on scene and assisting in the investigation, as is normal in these types of incidents. Any future updates will be provided via an official press release later today, as the investigation unfolds."
The officer involved is currently on paid administrative leave.
Insurrection prompts year of change for US Capitol Police
Twitter is already responding.
https://twitter.com/IMA_LotusFlower/status/1128288192388640769
https://twitter.com/LaurieinKS/status/1128283456859983873
HipHop 918 Kickin' It Old School returns with Big Daddy Kane, Roxanne Shante, Slick Rick the Ruler, MC Lyte, and Steph Simon
EJI and local coalition to announce project memorial for racial terror lynchings


If an autonomous machine kills someone, who is responsible?
Within a decade, we could be routinely interacting with machines that are truly autonomous – systems that can adapt, learn from their experience and make decisions for themselves. Free from fatigue and emotion, they would perform better than humans in tasks that are dull, dangerous or stressful.
Already, the systems we rely on in our daily lives are being given the capacity to operate autonomously. On the London Underground, Victoria line trains drive themselves between stations, with the human "driver" responsible only for spotting obstacles and closing the doors. Trains on the Copenhagen Metro run without any driver at all. While our cars can't yet drive themselves, more and more functions are being given over to the vehicle, from anti-lock brakes to cruise control. Automatic lighting and temperature control are commonplace in homes and offices.
The areas of human existence in which fully autonomous machines might be useful – and the potential benefits – are almost limitless. Within a decade, robotic surgeons may be able to perform operations much more reliably than any human. Smart homes could keep an eye on elderly people and allow them to be more independent. Self-driving cars could reduce congestion, improve fuel efficiency and minimise the number of road accidents.
But automation can create hazards as well as removing them. How reliable does a robot have to be before we trust it to do a human's job? What happens when something goes wrong? Can a machine be held responsible for its actions?
"It's a very difficult area for the law because the idea that a machine might be responsible for something is not an easy concept at all," says Chris Elliott, a systems engineer, barrister and visiting professor at Imperial College London.
"If you take an autonomous system and one day it does something wrong and it kills somebody, who is responsible? Is it the guy who designed it? What's actually out in the field isn't what he designed because it has learned throughout its life. Is it the person who trained it?
"If we can't resolve all these things about who's responsible, who's charged if there's an accident and also who should have stopped it, we deny ourselves the benefit of using this stuff."
Aside from the legal implications, there are questions that arise from our personal reactions to these technologies. Would you want to live in a home that monitored your movements and called for help if you didn't take your medicine? If your loved one died on the operating table, would you feel differently if the surgeon was a robot?
In order to help society prepare for their arrival, the Royal Academy of Engineering has published a report on the social, legal and ethical issues surrounding autonomous systems. Elliott, one of the report's contributors, believes that engaging with the public early on is critical to manage people's expectations and ensure that an appropriate regulatory framework is in place.
"Part of my concern is that when we start seeing these things emerging, we're going to suddenly find that the people who could bring benefits to us won't because they're scared of the legal uncertainty," he said. "So one of the things we're trying to promote is a debate about the rights and wrongs – the ethics – and that should inform the law afterwards."


So they flew round and round him, just touching his cheek with their wings as they passed, and chattered to each other, and the little Dwarf was so pleased that he could not help showing them the beautiful white rose, and telling them that the Infanta herself had given it to him because she loved him.
scr888 lucky draw free credit,Going from Po-Po's house toward the anchorage of the harbour of Taloo, you catch no glimpse of the water until, coming out from deep groves, you all at once find yourself upon the beach. A bay, considered by many voyagers the most beautiful in the South Seas, then lies before you. You stand upon one side of what seems a deep green river, flowing through mountain passes to the sea. Right opposite a majestic promontory divides the inlet from another, called after its discoverer, Captain Cook. The face of this promontory toward Taloo is one verdant wall; and at its base the waters lie still and fathomless. On the left hand, you just catch a peep of the widening mouth of the bay, the break in the reef by which ships enter, and, beyond, the sea. To the right, the inlet, sweeping boldly round the promontory, runs far away into the land; where, save in one direction, the hills close in on every side, knee-deep in verdure and shooting aloft in grotesque peaks. The open space lies at the head of the bay; in the distance it extends into a broad hazy plain lying at the foot of an amphitheatre of hills. Here is the large sugar plantation previously alluded to. Beyond the first range of hills, you descry the sharp pinnacles of the interior; and among these, the same silent Marling-spike which we so often admired from the other side of the island.Now, as we sailed through the Narrows, I caught sight of that beautiful fort on the cliff, and could not help contrasting my situation now, with what it was when with my father and uncle I went there so long ago. Then I never thought of working for my living, and never knew that there were hard hearts in the world; and knew so little of money, that when I bought a stick of candy, and laid down a sixpence, I thought the confectioner returned five cents, only that I might have money to buy something else, and not because the pennies were my change, and therefore mine by good rights. How different my idea of money now!And the young Fisherman answered him, 'I can find no inn in this city, nor have I any kinsman who might give me shelter.'And so you have good news there, sir―the very best of good news.


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ICECARATS DESIGNER JEWELRY 925 STERLING SILVER PANTHER PENDANT CHARM NECKLACEMaterial Purity : 925Length : 11 mmFeature : SolidManufacturing Process : CastedMaterial : Sterling SilverWidth : 20 mmProduct Type : JewelryJewelry Type : Pendants & CharmsSold By Unit : EachPendant/Charm Type : ThemedMaterial Color : WhiteOUR MISSION & BELIEFSOur mission at IceCarats is to celebrate our customers and enhance their lives journey, honoring life's memorable occasions and enhancing the beauty of everyday through our extensive collection of quality jewelry.THE ICECARATS STORY - CRAFTSMANSHIP...QUALITY...VALUEJewelry is our passion - IceCarats is devoted to craftsmanship, quality, and value. Each piece hand stamped for authenticityMADE WITH LOVE FROM US TO YOU - QUALITY WITHOUT COMPROMISEWhen you purchase jewelry from the IceCarats collection, you buy with confidence - Lifetime Warranty and 30-Day Returns .ELEGANT GIFT PACKAGING - JUST ANOTHER REASON TO SAY YES!Receive Elegant Gift Packing On Every Order with IceCarats!
Both The Chain And The Time Turner Pendant Are Made Out Of Super High Quality Gold Plated Stainless Steel.It Comes With A Rugged 22" Stainless Steel Chain, So That It Can Fit Any Aspiring Wizard.And The Time Turner Pendant Is Very Durable Too. It Rotates And Turns! Just Like The Real Time Turner Necklace.The Pendant On This Necklace Has These Words Engraved Into It: " I mark the hours, every one, Nor have I yet outrun the Sun. My use and value, unto you, Are gauged by what you have to do." The Time Turner Pendant On This Necklace Has A Real Hourglass That Is Filled With Real Sand.These Are Super High Quality Time Turner Necklaces.It Is Very Durable, And It Looks Amazing! Makes The Perfect Gift Or Unisex Present For Any Fans Of Wizards & Witches.Best Birthday Gifts . A Must Have For All Budding Wizards These Movie Inspired Peices Are Great For Fancy Dress. From Sunbrilo Store Only.We Are Not Responsible For Other Seller's Items. Perfect for Cosplay, Manga, Holiday, Events, Movie, Tv Series, Musical, Comics, Jojo, Berserk, Black Panther, Taggie. Cartoons, Novels, Books, Birthday, Christmas, Halloween Gifts, Costume Prop,Theme Party, Novelty Themed Jewelry Inspired Collections.
80's NEON Glam Rock Heavy Metal Stretch Tank .A great accessory if you are dressing as an 80's Glam Rocker. Color - Neon Green Zebra Material - Stretch Spandex Size Men's - Small - (19" from pit to pit) Medium - (20" from pit to pit) Large - (21" from pit to pit) XL - (22" from pit to pit) If you want them a little tighter go with the smaller size. They are very stretchy.
The Key Club 10/27/08. Halloween costume nite!!


Della Haynes Publishing questo pratico manuale, abbondantemente illustrato a colori e in bianco e nero, che fornisce utili consigli per il restauro e la manutenzione di questa leggendaria locomotiva.
Stephenson's Rocket is one of the most famous steam locomotives of all time. Designed by Robert Stephenson, with input from this father, George, Rocket set the fundamental design template for almost all the locomotives that followed it. The original locomotive is owned by the National Railway Museum, and is currently on display at the Science Museum in London. Two working replicas of the locomotive have been built. The most advanced steam engine of its time, Rocket was built in 1829 for the Rainhill Trials held by the Liverpool & Manchester Railway (LMR) in order to evaluate locomotive designs and choose the best one for use on this new railway. Five locomotives took part in the trials and Rocket was chosen as the winning design. Published in association with the Science Museum, this manual, illustrated with a wealth of photographs and technical drawings, provides a fascinating insight into the design, construction and operation of Rocket.
Prenota "STEPHENSON'S ROCKET 1829 ONWARDS OWNERS' WORKSHOP MANUAL"


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Home / People / UNC Music Department Faculty / Melissa Martin
Melissa Martin
Lecturer (Voice)
Soprano, Melissa Zwicker Martin (Lecturer) is an alumna of the University of North Carolina at Chapel Hill, where she received a Bachelor's degree in Music and Political Science before obtaining a Master of Music in Vocal Performance from the Manhattan School of Music. Dr. Martin received her Doctor of Musical Arts degree from Mason Gross School of the Arts at Rutgers University, where she was a recipient of the David Reeves Scholarship and the Naumberg Scholarship.
Dr. Martin has appeared in opera, concerts, and recitals throughout the United States and Europe. Representative operatic repertoire includes roles such as Pamina in Die Zauberflöte, Zerlina in Don Giovanni, Musetta in La Boheme, Norina in Don Pasquale, Valencienne in Die Lustige Witwe, Rose Maurrant in Street Scene, Belinda in Dido and Aeneas, and Gertrude Stein in The Mother of Us All. A versatile performer committed to contemporary music, she was featured in the world premiere performance of James Legg's The Power of Xingu as Mrs. Garnett. Dr. Martin also created the role of Joy in the children's opera, The Araboolies of Liberty Street in conjunction with an arts-in-education community outreach program of New York. As a supporter of the Soho Think Tank's mission to nurture, strengthen, and promote a diverse community of independent theater artists, she appeared as Marni in the world premiere of the musical theater production, Child of God, at New York City's Ohio Theater.
An active recitalist of solo and chamber works, this season will include the premiere of the chamber recital series co-founded with cellist, Jessica Elkhatib, "Cielo e Voce." This collaboration was designed to further promote works for soprano and cello, and encourage the exploration of innovative and diverse chamber recital programming. These recital programs also allow for the creation of inter-disciplinary projects that delve into the artistic expressions of creative women and the texts of poets such as Anna Akhmatova and Toni Morrison.
Dr. Martin has served as a faculty member at Rutgers, the State University of New Jersey, and Peace College as a teacher of applied voice and diction prior to joining the Department of Music at the University of North Carolina at Chapel Hill.
Office: 3115 Kenan Music Building
Email: mbmartin@email.unc.edu
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Habibi.Works is a bright spot in an otherwise difficult and disturbing situation.
Be sure to reach all about Thingking's work with the Maker Library Network, including their experimentations and books.
Makerversity is a "pioneering community of Maker businesses" that's growing out of both London and Amsterdam.
Sara Hendren's work challenges our assumptions of what normal is—in engineering, design, bodies, and minds.


The NICEIC and ELECSA team are now gearing themselves up for the second part of the series, which will see them visit nine more locations, and deliver talks even more electricians.
Darren Staniforth, senior technical development manager for NICEIC and ELECSA, commented: "Come January, all electrical contractors in the UK will have to work from the 18th Edition of BS7671.
"Because of this we are seeing more and more contractors coming to our events to update their knowledge and make sure they have an understanding of the changes.
More than 200 contractors attended each event in Manchester, Norwich and Chelmsford with other locations also proving popular.


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Malvern Council House and Priory Park
The Malvern Council House, between Church Street and Avenue Road, was the site of a large private house from 1834. Called "The Priory". The house was built by Robert Thompson. Dr Gully, one of the famous water cure doctors, bought the house in 1847 for a sum equivalent to about £1m today.
In 1873 Gully sold it to Alfred Miles Speer, a South American Merchant, who effectively demolished the house and constructed a new building to be a "first class, gentleman's residence" which he called The Priory Mansion. This Mansion is the building which still stands today. Speer subsequently bought the land which is now Priory Park and Swan Pool, combining his magnificent mansion with 7 acres of beautiful gardens.
After Speer and his wife's death, his son leased the building in 1911 with a restriction that the property must be used as a school to educate the sons of noblemen and gentlemen. The school was duly formed, a gymnasium built (Priory Lodge Hall, the one story building between the Council House and Avenue Road) and also an open-air swimming pool (the site of the current Splash swimming pool).
In 1925, the whole property was sold to Malvern Urban District Council and has remained in public hands ever since. The building serves as the Malvern Hills District Council offices, the Priory Lodge (formally gymnasium) accommodates public meetings, the beautiful gardens remain as Priory Park and the open air swimming pool is the site of Malvern Splash, a modern leisure centre.
Books on Malvern


Like the spring breeze, you! Be the knot-opener!
To try recipes for traditional foods served during the Iranian New Year, click here for herbed rice with fish, here for an herbed omelet, and here for walnut cookies.
Moment of beginning. Moment of green shoots and budding flowers, promising peace and plenitude. The Iranian New Year, Nowruz (or "new day" in Persian), began on Sunday at the instant the sun crossed the celestial equator. This year the ancient holiday, which has been celebrated for more than 3000 years, unfolds in a particularly fraught atmosphere. In Iran and throughout the communities of the Iranian diaspora, many hopes and fears are in thrall, and the festival of renewal and rebirth is ushered in with reverence and mixed expectations.
Although political and social scenarios change, this holiday is fragrant with imagery that has endured milenia: rituals, decorations, and, of course, food. Primordial symbols dating from Zoroastrian times have lost none of their power to evoke freshness and joy: eggs for fertility, fresh herbs for rebirth, fish for life and abundance, sugar for sweetness. Sabzeh polow ba mahi, herbed rice with fish, is always the main dish on the first night of Nowruz. Kuku-ye sebzeh, an herb omelet, is another star throughout the holiday season, tasting like spring itself with a profusion of fresh greens. And noon-e gurdui is just one of the many kinds of tiny delicate cookies served to holiday visitors in order to sweeten social relations and family bonds.
The context in which these foods are served is as important as the meals themselves. All over the greater Iranian world—which includes Kurds, Pashtuns, Baluchis, and others—this ancient rite of spring is the biggest and most festive event of the year. The Wednesday before the equinox, bonfires are lit in the streets, and in a buoyant atmosphere people jump over the fires, purifying themselves for the new year, borrowing strength and health from the flames. Houses are cleaned and repainted, new clothes are purchased, hair is cut, old disputes are settled, and everything is primed for renewal.
Each household also lays out a precise array of foods, the haft sin, or "seven S's," each of which promises a blessing for the coming year: sabzeh, or sprouted wheat, for rebirth; sir, garlic, for health; samanu, a dense syrup, for strength; somaq, sumac seeds, for the sunrise, victory of light over darkness; senjid, wild lotus-tree fruit, for love; sib, an apple, for beauty; and serkeh, vinegar, for age and patience. These are elegantly spread on a table decorated with candles (for light), mirrors (for transparency), decorated eggs (for fertility), sweets (for hospitality), blooming flowers (for love), books of poetry and scripture (for wisdom), and a goldfish in a bowl (for good luck). The overall effect is one of abundance and grace: a small haven or interior garden apart from the busy world, with room for both playfulness and high purpose.
This centerpiece—and the spirit of generosity and hope it represents—presides over the household throughout the two weeks of holiday as families and friends visit each other, bring each other best wishes for the new year, read the evocative verses of the Persian poet Hafez, and eat.
Taste these recipes and think of the new year, of everything that is green and grows, of the courage required to speak the truth, of slender poplars and blown roses. Happy New Year to all of you! Aid-e Shoma Mobarak! Nowruz piroz be!


Nice and soft gingham, great colours and soft feel. Works both as casual wear and work wear.
Picture yourself on the sweetest beach in Portugal—the home of the renowned Somelos mill where our new muted tonal ginghams are made—or anywhere with a nice breeze. What's the shirt you grab? How about an ultra-fine, go-everywhere gingham in muted and true red that feels as soft as something you've had in your closet for ages.


Welcome to Avontuur Experience – the Ark for Healing, Wellbeing and Inner Growth!
Click the images below to see the Airbnb spaces you can book via AirBnB.
I look forward to welcoming you onboard some day!


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Redoute's Choice still rules the Easter Sale-ring
The battle for the King of the Ring title at the 2013 Inglis Australian Easter Yearling Sale was decided today when champion sire Redoute's Choice topped the final sire averages for the 9th consecutive year.
Twenty-six lots by Redoute's Choice sold for an average price of $610,385 – a 42% increase on his 2012 figure. They include three seven-figure sales, headed by the all-time Australasian record yearling price of $5 million paid by BC3 Thoroughbreds for Gilgai Farm's colt from Helsinge.
Pictured: Easter Sale Lot 319, Eliza Park's Redoute's Choice colt from Black Caviar's grand-dam Scandinavia, purchased by James Bester. ( PHOTO: Sportpix)
James Bester's bid of $1.2 million secured that colt's close relative by Redoute's Choice from Scandinavia, offered by Eliza Park, and John Warren paid $1 million for Cressfield's Redoute's Choice-Star Satire filly.
They are among the 63 Redoute's Choice yearlings that have sold for $1 million or more during the past decade.
Bester also bought Edinglassie Stud's filly from Angel in Disguise for $300,000, while Shadwell Stud Australia purchased four colts and a filly by Redoute's Choice for a total of $2.98 million.
Today's trading featured the $900,000 Vormista filly from the Kitchwin Hills draft, bought by James Harron who had earlier joined Gai Waterhouse in the purchase of the $600,000 Absolut Glam filly from Newgate Farm.
The contribution of Redoute's Choice to the Easter Yearling Sale since 2003 now exceeds $214 million – more than 20% of the auction's aggregate business in that period.
His significance as a sire of sires is highlighted this year by the appearance of his outstanding son Snitzel in third place on the Easter Sale sires' list with 10 lots sold for an average price of $335,000 – more than 13 times his 2010 service fee. James Harron bought Snitzel's first $1 million yearling, the colt from La Bamba, from the Arrowfield draft on Tuesday.


We work with clients to bridge the gap from strategic food, fibre and biotech science to commercial results. Our goal is to see profitable results emerge from R&D right across the sectors that we influence.
We are a consulting business focused on building partnerships that bring the right capabilities to deliver client needs. We are proud to bring some of Australia's key expertise together, and to work across the spectrum of innovation leaders.
We bring a deep multi-disciplinary approach through our decades of experience. We ensure a balance of domain experience and analytical expertise is brought to each engagement to deliver client results.
We are here to enjoy what we do to serve our clients and deliver results. Delivering results in food, fibre and biotech is our passion – whether in microfinance, development, agribusiness, start-ups or public sector science.
We design by identifying the real problems that our clients face and executing on appropriate solutions that meet these needs.
We cultivate solutions through a combination of stakeholder engagement, strategic design, data and analytical skill.
We deliver by bring together the right team from among our associates, our collaborators and our network.
At Colere Group, we focus on how we understand value, and on how we create and deliver value for our clients and their stakeholders.


Gold Crystal Cake stands with mirrored top FOR RENT AVAILABLE FOR RENT Rent $50 for set of 5 stands or $10 each stand Size: L - Diameter 30cm x 40cm H M - Diameter 25cm x 30cm H S - Diameter 20cm x 21cm H To reserve the set for your required date kindly etransfer a non refundable deposit of $10 that will then be adjusted towards your rent amount. Pick and drop off from Scarborough Terms & Conditions: Refundable deposit required Prices for rent are per day Pick up 12 noon onwards. Drop off by 12 noon the following day. If the items are not returned by 12 pm the following day, rent for the second day will automatically be deducted from the deposit. Feel free to check out my other ads for other fantastic products and more great deals. All items from a smoke/ pet- free.


Your students advisory will contact you to set up a time for this meeting. Meetings are 15 minutes long. If you haven't heard from your students advisor, please contact them to set this up.
This will be available online (here) on February 18th.


DiBis Digital B.V. was founded on January 17th, 2002. In the beginning a one man company, with only a few customers. Nowadays it is a rock solid company with many customers in the Benelux, but also in Germany, Czech Republic, Slovakia and China. Via our Taiwan office, we supply to customers in Australia, China, Taiwan and India.
Our team is dedicated to the core of DiBis, which is displays and everything around it such as touchscreens, embedded boards and embedded industrial PC's, power supplies, cable kits etc. etc. Next to that we supply a wide range of LED products ranging from SMD small size LEDs to LED displays and lighting as well as backlights.
In cooperation with our Taiwan office we offer a unique service with a personal touch, high motivation and always looking for the best solution. Our customers have recognized our added-value and service. We have a constant awareness about where we can implement improvements to sustain future business.
Business is not just a matter of selling components of the shelf. It is about understanding the wants and needs of the customer. Therefor we have developed our services towards semi-custom and full custom design. Through our suppliers we support developments that are fit to the application, not the other way around. This service demands a well balanced mix of flexibility and perseverance.
With great pride we celebrate our 10th anniversary this year. We know we are on the right track towards satisfied customers at present time, but also in the future. We thank all of our customers but also our suppliers for their continues support and trust! The last 10 years have been great and we feel confident that the next 10 years will be even better.
Founded on January 17th in 2002 as a one man company, DiBis has gone through a number of changes. Nowadays it is an international oriented combination of thee unique DiBis companies that have made a mark in the field of industrial electronics and affiliated markets.
When starting his first company, the founder and general manager of the DiBis companies felt it was time to redefine the standards of distribution. Moving away from the rigged way of only supporting products that are in a certain portfolio, the principal moved to full-service in flat panel displays by taking the wish of the customer as true starting point.
No longer did customers have to chose 2 or more brands to finalize their design. Instead they have been able to rely on one supplier that has the whole package of the right combination of display and touch or as an integrated embedded system as a whole. Additonally services as cables, power supplies and sub-assembly options or a combination of those are available in close cooperation with our Taiwan office.
The companies have a strong focus on flat panel displays, but always with an open eye to additional added value products. In several cases we support delivery of products that are originally not in our portfolio, but help our customers out. These products are usually available via DiBis Taiwan.
In order to innovate, it is vital to be able to look at things differently and see the realistic changes that can be made.
That is how DISvue came to life. Ordering from DiBis should be a carefree experience. By presenting common and customized products as DISvue, we assure our customers that the manufacturer is validated and suitable to be used in mass production.
Connect & Create is our interpretation of the common term "Plug & Play", which lost most of it's meaning already. Both DiBis and a number of our suppliers have solutions that can be very easily integrated in new and existing applications. Basically all you need to do is connect the cables, create your application with the software supplied (SDK's and GUI's) and the user interface is good to go.
The world has become a small place in the last two decades. Fast and mobile internet is widely available and flying has become easier and cheaper, linking the continents yet again. Our activities in both Europe and Asia make it easier for customers to select products worldwide and have them delivered to any place in the world. Our contribution is that we serve most European customers from our main office in The Netherlands, but that we can also support their business if the mass production is in other parts of the world. And if goods need to stay in China, we can support this from the warehouse facility in Shenzhen in the south of China.
Now isn't that what innovation is all about? Reshaping things into something better!
Another example of our added value is our extensive experience with customized design where we come to the aid our customers with adjusted products up to drop-in replacement and "turn-key" solutions.
Our personal approach combined with many years of experience, skills as well as benefiting from our long term business relationships are the key to our and (y)our success.
Our main goal is to create long term relationships that are benefitial to the parties involved. Those kind of relationships are not only established with a number of solid suppliers, but also with our customers.
We strongly believe that we should never go for the quick win, but always for the solution that is worthy of the trust of our customers and suppliers. The 3-way win is in our view the only way to benefit in the long run.
Starting as early as 1992, the founder of the companies Mr. R. Dijkhuizen, has a proven track record in serving customers with displays and (direct) additives. Back in the days starting as inside sales, quickly being moved up to outdoor sales engineer and eventually product manager.
Over time quite a number of applications in industrial; vending; test&measurement; POI / in shop advertising; medical and domotic applications have been either improved, redesigned, upgraded or have found other added values with a solution that is unrivaled in price & performance ratio.
These joint-effort are embedded in his DNA and an integrated part of his general philosophy.
Now that we have had the pleasure of serving our customers in the past 15 years, we look forward to the next 15 years and trust to meet your expectations. We can do this with our companies that are in The Netherlands and in Taiwan of which I give you a short review of below.
The original company with a strong focus on distribution and cross selling of components and embedded solutions. Services are provided around Europe.
The most recent addition where we can provide the extra step concerning (sub-)assembly of products for the smaller quantity projects where most assembly companies can't commit to.
This company has combined valuable services into one. It is the main "go-between" for suppliers in Asia and the European head office including sourcing. But it is also a location with sub-assembly capabilities. Moreover, we support metal design projects from here, both in (stainless) steel as well as aluminum.
Last but not least we support projects and customers with mass production in Asia with customers in Taiwan, HongKong and Shenzhen.
We welcome your request on the various products and services we provide and wish to establish a mutual benefitial partnership.


Are the Tea Parties racist? The NAACP answered in the affirmative last week. The African-American Chairman of the Republican Party, an avowed admirer of the Tea Party, replied in an interview with The Louisiana Weekly that the very notion "was nonsense".
The concept that the driving force for Republican candidates in 2010 has been motivated by "racist people trying to take down a Black President" is absurd to the current African-American head of the GOP.
Interviewed by the Weekly as he traveled through Louisiana on the "Fire Pelosi" bus, Republican National Committee Chairman Michael Steele replied, "I don't subscribe to that view. I don't think you can paint with such a broad brush that the tea party is largely this white organization that is designed to take down a Black President. That, to me, is just unfortunate thinking. That has been propelled by some in the media who have taken one or two actions or words by an individual and blown it up and made it that everyone who has attended a rally or participating in a particular program."
that the NAACP has made "more money off of race than any slave trader, ever" and called out the NAACP for continuing to use the word "Colored" in its name.
In a post on his personal blog, Williams called NAACP President Ben Jealous "Tom's Nephew" and ties tea party calls for smaller government to "emancipation" then added further in the post, (which is written in the form of a mock letter to President Abraham Lincoln from 'Jealous'), "We Colored People have taken a vote and decided that we don't cotton to that whole emancipation thing. Freedom means having to work for real, think for ourselves, and take consequences along with the rewards. That is just far too much to ask of us Colored People and we demand that it stop!"
There is just one problem. As Steele noted, Williams, whom the Chairman has openly condemned, was expelled by the National Tea Party Federation. Not only did the umbrella group strip Williams of his membership in the Tea Party Movement, it also expelled the group with which he was associated--the Tea Party Express.
Williams and his cohorts were an aberration, not the norm for the Tea Party, as Chairman Steele explained, "I've run into as many African-Americans at Tea Party rallies as I have any one else of any other group. Meetings that I have had at the RNC with members of the Tea Party movement have included African-Americans and people of color from all backgrounds. I think it is a little shortsighted and the height of desperation to paint with such a broad brush when you know that's not the reality."
"The reality is that you have a cross section of individuals from all backgrounds that are part of this great American movement. This is not something that has been manufactured by some political class looking to take control, or looking to control the agenda. This is the American people looking to take back control of what they consider a wayward government--an aggressive government. And, that for me, is the most profound part of this whole effort."
The Mark Williams example, though, is the exception that proves the rule, in Steele's view. The Tea Parties aren't racist, or else Williams and his ilk would still be involved. That he and others like him are shunned by the umbrella organization and the local chapters gets very little press. It is negative perception that must be constantly fought in the media, the Chairman declared.
As an African-American Republican, Steele said that he himself often he had to deal with similar stereotypes of race-from his own people.
The argument, made by some in the Black leadership, that Steele"sold out" his race, or was an "Uncle Tom" by being a member of the GOP, has been a reality with which he has had to contend throughout his political career. The comments levied by African-American Democrats in Steele's (successful) bid for Lt. Governor of Maryland and his (unsuccessful) race to become that state's US Senator shows how the perceptions of race can "unfairly" color any political contest.
"My whole 35 years have been the ups and downs of race, and the ups and downs of being a Republican. It's particularly interesting when they combine. Not everyone is going to welcome you. You have to engage with people. The way you beat back on the stereotype of Blacks, of Republicans, of Black Republicans is to engage people one on one."
"My view of it was, 'you're not going to define me'. 'I'm going to define me for you. I'm going to let you know who I am and what I believe.' And, then you will have context."
It is advice that the Chairman has not only given to the Tea Party leadership, but to African-American GOP candidates running under Tea Party banner.
Steele argued that in practical terms it was hard to call the Tea Parties racist when many of their successful candidates were Black. The best example, in the Chairman's mind, lay in the fact that Black Republican Tim Scott won the GOP nomination for the US House in South Carolina in a race against the son of Strom Thurmond.
That the Tea Parties backed, not the heir to the Dixiecrat Party founder, but the African-American contender--who is the overwhelming favorite to win the safe GOP seat on November 2nd., should be proof enough, in the Chairman's view.
And Scott is not alone, according to Steele. Black Republican pickups are likely in Congressional contests in Barack Obama's home state of Illinois and in multiple other state races, most especially in the competitive Florida Lt. Governor's contest, where GOP State Rep. Jennifer Carroll stands to be the first African-American ever to be elected to the Sunshine State's number two job. She and Gubernatorial candidate Rick Scott won nominations with strong Tea Party support.
As for the racial attitudes of rank and file of Tea Party members, in August, U.C.L.A. graduate student Emily Elkins spent hours roaming a Tea Party rally on the Washington Mall, photographing every sign she saw.
One of the more fascinating elements of the Tea Party story, untouched by the NAACP report, is the number of people that voted for Barack Obama in 2008, and yet, are tea party members today. It is a trend seen across the electorate.
This swing of working class whites to the GOP has not help to create the Tea Parties, but it is also made a racial motivation for their rising appeal with swing voters a difficult contention, an argument underscored by two decades of data from Democratic pollster Stan Greenberg.
Over the past twenty years, Greenberg has studied the blue-collar white voters of Macomb County near Detroit. In 1984 they voted by two to one for Ronald Reagan because, as Greenberg found, "when such voters heard Democrats talk about economic 'fairness', they saw this as code for transferring money to Blacks". Nonetheless, in 2008 Mr Obama won Macomb County with a margin of eight points.
As the Economist magazine's "Lexington" columinst Peter David stated, "If such voters have now changed their minds, the reason is not that Mr Obama is black—he was black in 2008. And for all its momentous symbolism, his election is not the most recent evidence that America has turned the page on race. In June, in South Carolina of all states, Tim Scott, a Black Republican, defeated the son of the segregationist Strom Thurmond in a primary, and is on his way to a seat in the House. Compare that to 1983, when a disgraceful number of Democrats in Chicago voted for the Republican rather than send the black Harold Washington to city hall."
"All of that has gone. The electorate may be divided by race, but no longer mainly because of race. Some of Mr Obama's enemies have tried to harness pockets of bigotry by painting him in various ways as un-American. But outright racism in politics is now beyond the pale and will probably have little to do with the coming rejection of the Democrats by the white working class. A wrecked economy and the feeling that their president is out of touch are reason enough. It has, after all, happened before. In two short years from 1992 to 1994, when Bill Clinton was president, white working-class support for the Republicans soared like a rocket from 47% to 61%. Nobody blamed that on skin colour."
Currently, polls show that 54% of Americans view the Tea Parties positively.
Still, while Michael Steele defended the Tea Parties, he noted that racism has made itself known in California Congressional race with ethnic implications in Louisiana's Second Congressional District contest. Vietnamese-American Republican Van Tran is attempting to capture the Orange County Congressional seat now held by Democrat Loretta Sanchez. The race is close.
In September, Sanchez went on the Spanish language station Univision and stated (in Spanish, translated here), "the Vietnamese and the Republicans are--with an intensity (emphasis hers)--trying to take away this seat, this seat that we [Democrats] have done so much for our community, take away this seat from us and give it to this Van Tran, who's very anti-immigrant and very anti-Latino."
Tran, a supporter of immigrants rights and himself like Joseph Cao the son of parents who fled South Vietnam, was a surprising target for Sanchez's rage. Yet, Democratic Congressperson's comments, centering on Tran's ethnicity versus her own Latino heritage, brought no reproach from either civil rights groups or the NAACP.
Steele sees this as something of a double standard.. As he told The Louisiana Weekly, "It's so ignorant to play race, and shame on Congressman Sanchez. If that is how she feels about her election, and how she feels about the people in her district to elect her--you know, elect one of us, not one of them. Really. This is 2010. This is the attitude that you are promoting as an elected official. It's unbecoming, and I hope that it will end."
"We're still a nation that is still very much tied to matters of race. We're still very sensitive about matters of race. Whether you're talking about a Charles Djou in Hawaii, or a Congressman Cao here in Louisiana, or a number of African-American candidates that we have running across the country from Issac Hayes in Illinois to Tim Scott in South Carolina."
"These are Americans who have decided to rise up and serve. And, give them a chance and give them an opportunity to engage the people of their state in an honest way, and let their merits be the reason they are elected or not elected. When you bring it down to the lowest common demoninator, it says a lot about your desperation and your politics, and I think it is unfortunate."
The full inteview with Steele is available in the "Previous Shows" section of www.gtmorning.com. Christopher Tidmore discusses politics on the radio weekday mornings, 7-8 AM on WSLA 1560 AM Slidell/New Orleans and KKAY 1590 AM White Castle/Baton Rouge.


text:
2001.MM.DD - Sound 420 - Interview with Slash
by Blackstar Sat Apr 17, 2021 4:19 am
Interview with Angela Thor
Angela: I understand you had to put a hold on touring for a little while due to illness.
Slash: I didn't take it all that seriously at the time, but for some reason, something, somehow, catching pneumonia, for me, doesn't sound all that realistic. But the doctors, apparently, did think so. That's the first time I've ever been flat on my back, as far as I can remember, because a doctor said so.
Angela: You're going to be touring the new Snakepit album, "Ain't Life Grand."
Slash: Either Europe or the states. I'm retooling as we speak and I'll know at the end of the week.
Angela: When you were getting the band together, did you go about it in a different way than when Guns 'n Roses were first formed?
Slash: Well, yeah and no. It's all so haphazard in the first place. It never just happens where you set out to do something in particular, with everything laid out in line. It just sort of happens. It's sort of spontaneous, in a way. You have one desire, one main concept of something that you want to be doing. But actually getting something as organic as a group and going out and pursuing it, pursuing a career, is something that sort of comes out of nowhere as it happens, and then you don't even realize it's happening until after the fact, really. So Guns happened one way, and Snakepit happened another way, and in some ways their similar, but at the same time, it wasn't a preconceived kind of building of blocks, it was something more or less fort of like the aftermath of some sort of a volcano. After the dust cleared you realized "oh, you've got something together here."
Angela: So there's really no right or wrong way, like producer groups vs. garage bands.
Slash: Well, I'm sure there probably is out there, I've just never been involved in experiencing one. I've been involved in playing with different artists which was definitely like a preconceived or preplanned thing, but very rarely. It's usually sort of bumping into each other somewhere, at a bar or at a club, and having mutual interests. But I know there are a lot of producers out there and a lot of record companies that actually, manually put bands together, or put individuals together to make bands. I've seen it on TV all the time, but I've just never really been a part of that.
Angela: They never seem to last very long that way somehow.
Slash: No. Usually it's a one album kind of thing, and then people actually discover themselves and move on.
Angela: When you were getting Snakepit together, did you already have in mind a lot of the songs you wanted to do?
Slash: Oh, no. That's one of the things, I mean, I play all the time, and there's always ideas here and there. But really, when it came down to the finished product of Snakepit it was really, once the band was more or less established some material sort of more or less came from there. And I did pull out some ideas that I had, I think there was two that I can think of off the top of my head, that came from before the band started, but that's all the were, just basic ideas. I never really complete to many songs before I've collaborated with who I'm playing it with. So a lot of the stuff evolved out of the combination of the different guys that are in Snakepit.
Angela: So you know what works with them and they know what works with you.
Slash: Right.
Angela: You're sound is very blues based roots of rock. Is there any pockets of sound today that seem to be going back to that?
Slash: Ask any musician who's rooted in blues and he'll tell you the same thing, more or less, but everything has that sort of base, that sort of blues base. Even if it's real contemporary pop, that doesn't have a shade of soul to it, there's still that base there. So everybody still works from that. As far as what's going on right now, and as far as what I can tell that's going back to sort of more grittier, sort of a more old fashioned sort of thing. I know a lot of older rock bands have been coming around, have been getting back together lately. And I know that there's sort of a buzz going on, underneath, behind the scenes, of little bands that haven't really gotten discovered yet. But other than that, it's really hard to tell because it's such a synthetic period right now, that it's hard to see what's going on there, besides the actual sort of discovery, rediscovery, of the computer generation.
Angela: The circle goes round and round.
Slash: Exactly. And I don't see that changing. Even back in the day when Guns started, we were sort of an entity onto ourselves because, what was going on around us was the beginning of the whole MTV invasion. And that was definitely the antithesis of what we were doing and vice versa.
Angela: Eric Clapton has just done that collaboration with B.B. King. Are there any of the old blues players that you'd like to be working with?
Slash: Well, you know, I always talk about I'd like play with Stevie Wonder and he and I have actually talked about it before, but it's just never happened. As far as old guitar players and stuff, the Eric Clapton record, I thought that was sort of cool because it's great for guitar players to listen to that. I didn't really get into the record so much because it was Eric and B.B., it was just because it was two great guitar players. I don't really have any aspirations as of this minute of any guitar players that I want to get together with, and make like an old blues record. I've had a bunch of different blues bands playing old blues material, old standards and stuff, but as far as collaborating with an old guitar player that I was raised listening to, those are the kind of things that you just sort of, if they happen, they happen. And that's usually through getting to know each other or something like that. And I'm so focused on working on touring and on that kind of stuff, that I really haven't had that much time to think about too much collaborating with outside people.
Angela: Are you looking to do a combination of clubs and festivals?
Slash: Yeah. I'm thinking anywhere from clubs to theaters to arenas to festivals. The first leg of this tour that we did went from clubs and theaters to arenas. And this next leg, we should hopefully make it to festivals. And that should be a lot of fun, especially because it's summertime.
Angela: You have a huge collection of guitars. Have you ever written a song for one particular guitar, for the way it sounds?
Slash: That's a funny question, I've never been asked that. I have instruments, I have guitars that aren't necessarily "guitars," you know, like mandolin or I have an electric sitar, I have a banjo, a lot of stringed instruments, you know, basses and six stringed basses, and this, that, and the other. I always write on a regular guitar, which I only keep two around, my acoustic and an electric, for the most part. And then, if I think of an idea that would involve, incorporating something else when it came down to recording it, I usually write it on a regular guitar, because when it comes down to it, I don't break out too much off the wall stuff when I'm playing live. And everything that I write is more or less focused on the finished product, which is live in front of an audience.
Angela: You mentioned MTV before, and you have, is it two videos out for the new album, "Mean Bone" right now and "Shine" coming next. Do you get much into the whole concept and treatment of the videos?
Slash: Well, the Snakepit videos were really low budget, sort of live footage. After the director's done with it, you look at it and go "Oh, that's cool. Can we change this or can we do this.," real quick off the editing floor. In the Guns days, I've never been into really big concept videos, even though I've been a part of a whole bunch of them in the Guns days. I would just write my own part, or give the director an idea of my own part, as far as if there was any concept involved. And hopefully leave it up to the director, who you hopefully admire and respect enough to do the majority of the writing for you. In Snakepit, I would imagine there would be some sort of overall concept of the song. And then maybe get a sit-down with the director, an understanding of what that's all about, and see if we can bring it to some sort of an image in our minds as how to go about it. I'm talking about something that hasn't happened yet, I'm imagining a perfect scenario. And then come to some sort of meeting of the minds of a concept, and then sort of go from there. But for the most part, I don't like to get involved with all that stuff. It's sort of slow and dramatic and whatever. It's like I don't watch MTV that often, and I don't really get into that whole big concept stuff.
Angela: Are videos just a necessary evil of marketing?
Slash: To tell you the truth, they don't really play us much anyway.
Angela: I've heard that from a lot of heavier rock bands.
Slash: I think the majority of rock bands aren't really that concerned with the epic video per se. I mean Metallica does it, and that's one of the few sort of hard rock bands around that gets into it all that much. I've seen, I think Tool did a pretty bizarre video some time back, and there's always Marilyn Manson and stuff like that. But I think the majority of rock bands just want to be see as a live act and not like bring a whole bunch of girl friends into it. We just play and this is how I look when I play.
Angela: And come out and see us live, which looks even better.
Slash: Right. But if it means promoting the record, sure, we'll shot a video.
Angela: You made a comparison to how when MTV first started out, nobody knew what it would become, and now artists get no compensation for videos, to Napster and MP3 giving access to the music without the artists getting compensated. Do you have any ideas how these could be reworked to satisfy both the artists and the public?
Slash: I've been asked that a lot lately. I try not to get too political when it comes to the industry, which I think has always been, more or less, more record company favorable than the artist. I think it has always been very one sided. But now, a lot of people are starting to speak out about it. As far as changing the face of what the record industry will be in the next ten years, I don't know if I have the fucking balls to tell you "this is the way it's going to be." Because just with me, just one out of millions of musicians who are recording artists, it's a bitch to get your, to get a grasp on how everything is working on a regular basis. And whether you're being treated fairly. And whether you're getting paid the way you're supposed to be getting paid. You know, keeping everything from falling through the cracks all the time. And the more you get into that, the less time you spend being an artist. It's really hard to be a politician and a creative artist at the same time. And the more into I get, the more I realize that. So then you start trusting to attorneys and managers who are all on the same page, which is fucking unreal, it's an unrealistic kind of thing. The way I see it going for me personally, is just having to keep abreast of what's going on and what the possibilities are, to have more control over my own material. And that's obviously going to be a process that's ongoing. So I hope for the best, but at the same time, MP3 and Napster, and that whole thing I said about MTV. MTV is over with, it's a done deal, you can't really change that. The fact that nobody ever really paid much attention to that in the first place was real odd. But I think Napster is great because when I was a kid, I used to love getting bootleg stuff, or getting stuff you didn't pay for over the counter, so to speak. But at the same time, I though Napster, that subject was brought up at a really good time, before it got completely out of control and there was nothing you could do about it. Until it becomes such an establishment that there was no questions asked. I think there should be some sort of a cap on that thing. I don't think they should cease to exist, but there should be some sort of rules and limitations as far as what they can do. Otherwise, if they kept doing it, everybody would be doing it and it's like "Why bother?" Recording out of your own pocket and just handing stuff out or selling them at the concerts is the best way to do it.
Angela: You were part of VH1's "Below the Waist: A History of Music and Sexuality." Care to share some of your thoughts on that?
Slash: There wasn't really much to say. That's sort of, especially being caught up in the midst of all that. Music and sex almost come hand in hand in some way shape of form, whether it be romantic, passionate, whatever, or if its sort of animalistic. Some how they seem to tie together no matter what. Even in jazz, there's something about music, food, drugs, and sex that all sort of fit together. I'm sure the media would rather focus on the sex and drugs and music part than anything else. My opinion is really not, I'm not of any real opinion about it. Just sort of take it for what it is. Try not to analyze it too much. Everything is so overanalyzed as it is that I tend to just shy away from trying to break everything into little tiny pieces and try to analyze them.
Angela: You got to play with Spinal Tap recently. How did this come about?
Slash: I recorded with them once. That was sort of an experience for me. It was real short, just went in and did some guitars on their record. The producer was a friend of mine, and got to meet the actual individuals who were Spinal Tap, which, when I walked in the room, I had no idea for the most part who any of these guys were, because they didn't look the part. And to find out, to be introduced to them and go "I know you from somewhere else. I know you from "Saturday Night Live" or from "Laverne and Shirley" or from this movie or that movie." I was like "Wow!" so this is the image. I mean really, because that movie does hit close to home, the first Spinal Tap movie, for any of us rock, anybody in the rock industry.
Angela: Everybody seems to say "It was model after me."
Slash: Yeah. You guys really are, that whole thing, that's the image as a, that rock and roll musicians give off. That's really pretty fuckin' accurate. Anyway, it's just one of those things where I just got a phone call "You wanna go jam with Spinal Tap?" and I was like "Yeah!".
https://web.archive.org/web/20010816140143/http://sound420.com/interview/slash.html


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text:
Improvisation in sixteenth-century Italy:Lessons from rethoric and jazz
Saying that embellishment was a big deal for sixteenth-century musicians is hardly a bold move; evidence abounds in treatises, music collections, and written accounts from the time. It has also been the subject of a fair amount of keen musicological scholarship over the years. But making sense out of what musicians of the time actually did in performance and trying to reproduce it today has proven to be more difficult, mainly because improvisers, by nature, do not tend to record what they do. The modern prevailing view seems to be that ornamentation was important, mainly because evidence suggests it was so widespread, but ultimately that it was a sort of varnish: something that could add color or texture to the surface of the music but that always left the original clearly discernable underneath. Certainly pieces back then, as today, were performed without embellishments, but perhaps there is more to the ornamentation than mere decorative...
Interpretación de repertorio y Conciertos
Estudios históricos y de investigación
Barroco (XVII-XVIII)
John Bass
Visto27


text:
EXPRESS INFORMER > News & Politics > Six people die, including three children, when their throats sliced by KITE STRINGS at festival
Six people die, including three children, when their throats sliced by KITE STRINGS at festival
Six people die, including three children, when their throats are sliced by KITE STRINGS at Indian festival
By Rachael Bunyan For Mailonline
Six people, including three children, have died at a festival in India after their throats were sliced open by kite strings.
Nearly 200 people were also injured due to cuts and falls while they were flying kites at the Uttarayan festival in the western state of Gujarat, police said.
The six victims, including two girls aged two and three as well as a seven-year-old boy, died after the kites became entangled around their necks and slit their throats.
Hundreds of people had been taking part in the festivities over the weekend, with the revellers all flying kites from terraces and rooftops.
Six people, including three children, have died at a festival in India after their throats were sliced open by kite strings (file image)
But as the revellers were flying their kites, some of the kite strings became entangled around the necks of six victims.
This is a breaking news story, more to follow…
Do NOT accept insurance price hikes if they're more than 10%
Savers are hit by delays and bungles on Isa transfers


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How to Succeed in Business Without Really Trying is a musical comedy currently gracing the Broadway stage. The musical is well known for being Harry Potter Star Daniel Radcliffe's first project outside of the multi-million dollar movie franchise. The show received fantastic reviews that praised Radcliffe's performance, but the star has passed the J. Pierrpoint Finch torch on to another actor who has something in common with him.
Darren Criss, a San Francisco Native, never imagined that he would one day be performing on the prestigious stage that is Broadway, although it was certainly one of his dizziest daydreams. He attended the University of Michigan where he received his Bachelor's Degree of Fine Arts (BFA) in Theater Performance in 2009. Along with a group of fellow Michigan seniors, Criss co-founded an internet production company called "Starkid." He appeared in the company's parody of a very popular book series, A Very Potter Musical. He played the show's own Harry Potter and wrote many of the songs performed in the musical.
The production received a surprising amount of feedback and over a million views on YouTube from fans just like Wells. Criss in particular received special attention from the theater world. Criss was a musician growing up in SanFran. He played a number of instruments in a band with his brother Chuck Criss, now a member of the indie band Freelance Whales. This musical background and the positive feedback from AVPM led Criss and his friends to write and produce Me and My @%*#$ and A Very Potter Sequel.
Criss wrote the entire score for AVPS and reprised his role as the boy wizard. The Starkid's YouTube channel garnered over 100 million views and the soundtrack from the musicals made Billboard's Top Cast Albums list. Criss then released an EP of his own songs entitled "Human." The EP has a soft acoustic sound full of Criss's strong, soulful voice. It took the thirtieth spot on Billboard's Heatseeker's chart in 2010.
His musical prowess and stage experience landed Criss a role in Fox's Emmy award-winning show Glee. He plays Curt Hummel's love interest, Blaine Anderson. His performance of Katy Perry's "Teenage Dream" put Glee on the spot as the song debuted at number one on Billboard. "…On Glee he is not afraid to take chances and play someone who is gay." Wells tells us.
His success on the show did not take away his passion for Starkid Productions. In the last year he composed the score for their space-themed musical Starship and appeared twice on the group's fifteen-city tour. There has also been talk of A Very Potter Threequel with Criss as Harry Potter once again, though nothing has been officially confirmed.
Glee brought Criss to the attention of Broadway's casting directors and before long he was taking the reins from Daniel Radcliffe to play J. Pierrpoint Finch in How to Succeed. His run only goes through the twenty-second mark, which does not give many people a chance to see how fantastic he is on stage, but there is no doubt that Criss will be doing more in the future.


text:
Hogan Lovells lawyers…
Hogan Lovells lawyers depart to launch Boston white-collar firm
Joan Ramage
(Reuters) – Three Boston-based attorneys are leaving Hogan Lovells to open up a new law firm focused on white-collar criminal matters and complex civil litigation, according to William Kettlewell, one of the lawyers.
Kettlewell and fellow Hogan Lovells lawyers Elizabeth Pignatelli and Sara Silva are starting the new firm along with Kettlewell's son Andrew Kettlewell, a prosecutor in the Suffolk County District Attorney's Office.
The new firm, called Silva, Kettlewell and Pignatelli, will open Jan. 2 and be based in downtown Boston, Kettlewell said Wednesday. The three Hogan Lovells lawyers officially leave the firm on Dec. 31.
A Hogan Lovells spokesperson did not immediately comment on the group's departure. The Suffolk County DA's office didn't immediately respond to a request for comment.
The three lawyers joined Hogan Lovells in 2017 when the transatlantic law firm entered the Boston market through a merger with litigation and investigations firm Collora.
Kettlewell has worked on high-profile cases in Boston, including representing one of two members of then-Boston mayor Marty Walsh's administration accused of illegally pressuring a music festival production company into hiring union labor. A federal judge tossed the convictions of the former aides in 2020.
Kettlewell, whose career has spanned four decades, said the three other lawyers are "all young, eager beavers who've always wanted to have their own firm." He said it was a good time to "step back a little bit" and take on fewer cases as senior counsel. The other lawyers will be partners, with Pignatelli as managing partner, he said.
The Boston legal market has expanded in recent years as out-of-town law firms open up and grow local outposts, often targeting intellectual property, technology, life sciences and healthcare-focused work.
Hogan Lovells, which has about 2,600 lawyers, last week acknowledged reports that the firm is in early-stage merger discussions with New York-founded Shearman & Sterling, with both firms neither confirming or denying the talks.
U.S. judge tosses extortion case against Boston city officials
Chinese businessman gets 2 years in prison for exporting U.S. marine tech to China
Hogan Lovells, Shearman & Sterling respond to reports of merger talks
Sara Merken
Sara Merken reports on privacy and data security, as well as the business of law, including legal innovation and key players in the legal services industry. Reach her at sara.merken@thomsonreuters.com


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