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What is Building Biology?
International Institute of Building Biology & Ecology® (IBE) is a multidisciplinary and international movement of concerned individuals who have quantified the environmental factors of the built environment that effect human health and ecology of the planet and apply this knowledge to the creation and improvement of the built environment.
Bringing together technology and design methods to provide the information needed to create healthy homes and workplaces.
International Institute for Building Biology & Ecology – All Rights Reserved.
Using nature as a standard provides the foundation for analyzing biological, chemical and electromagnetic exposures in your home or office. Despite their clear benefits, advancements in science and technology have produced emerging threats to our health and quality of life. It is now more important to look at our inside environments more critically than previously. The following foundations establish the basis for understanding how to create a healthy environment.
Precautionary Principle and Risk Assessment
25 Principles of Building Biology®
The Breathing Home
The precautionary principle is an approach to risk management that states if an action or policy has a suspected risk to the public or to the environment, in the absence of scientific consensus the action will cause harm, the burden falls on those taking action. Risk assessment measures the value of risk related to a situation. In the US this translates to determining the maximum exposure limit before a symptom is noticed. Reducing known exposures to the lowest possible level is the focus.
25 Principles of Building Biology
Established in the 1960's by Anton Schneider, Ph.D. the principles pre-date the green movement considering human health and ecology. Embodied energy, thermal capacity, biodegradable materials, pollution and electromagnetic are considerations for healthy homes.
Site buildings on geologically undisturbed land.
Residential homes are best located away from industrial centers and main traffic routes
Housing shall be developed in a decentralized and loose manner interlaced with sufficient green space.
Housing and developments shall be personalized, in harmony with nature, fit for human habitation and family oriented.
Use natural and unadulterated building materials.
Use wall, floor, and ceiling materials that allow air diffusion and are hygroscopic.
Indoor air humidity shall be regulated naturally.
Filter and neutralize air pollutants.
An appropriate balance of thermal insulation and heat retention is needed.
The air and surface temperatures of a given room need to be optimized.
Use radiant heat and as much passive solar heat as possible for the heating system.
The total moisture content of a new building shall be low and dry out quickly.
A building shall have a pleasant or neutral smell.
Light, lighting, and color shall be in harmony with natural conditions.
Protective measures against noise pollution as well as infrasonic and ultrasonic vibrations need to be human oriented.
Use building materials with little or preferably no radioactivity.
Maintain the natural balance of atmospheric electricity and ion concentration.
The Earth's natural magnetic field shall not be altered or distorted.
Eliminate or reduce man-made electromagnetic radiation (EMR) as much as possible.
Cosmic and terrestrial radiation is essential and shall be interfered with as little as possible.
Interior and furniture design shall be based upon physiological findings.
Harmonic measures, proportions, and shapes need to be taken into consideration.
Produce, install, and dispose of building materials in a way that does not contribute to environmental pollution and high energy costs.
Building activities shall not contribute to the exploitation of non-renewable and rare resources.
Building activities shall not cause a rise in social and medical costs.
Your house is an organism affecting your health. A Breathing Home provides the basic understanding for how Air, Water, Matter and Energy move throughout the house. The major tenet of a Healthy Home is the "third skin" commonly known as the building envelope. Your house is an organism affecting your health. The effects of the architecture, materials and occupants within a house change the conditions dramatically.
Before modern building, houses or shelters were built from natural materials and with natural processes. These shelters did not hinder the natural cycles described above, but rather were part of them. With new technology, the increased desire for comfort has changed this. Technology went in the direction of synthetic and other troublesome building materials. These products caused problems for humans, both because the houses were made so tight good air circulation could not be achieved and many of the products released harmful chemicals (called out-gassing, or off-gassing). In addition, moisture was often trapped in the tight houses, fostering the growth of molds, mildews, and bacteria. Unhealthy interactions of air, water, matter, and energy have caused our houses have become unbalanced.
Air: Humans and animals remove oxygen from the air by breathing. Plants use the carbon dioxide they give off to make more oxygen.
Water: Through the cycle of evaporation, cloud formation, rain, and then a return to groundwater or some body of water, water itself is purified and energized.
Matter: Organic forms (plants and animals) ingest inorganic matter (minerals from the earth). When the organic forms die, inorganic matter is returned to the earth.
Energy: The sun's energy is stored by nature in wood, in plants, in oil and natural gas or converted directly into another energy form. When burned, the energy is released. Some forms of energy are renewable, such as wood and solar energy, and some are being used up, such as oil and natural gas.
Foundation principles, risk assessment and the breathing home comprise the Building Biology® ideology. With a focus toward optimal indoor conditions, many houses and buildings in the US are not built on these premises. Building failures are more easily identified when approached from an ecolocial perspective. The comprehensive ideology allows for adaptive problem identification and solution provision as modern building continues to change.
Reference: Institute for Building Biology and Ecology, Natural Homes and Building 101 and Natural Health Building Remodeling Seminar
The term "Bau‐Biologie" was coined by Dr Hubert Palm, a medical doctor, in Germany in 1960's. He was one of the first to observe the declining health of the population as a direct result of living in housing built post WWII using the new "chemically enhanced" technologies. The enormous contribution of Professor Anton Schneider who, 45 years ago, was one of the German founders of the Bau-Biologie movement. He developed the "Twenty-five Principles of Bau-Biologie", created the original Bau-Biologie Correspondence Course, in German, and permitted its translation into English.
While the phrase "Bau-Biologie and Ecology" is relatively new, the science is not. There have been many pioneers in the United States, Canada, Germany, and throughout the world who have studied and written about various aspects of building technology and effects on human health. A few of these forerunners, human ecologist Theron G. Randolph, M.D., Wilhem Reich, architect Richard Crowther, and writer Ken Kern (author of The Owner-Built Home), were driving forces in the United States. Hubert Palm, M.D., wood technologist Anton Schneider, Ph.D., and electrobiologist Alfred Hornig helped to establish the Bau-biological movement in Germany. The work of Nikola Tesla, electrical engineer/inventor, was also of significance to the movement.
Helmut Ziehe translated the Building Biology curriculum to English for North America. His calling began with an "aha" experience in North Africa in 1980 that changed the course of his life and career. As resident engineer for a city of 90,000 inhabitants, he noted that a majority of people had abandoned their government provided homes in favor of living in tents. Their government homes were constructed of concrete, a poor material health-wise, that heated the interior rooms to an extent that air conditioning could not bring adequate relief. As a seasoned architect, with a Dipl. Ing. degree from the Technical University of Berlin, and a Master's in Tropical Studies from the London School of Architecture, Helmut unearthed the solution by examining historical local homes, some of which dated back 4,000 years, and found they used clay as their basic building material and utilized covered walkways for shading and ventilation. This eye opening experience led Helmut beyond his career as a modernist architect to embrace the precepts of Bau-Biologie.
He began his studies under Dr. Anton Schneider at the Institut für Baubiologie + Oekologei (IBN), and never returned to his "conventional" architecture practice. Once his engineering assignment in North Africa was completed, Helmut moved to the United Kingdom, where he established the English Institute of Bau-Biologie, personally translating from German into English the twenty-three IBN course packs that became the IBE Correspondence Course for training new Building Biologists. He relocated to the United States in 1987, founding The International Institute for Bau-Biologie & Ecology (IBE), which serves all of North America, as well as other English speaking and Latin American countries.
Do you know the difference between Building Science, Green Building and Building Biology?
The term Building Biology is seldom heard in the sustainable/green building industry. Some of the principles are present, but not the cohesive picture which needs to be explained.
Building Science is the study of how and why building failures occur. The house is considered a system where Green Building is an extension of Building Science whose goal is to reduce the energy used to power up a home. Energy efficiency is one of the only ecological considerations Often tightening the building envelope using energy efficient mechanical systems with higher R-value insulation is the most common solution.
IBE® is in support of "Green Programs" as they promote the removal of all pollutants from the built environment. The German term "Bau-Biologie" means "Building Biology" or "building for life." The phrase "Building-Biology and Ecology" specifically refers to the study of two main tenets: the impact of the built environment on human health, and the application of this knowledge on the built environment; and the holistic interaction of human involvement with the environment and the regenerative sustainability of the environment.
Building Biology encourages the "Breathing Home" concept where the building envelope is not as tight allowing for the passage of moisture using thermal mass. Passive controls like radiant heat allow for energy efficiency in addition to solar orientation. Less chemicals, proactive moisture controls and low electromagnetic exposure principles provide a foundation for a Healthy Home or Workspace.
Building Biology
House as an Organism
Interdisciplinary Base
Flow through Wall Design
High Hygric (Moisture) Capacity
Balance of Mass and Insulation
Radiant Heat Source
Passive Climate Controls
Fresh Air and HRV
Ion balance, sorption, unadulterated building materials, EMR/EMF concern, geopathology, social impact, history of use.
House as a system
Building Industry-based
Prescribed Vapor Barrier
Low Hygric (Moisture) Capacity
R-value
Forced Air Heating
Efficient HVAC
HRV, ERV
Not considered
Follows the Building Science guidelines considering a house as a system.
The main tenet of green building is to decrease the energy used.
LifeSource Environmental Solutions, LLC © | 202.309.4084 | chris@thelifesourcesolution.com LifeSource Environmental Solutions POWERED BY United Themes™


On the road with my genealogy can always be interesting. So far I have learned to take a map, my laptop and for the first time this time a list. All prepared with my list of who, when, what information and from what source, I have the impression I am going to conquer and succeed!
My first stop was the courthouse at the county seat. This should be a gold mine. After telling my dad about his grandfather's history it hit me that if he was naturalized in 1884 at the age of 4 then it was because his father had been naturalized. If the head of the family was naturalized then the rest of the family became citizens too. I grabbed my laptop and off we headed to the courthouse to figure out exactly who this man was.
We got to the office and told them what we needed and they walked me back past years of hand written books, large labels written on the spines with dates older than dirt. I am always amazed how they can find anything in that confusion. She pulled out an old fashion card catalog file box and flipped to the "s" section looking for Siffrinn. She sorted through it twice and didn't find one. She grabbed 2 big volumes of entries for naturalization, smiled at me and said, "We can search these by hand, and you take this one." I was starting to feel a bit defeated after my initial brilliant idea and my perfectly organized to-do list.
I scanned name after name and could not find them anywhere. If you were a Swanson you moved into the area and ALL of your family followed. I noticed other last names of ancestors of people that I had gone to school with and wondered if they had ever been over to see this book. Seeing as the naturalization idea wasn't panning out I stopped in the next office to see about a marriage license, Caroline had married twice and maybe this idea would be fruitful. This turned up another zero. The next day we would head to the Landmark Society and see if I had any luck there with the city directories for a different member of the family.
List on laptop in hand I entered the Landmark Society and greeted my new friends. They pointed me at the directories and I started searching, tapping in the information on a word document. I was looking to see when Jacob West had moved out of the family home. My guess was that it happened soon after their youngest son died in 1896 and about the time Jacob decided to become an oil producer. My guess on that one was correct, in the 1897 directory Jacob could be found living in a rooming house. Mary moved her business around the corner onto Congress Street and off of Main. While I was at it I looked up my Davis line and found William had moved into town as an oil producer in 1881 before becoming a butcher.
As long as I was there I asked about the Siffrinns and their naturalization information. They told me that even then people had to live in the states 7 years before becoming naturalized. They agreed with the people at the courthouse that it was very possible that the naturalization occurred in Elk County, it would have been an easy trip to Ridgeway from Kane on the train during that period. They also told me that the document I wanted wasn't the naturalization paper itself but the petition for naturalization, which has the ship they came over on, parent's names, places of birth, a real gold mine.
I have added to my to-do list an entry for contacting the Elk County courthouse, or maybe next trip up I'll have to swing by to get the info in person.


For many of us, our expenses tend to exceed our earnings. The credit for this, to some extent, also goes to inflated cost of living. In presence of high inflation, anyone would like to work on strategies to save money on as many things as possible.
So, take a look at three ways of reducing your premium amount during car insurance renewal online and add on your yearly savings.
1) Opt for online quotes of car insurance: At the time of online motor insurance renewal, look for online premium quotes offered by different car insurance companies. You can generate online car insurance renewal quotes free of cost. Almost all car insurance companies offer the facility of vehicle insurance renewal facility on their websites. You can either use the car insurance renewal premium calculator, available on the websites of these companies, or on other assisting websites. Getting different quotes of car insurance from various websites and car insurance providers will give you a good car insurance renewal comparison, and thus helps you in making the best choice. When you compare car insurance quotes offered by various general insurance companies, make sure you compare premiums, services offered, different add on covers etc. Therefore, make it a rule to compare car insurance quotes online, before making your final choice.
2) Increase your deductible amount: Increasing the amount of deductible towards motor insurance policy is probably as one of the common practices observed during car insurance renewal online. However, doing so would mean exposing yourself to more risk in event of a claim. Therefore, ensure that you increase your deductible, only to that amount which you can afford easily.
3) Grab discounts when available: Almost all motor insurance companies offer certain discounts at the time of car insurance renewal. Ensure, if you are eligible for the discounts, grab it and enjoy your next one year's car insurance premium at reduced rate.


to work together to beat the bad giant, who only speaks English.
Pro druhý stupeň bylo připraveno představení The Alien Grammar show - Aliens have landed in the school! They look and behave like people. The only way to discover them is to listen carefully to what they say. Aliens always make mistakes when they ask questions in English! This very interactive high-energy performance revises the basic grammar of questions.
Žáci zjistili, že má smysl se učit anglický jazyk.


Savings in wire rope replacement costs (downtime, labour and capital costs) were substantial and dwarfed the cost of the lubricants. Companies who have realized the importance of proper wire rope lubrication have gained a huge advantage over those who purchase the lowest priced lubricant, or use no lubricant at all, while replacing ropes on a much more frequent basis.
Cleaning wire rope quickly and efficiently of hardened lubricants saves down time and protects and improves wire rope performance. RopeKleen™ is a revolutionary new bitumen water-soluble cleaner and degreaser, which in its form is non-hazardous, user friendly and will not harm the environment. It is easy and safe to use and manufactured from natural solvents and water. It offers quick penetration and is safe to use on all metals. It is a non-corrosive, environmentally friendly product. It doesn't require the use of PPE and has a pleasant odour.
RopeClean is a revolutionary world-first to replace intense, dangerous chemicals and hydrocarbon solvents like trichloroethylene. A new water-soluble bitumen cleaner and degreaser – it is fast, safe and 100% effective. Especially formulated to be used for rapid removal of bitumen and grease covered steel, wire-rope, cable and equipment cleaning thereby facilitating full visual inspection and re-lubrication.
RopeKleen is a new water-soluble bitumen cleaner and degreaser, which is non-hazardous, user friendly and will not harm the environment. It is an environmentally friendly alternative to intense,dangerous chemicals like trichloroethylene and removes stubborn bitumen and grease from most surfaces.
RopeKleen is ideal for use as a substitute for harsh chemical / hydrocarbon solvents like trichloroethylene used in the mining and engineering sectors to clean and degrease steel ropes, cables and equipment soiled with bitumen.
Dilute 3 parts water to 1 part RopeKleen. Heat solution to approximately 45ºC. Immerse rope and agitate for 4 to 5 minutes then rinse.
For general purpose cleaning RopeKleen can be diluted up to 1part RopeKleen and 2 parts water and used cold.
Do not mix RopeKleen with any other degreaser or solvent as this can impair the efficiency of the product.


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Mrs Skull reviews The Nanny - Kensington Gore's Hammered Horrors
"Evening ladies & gents! Firstly I'd like to thank Mr Gore for giving me the day off on Saturday to go to see Betty Blue Eyes at the Novello Theatre. Very kind of him. Though he was wittering on about something like if I'm having it off he'll be having it off!
It's been a while since I've had the pleasure to see any musical theatre (The last being' Shockheaded Peter with The Tiger Lillies ten years ago) as I'm far too busy cleaning up after Kensington. Always a boil wash, as blood is hell to shift!
Betty Blue Eyes was a fabulous show - and it's very sad to see it closing later this week. (so tough tit you've missed it) I thought it would be one of these that runs forever! It's a musical adaption of the film starring Michael Palin 'A Private Function'. Set in post-war Britain it tells the story of Gilbert Chilvers & his wife's desire for recognition - and, er, selling a pig......
Myself & Mr Skull were sat in the very Centre of the front row. It was a great place to be, esp. as Mr Skull have a perfect view of all the actress gusset as they whirled past. The standing ovation at the end was equally awkward as myself and my husband virtually had our faces in the leading man and the leading ladies crotch! Since it was Sarah Lancashire, she of Coronation Street fame and Reece Shearsmith, of the League Of Gentlemen neither of us had room for compliant!
I was a bit thrilled, actually left a damp patch on my theatre seat at his performance, to get my programme signed by Reece Shearsmith; I thought I was in there but I think the smell of stale blood on my best dress put him off a bit.
So, here I am in the wee small hours writing this in bed, Laptop on the back of my exhausted but happy, spent body of my husband. Let's just say Reece Shearsmith pumps up my tires; Mr Skull gets to ride the bike and believe he rings my bell more times than not!
Anyway, on to this bloody film review. This time I tackled the Hammer Horror film The Nanny - Adapted from the novel of the same name by Evelyn Piper.
The Nanny, herself is played by the amazing Bette Davis and can only be described as Mary Poppins from hell really.
Basic synopsis is: Upper middle class family in swinging sixties lose a daughter when she accidently drowns in the bath tub. Their son, Joey, is blamed for the incident and sent away to an institution. Though still having some behaviour problems 9The lad does a fine practical joke!) he is released back into the family...... chaos ensues!
It comes as no surprise with it being a 'Hammer' that the music is used to its full potential in producing a rich atmosphere. The lighting of the film is also superb - particularly the scene where Bette Davis enters the boys bedroom - the lightening is inspired!
This film tackles the unusual theme of a dysfunctional family, but actually, a quite posh family - not one on the bread line. A distracted and annoyed Father, and emotionally fragile Mother, the 'perfect' Nanny. and a young boy who is wiser beyond his years.
It's fascinating to watch the role reversal of parent & child - Joey, since being sent away is sooooo independent that Nanny would be redundant if it wasn't for the Mothers childlike dependency on her.
The quality of acting, especially from the children is awesome - Joey's 'girlfriend' trying so hard to be a grownup - breaking away the bonds that hold her as a young girl - also a stunning looking young actress. Joey's father Bill Fane (James Villiers) had aspects of "Harry Enfield Mr Chumley-Warner" - such a clipped accent and very much 'a stiff upper lip' attitude.
This film, as with many horror film, has an aspect which raises a smile. The scene of a boy sat on his bed fashioning a noose whilst listening to 'Austin Powers' like music made my chuckle.
This film does keep you guessing, and pulls no punches when it reveals all. This was made in 1965, and it still has the power to inspire discomfort - esp. since I have little bleeders (I mean children) myself. It also delivers a full explanation as to the whys and wherefores of the story - which i find quite unusual, but very gratifying!
My love for this film came as a bit of a surprise & I think it is a film which should be seen - certainly by any TRUE horror fan. No blood, no guts, but a very, very dark soul. It has to be a 9 on the scale of impressiveness!
Sleep well my little creepies! Mwah! X"

redpajama_set_name: RedPajamaCommonCrawl


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Majosháza is een plaats (község) en gemeente in het Hongaarse comitaat Pest. Majosháza telt 1240 inwoners (2001).

Plaats in Hongarije

redpajama_set_name: RedPajamaWikipedia


Chang Mattern Family & Divorce Lawyers Is It Really Possible For Divorce To Run In The Family? Is It Really Possible For Divorce To Run In The Family?
If your parents were divorced, you probably have had more exposure to the idea than your peers with parents still together. It turns out the effects may go beyond that.
It could be possible that children who have grown up with separated parents have a negative outlook on relationships and marriage. But a new study shows something extremely different; that the likelihood of getting divorced could be encoded in DNA and is actually transmitted from one generation to another.
Between 40% and 50% of married couples in the United States end up getting divorced, according to research conducted by the American Psychological Association and that is in a culture in which more than 90% of individuals get married before they are 50 years old. LUND University in Sweden and Virginia Commonwealth University reached this conclusion by looking at population registries in Sweden to determine whether or not the divorce histories for adopted children looked more like their biological or their adopted parents.
The researchers found consistent and strong evidence that genetic factors could account for the intergenerational transmission of divorce, which means that focusing on strengthening interpersonal skills or better commitment may not be a good way for a therapist to approach working with a distressed couple. There has been a bit of good news in recent years in terms of divorce rates since it has dropped to its lowest rate in 40 years after achieving a high in 1980 according to Time Magazine.
But many individuals are still discussing the potential for getting a divorce. Consulting with a knowledgeable divorce attorney is strongly recommended if you have questions about the best way to protect yourself during this process and the necessary steps you should take in order to ensure a smooth and stress free marital dissolution.


Facing Acne, Under eye Dark Circles, Dry Skin, Boils, Hair Loss or other Hair/Skin problems? Need a Skin Specialist in Baripada? Get cured with CureSkin, your very own Skincare Advisor, from the convenience of your house. Download the app now!
Family Doctors might be able to help out with many health concerns and disorders, but not when it comes to your Hair. A Skin Specialist, better known as a Dermatologist, is trained to help you out with your Hair and Skin problems and can definitely make a difference when it comes to your solution! But what is the replacement for a Skin Specialist in Baripada? CureSkin!
Skin Specialists in Baripada, or any place else in Orissa, are tough to find, making them as rare as the Shimlipal National Park. You are expected to scour through a lot of websites, locate the right Skin Specialist in parts like Tiringi, Bahalda and Gorumahisani, experience the trouble of getting a consultation and then allocate time to physically go to the Doctor's clinic. A lot of waiting later, you sit across the Skin Specialist, who may or may not be experienced enough to cure you.
After this, you go to the Medical Store and pay for your medications. You spend much money while having no guarantee for a cure. The CureSkin App presents a much faster and more worthwhile solution, with a quick diagnosis and doorstep delivery of medications. All for a much less expensive price than visiting a Skin Specialist in Baripada!
It is uncomplicated to figure out how CureSkin works. You download the App, answer a few questions about your condition, your past issues etc. This makes the app understand your concern better. After this, you snap a snapshot of your issue using the back camera.
Are people using CureSkin in Baripada?
CureSkin is depended upon by thousands of individuals all across India, and Baripada is no different. Local city dwellers have experienced wonderful results with the app and have treated a variety of Skin and Hair disorders that come up in the Orissa region. CureSkin's Skin Specialists and Dermatologists are pretty much the best in the country, and it shows in the results!
With scheduled follow-ups, lifestyle guidance, diet scheduling and several other benefits, the CureSkin app is a favourite for many in the Mayurbhanj district. You too, can get your Hair/Skin issues fixed conveniently! Download CureSkin today.
Stop having sleepless nights due to your Skin and Hair disorders in Baripada, download the CureSkin App right now and get your very own Skin Specialist in your phone. You are near the cure. Download now!


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Meet the Club Staff
Clubs Within a Club
Request Membership Info
Meet the Golf Staff
Etiquette & Attire
Regency Golf
Toddler Town
"My basic philosophy of golf course design is straightforward. I try to design courses that are exciting and enjoyable for all players, but also respect and preserve the existing terrain."- Arnold Palmer
Designed by the renowned golf legend Arnold Palmer, the 18-hole championship golf course at Dominion Valley is without question the ultimate expression of the Arnold Palmer guarantee of uncompromising standards in golf course design. With wide, lush fairways, the course has been carefully designed to be in perfect harmony with the native Virginia landscape. Set against the beautiful Bull Run Mountains, the golf course features wide fairways, strategically placed bunkers, and impeccable greens, providing members with a challenging, visually attractive and enjoyable golf experience.
The course plays along Little Bull Run Creek and winds its way throughout the community's rolling landscape and natural preservation areas. With breathtaking mountain views and eight water holes, this spectacular golf course is has four sets of tees, making it enjoyable for golfers of all skill levels.
For more information on any of our golf related services or to inquire about specific dates for your golf event, please contact our Director of Golf, Mason Jobin at 571-222-6917. We look forward to working with you!
CLICK HERE for the current scorecard
Hole #1
PAR: 5 | MEN's HANDICAP: 4 | LADIES HANDICAP: 3
HOLE DESCRIPTION:
The first hole is a downhill dogleg par 5 that often plays into a prevailing west to east crosswind. A well-placed drive to a fairway plateau, guarded by stately oak trees to the left, will leave you with a fairway wood for your second shot. Keep the ball left to avoid the water hazard that hugs the right side of the fairway.
PAR: 3 | MEN's HANDICAP: 18 | LADIES HANDICAP: 17
This 200-yard downhill shot is made more difficult by the presence of a deep-faced bunker that runs parallel to a narrow but large green. The smart play is to favor the right or left side of the green, make your par, and get on your way!
PAR: 4 | MEN's HANDICAP: 10 | LADIES HANDICAP: 9
This double dogleg par 4 is an uphill, strategic golf hole requiring pinpoint accuracy off the tee to avoid four large fairway bunkers that guard both the left and right sides of the fairway. Two large bunkers flank either side of the green, and grassy swales behind the green should make for an interesting chip shot for the player who misjudges the distance.
PAR: 4 | MEN's HANDICAP: 6 | LADIES HANDICAP: 11
A short par 4 for this course, the fourth hole is a slight downhill dogleg left, distinguished by wetlands that split the fairway. A second shot with a short iron should be the next play to a green that is guarded by two large bunkers on the right and a severe downhill slope to the left.
This double dogleg par 5 can be tamed by executing every shot with care; the drive over a ravine and pond to a plateau fairway is not difficult, but the fairway bunker lies only 226 yards off the tee. Avoid the left side of the fairway if you can, because the slope from right to left will entice the ball toward the deep rough and will bring the water surrounding the green into play. A wellplaced second shot will leave you a third shot of 120 -150 yards to a narrow but deep green surrounded by water on the left, a wetland area before the green, and a bunker that will swallow any shot hit to the right.
Facing a bunker to the right, water to the left, and a downhill pin position makes club selection on this par 3 critical. The smart play is to favor the left side of the green. If you haven't perfected a high fade yet, this hole is sure to add a few strokes to your game.
The third and final par 5 on the front nine holes is a straightforward hole that offers variable options for the gambler and conservative golfer alike. A lengthy drive will offer you two choices: try for a 220-yard (or more!) second shot to the green that is surrounded by three deep-faced bunkers behind it or a pond and wetland area just short of the putting surface; or, play it short and hope that your sand wedge gets you relatively close to birdie range.
The eighth hole is one of the shortest par 4s on the golf course. A tee shot of 225-245 yards down the center of this dogleg left will land you a short iron from par. If your second shot is long, be prepared for a difficult chip shot due to severe mounding behind the green.
This difficult hole is your chance to see if you can navigate the island green. The tee shot should range from a five iron from the professional tee to a wedge from the member tee, depending on the amount of prevailing wind. The green itself is quite large, but surrounded by water. This challenging par 3 leaves very little room for error.
Hole #10
The tenth hole is a par 5 to a downhill, contouring fairway layout. A second shot requires that the ball hug the left side of the fairway to keep the water out of play to the right and requires an approach shot that neutralizes the large, left greenside bunker. A slight deviance to the right will cause the ball to trickle down near the water's edge. This is a hole that has definite birdie potential, so try not to pass up the opportunity!
With a slight dogleg left, hole 11 appears deceptively easy from the tee because of its large landing area, but don't underestimate the fairway bunker to the left that narrows the fairway from 245 yards off the tee. The green is flanked by a deep bunker to the left and another bunker that lies to the right of the putting surface.
This dogleg hole is one of the longest par 4s on the course. A tee shot of 280 yards or more will most likely funnel toward the water, so it would be wise to keep your drive 260 to 275 yards from the tee. Your approach shot should be 170 to 190 yards to carry it over the water to a tiered green surrounded by bunkers on the left and right.
From the tee to the green is an elevation change of nearly 40 feet, so be prepared to use one more club than is normal here. A tee shot with ample draw must carry a large fairway bunker to the right about 245 yards out, but not to worry — there is plenty of room to the left for your next shot. You will leave yourself with a shot of about 130 to 150 yards into a green flanked by a small pot bunker to the left and a much larger bunker behind it. A fade for the approach shot is a wise choice to reach the green.
An uphill par 3, this hole includes a green that is well-guarded on the left by a berm. The right side is flanked by two deep bunkers, and the back by native oaks. Use one more club on this hole to compensate for the elevation change. A shot short in the approach will leave you with an uphill chip shot to a green that severely slopes from the left to the right.
This short par 4 hole is a downhill dogleg right that slopes from the left to the right. The golf hole is not difficult to navigate, but the side hills will need to be considered for your approach shot. A pin located on the right of the green will bring the green's side and back bunkers into play; a shot to the left will require a dramatic flop shot from a downhill ball position if the green is missed.
This downhill par 5 may be reachable in two shots due to the drop in elevation of nearly 20 feet from the tee to the green and with the prevailing wind at your back. A second shot, if hit square, must land in the left approach and trickle toward the green; any shot hit right of the green will land in grassy swales and collection areas that may be too severe to make birdie.
This uphill par 3 requires careful club selection due to a narrow and well-protected green. A tee shot to the center of the green is recommended to avoid the cavernous bunker to the left of the green and a grassy swale to the right.
The finishing hole is one of the longest par 4s at Dominion Valley Country Club, and the most scenic! The landing area is quite large with only a single fairway bunker to the left about 260 yards from the tee. If your approach shot lands short, you'll have two additional landing areas from which to choose, both separated by another series of wetlands.
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text:
Who was Dee Dee Warwick? Whitney Houston's cousin accused of sexual abuse
By Amy Kuperinsky | NJ Advance Media for NJ.com
Star-Ledger file photo
"Whitney," a new documentary about Whitney Houston that premiered at the Cannes Film Festival on Wednesday, dropped a bombshell.
In the film, members of the singer's family allege that Houston was sexually abused by her cousin, Dee Dee Warwick.
Warwick, sister to singer Dionne Warwick, had a music career of her own, something that wasn't unusual in Houston's extended family, which was famously teeming with talent.
But what else do we know about Dee Dee Warwick?
Here's a look at the life of the singer, who died in 2008 at the age of 63.
Like her sister Dionne, Dee Dee Warwick, born Delia Juanita Warrick, was the niece of the gospel singer Cissy Houston, Whitney's mother, and grew up in East Orange.
The abuse allegations hadn't come to light before. Bobby Brown, Houston's ex-husband, claims to have known nothing about the subject.
In the documentary, directed by Kevin Macdonald, Gary Houston, Whitney's half-brother, alleges he was sexually abused by Dee Dee Warwick when he was between 7 and 9 years old.
He says he believes that Whitney was also abused by their cousin. His wife, Pat Houston, Whitney's former manager and the executor of her estate, told Macdonald that the singer had told her about the abuse, though she didn't go into detail.
Mary Jones, Whitney's aunt and former assistant, goes on to provide specifics of what she says Whitney told her about the alleged abuse. She says Whitney could never bring herself to tell her mother about it, though Jones encouraged her to do so when she was ready.
Macdonald reframed the whole film around the allegations. For him, it helped to explain the often self-destructive nature of Houston's behavior, which included years of drug abuse before her death in 2012. (Cocaine was found to play a contributing role in her drowning death.)
Dee Dee and Dionne Warwick, seen in the video above singing the gospel song "Children, Go Where I Send Thee," performed as The Gospelaires alongside Cissy Houston. All three sang at New Hope Baptist Church in Newark.
The Warwick sisters were also backup members of the Drinkard Singers, the family gospel group that featured Cissy (whose maiden name was Drinkard). Their mother, Lee Drinkard-Warrick, managed the group. Their father, Mancel Warrick, was a record promoter. Mancel Warrick Jr., their brother, died in an accident in 1968, when he was 21.
When Dionne's solo career took off, Dee Dee recorded and toured with her sister.
As a solo artist in her own right, Dee Dee Warwick's biggest hit was "I Want to Be With You," a song that made it to No. 41 on the Billboard chart (see clip from 1965 performance below) in 1966.
Singing professionally "wasn't what I wanted to do," Warwick told The Star-Ledger in a 2001 interview, living in Orange after spending many years in Los Angeles and Atlanta. "It was what I was put to doing. I wanted to be a doctor. My whole family were singers, and being around that constantly, there was no question. We had to be singers. And we had the talent, so there it is."
Warwick is known for her song "Foolish Fool," which peaked at No. 57 in 1969. That same year, she received a Grammy nomination for best R&B performance for the song.
She also sang backing vocals on Dionne's hit songs as well as the Aretha Franklin song "Chain of Fools," the Drifters' "Under the Boardwalk" and Van Morrison's "Brown Eyed Girl."
Other Warwick solo songs released in the 1960s and early '70s included "I'm Gonna Make You Love Me," "We're Doing Fine," "When Love Slips Away," "She Didn't Know (She Kept On Talking)" and "Suspicious Minds."
Warwick received another Grammy nod in 1970 for "She Didn't Know" in the R&B performance category.
The documentary "Whitney" will be released on July 6.
More Whitney Houston
Whitney Houston was sexually abused by a family member, documentary says
'Whitney' at 30: An oral history of N.J.'s greatest pop album
Whitney Houston, dead at 48, was a crucial member of New Jersey's music scene
Amy Kuperinsky may be reached at akuperinsky@njadvancemedia.com. Follow her on Twitter @AmyKup or on Facebook.
NJ.com Store


-- Thuvack (talk) 08:59, 12 May 2013 (UTC). Questions I would have had, have already been answered.
That`s a funny question :)) And I`m pretty surprised you did not ask this question to A1 directly in his user page :))) The answer is simple - because there is no recordings made by A1 in Commons more. To prepare audio-recordings by A1 and his "numerous musician friends" an appropriate equipment is needed.
What is the tracklist of songs that are going to be recorded? What are the people that will perform these songs? Have the performers already agreed to participate under the conditions you can offer to them? How do you plan to compensate them for their work?
Do you really need to buy the equipment to record the music? How about to borrow it if you don't have any plans on how to put it on further disposal? Here, I'd like to highlight Deplhine's question above and suggest that borrowing instead of purchasing might be an alternative solution. Also, don't forget that whenever money is requested to purchase equipment the ownership-issue is always in fashion, which in most of the cases has been an obstacle to support the distribution of funds for this purpose.
Can you tell us more about the number of people who will attend the concert? Do you plan an event which will be free to attend or there will be any entrance ticket price specified? If the latter holds, what will be the party that will earn the revenue from the tickets sold?
Can you explain the measures of success in more details? What is the realistic number of video and audio files that will be recorded? What will be their average length?
Where do you see complaints? There is discussion here. And when should I discuss internal? The programme with songs of contemporary poets and composers was published only two days ago, and it was after this grant request was published.
I was asked to comment. I really should disclose that as a (former) career classical musician I have very fixed views, so perhaps they should be discounted in some ways. I've google translated the full page on the project that was linked, and from that the ?scientific article by Ghanzburh. Concerning that article, it's not easy to work out whether he's being equivocal about the advantages of singing translated linguistic texts, or simply of singing in the original language intended by the composer while the audience follows (if they wish) a phrase-by-phrase translation.
Most of the world happily listens to pop music in English. It is now the norm to sing operas in their original language, whether Italian or German or French (or Russian, indeed), rather than translating them, say, into English if performed in an anglophone city. I note that the English National Opera was built, in the early 20th century, on the principle that English translations are the way to popularise opera among a public that might quail before the sounds of a foreign libretto bouncing about the chamber acoustics; but many people are skeptical of the ENO's philosophy: apart from anything else, it's very hard for opera audiences to directly follow singers' diction in the acoustics of an opera theatre—even when sitting fairly close, or listening to a clear recording (depends a little on the historical style and the engineering effort, I suppose). The same is true of many musical situations. And as Ghanzburh points out, when you sing a translation you lose the specific placement of the semantics, often the specific meanings, and the phonological connection with the flow of the music.
Personally, I would always prefer to follow side-by-side translations in program notes (or in surtitles at the opera, where possible. So if I'm understanding the project correctly, I must say that I'd prefer the resources to be put into producing good program notes in Ukrainian—including side-by-side translations of the original libretto into Ukrainian—to accompany existing live and recorded performances in the original language. The opera Le faucon, by Ukrainian-turned-Russian composer Bortniansky, was meant to be sung in French, I guess. The en.WP article on the composer (which is a little puffy and under-referenced) claims that he was quite influential in Ukraine during the early classico-romantic period (a difficult period technically in which to be composing—especially church music); and that Tschaikovsky was interested in his music (something to boast about, at least). But I'd not heard of him.
The Wikisource upload features piano ("short") scores rather than full orchestral scores. How do you intend to perform the music?
Who will do the audio-engineering for the recordings? Could we have the specs (file form, quality, etc)? I see mention of video ... will this be done professionally?
What are the acoustics like in the room? If the recording is to be at a public concert, how will the presence of the audience affect the acoustics? Will the music be clear in audio terms? And of course will the listeners be able to make out a single word?
Is the intention to "republish" the entire scores of the music performed? If so, what application will be used to do this in? It's a major job. Who is the original publisher, and can their output be trusted editorially? Is a scholar at hand to consult, review?
Since much of the music planned is centuries old, my personal prejudice is against performing it on modern instruments. This is particularly the case for baroque music by composers such as Bach and Pergolesi ... nowadays, the classical style (1760–1830 or thereabouts) is quite often played on period instruments, with good reason in my view. You're on safer ground with the later composers mentioned at the "number of works" link, though. But again, how much of this repertory involves orchestras, and how much just piano accompaniment? That vital information is missing from the table.
I haven't an idea about the quality of the performers. That they're soloists of the UA national opera is promising, but this would be a very different context for them (if anything, quite exposing). Any audio recordings as examples?
Sorry for the long rant. I'm right on-side with the "popularisation of free licenses". But it seems to be a very complex undertaking.
Dear, Tony. Firstly some remarks (as a musician to musician :). You are not right if you think that "It is now the norm to sing operas in their original language". Ghanzburh's article is more about theoretical aspect of an issue, while an historical aspect is issued on an article by M. Strikha (see p.e. ). As an examples he mentioned English national opera, singing in English. Also he mentioned that the reason to sing operas in original language is economical but not aesthetic. Of course many people could be sceptical of the ENO's philosophy, but many people are sceptical of the philosophy of singing in original language, not understandable for the listener too. It is not correct to think, that only first point of view is canonical, while the latter have no right to exist. In any case listeners who prefer to listen for a vocal music in their native language translation have a right to do so the same way as do Ukrainian lovers of Shakespeare or Star Wars serial (and obviously Russian, Polish, German etc.).
As you possibly know songs by Schubert, Schumann, Glinka, Rachmaninov and others are written for a singer and piano, not the orchestra. That`s why they will be performed by duo - pianist and soloist. It is an interesting idea to make an orchestration of these works, but not this time at least.
As you possibly know professional studio recording demands much more money. I don`t think WMF or Chapters could pretend to be a high-quality recording label, while our mission is to popularise the free knowledge that could be used and developed by professionals later. This concert will be recordered by Mikhail Sinitzyn, he is a professional audioproducer, some of his works you could listen for his music here.
The House of Scientist`s Hall has a fine acoustics for vocal performances. A lot of concerts, including planned within "Kyiv Music Fest" or "Premiers of Seasons" festivals were organised in this hall. Surely the music will be clear enough, and the listeners will be able to make out a single word.
Most of earlier published scores are done by me. Some of them have been done by uk:User:Enn7 and reviewed by me. In all cases we used Sibelius application. "Le faucon" opera also was reviewed by Natalia Svyrydenko. While preparing a new vocal program I have additional consultations with vocalists (see in the project) who will sing pieces in the concert as well as H. Ghanzburh, prominent musicologist.
As you possibly know Rachmaninov (1873-1943) is not a baroque composer. Even Schubert (1979-1828), the "oldest" composer, presented in the concert, is not a baroque composer as well. A don`t think there is any reason to play their music in old instruments as far as their epoch is not to far from ours, and as far as the tradition of playing their music in modern instruments is strong enough nowadays to follow it. In any case our project is not a part of HIP movement. Once again, we do not plan to involve an orchestra, just a piano. Clarinet and cello will be used for contemporary pieces only.
Responses Intro: "You are not right if you think that "It is now the norm to sing operas in their original language"."—no evidence offered. Sung musical works are sometimes performed in translation, but there has been a clear trend in professional circles towards the original language. No one complains if high-school students are saved the burden of learning how to pronounce a foreign language, but when they get to tertiary studies, it would be remiss if they weren't inducted into originals. A musician's knowledge of singing in a number of foreign languages is part of the trade. I've already presented some of the reasons against translated singing in serious performance, from the listeners' point of view—when "not understandable for the listener" is the key argument, I must reiterate that listeners usually have difficulty comprehending sung words in many concert venues, styles, and on many recordings.
(1) "songs by ... are written for a singer and piano, not the orchestra". Yes. But I see Bach's Coffee Cantata; even Wagner's Tanhäuser—these would not be appropriate for WMF sites, I believe. I was expecting the instrumentation (and the performers' names) to appear somewhere.
(2) "I don`t think WMF or Chapters could pretend to be a high-quality recording label"—yes ... it goes to the heart of one of the problems we had on en.WP with the Featured Sounds forum: sounds of rare frogs were fine, but as soon as we got to music, one came up against the fact that musical performance (and recording) has been utterly professionalised. This was unlike the issues faced by Featured Articles (professional-standard writing is more widespread and within reach of many Wikimedians) and Featured Pictures (same). The world is awash with superb recordings/performances, and they have set very high expectations. I don't mean to deride your team for one moment—but let's hear the results and judge against what is now the norm for musical recordings. The YouTube link for examples of Sinitzyn's work—it's very good, but a narrow range of commercial music or vocal narration against simple musical background. Again, I don't want to prejudge, but make sure he's very fussy about clarity of diction, since that seems to be the whole point.
(3) and (4) sounds good; it's just that many many live professional performances occur in suboptimal acoustics. Let's see what it's like.
(5) I explicitly said you're on better ground with Rachmaninov, etc. Schubert was not born in 1979—from memory, it was 1797. I have no problem with your reasoning. But could you re-examine the plans for performing Pergolesi and JS Bach through the veil of what are by comparison "plummy" 21st-century instruments (and possibly vocal performance practice)? "Clarinet and cello will be used for contemporary pieces only."—OK, instrumentation should have appeared in the application, or have been linked from it.
Just one more thing: just checking that the Rachmaninov (well, and any contemporary music) is out of copyright, including composers' estates and the publishers of the scores. Copyright and music is just a hellish mess worldwide. If the music was composed before 1923, you're pretty safe on that count; if you based your scores on editions that are still copyrighted, there could be an issue with them, I guess.
Responses The tradition of vocal music translations has a long history and valuable artefacts. Such translations was accepted by such significant composers as Verdi, Wagner, Shostakovich and many others. In opposite the trend of original language singing is new and seems to be likely a transient fashion then a legislation. The loss of brilliant translations, particularly Ukrainian made by M.Rylski would be a great loss for culture, particularly Ukrainian, and our aim to avert this loss. On the other hand original language singing will exist forever at least in native composer`s countries, e.g. Bach will be always sung in German in Germany etc. Again, there is no aesthetic reason to sing operas in native language if this language is not understandable for listener, because an opera is not a exclusively a music genre, but syncretic, demanding the adequate perception of both - musical and literature components.
(1) "But I see Bach's Coffee Cantata" The program of the concert is just here. So, Coffee Cantata is not a subject of this submission. Though we plan to publish it at Commons in brilliant Ukrainian translation (this do not demand money) and, I hope to play it in brilliant Ukrainian translation later. If we will not have enough money to rent an orchestra it is also possible to sing it with piano accompanement - such tradition is not something extraordinary and in any case better then not to play at all. But, again, this is not a subject of this submission.
(2) We will try to do our best. In our case it is significant, that public concert could attract more people then a closed studio recording and thus more people could be interested and involved to Wikimedia movemenet. Obviously studio work could give us a little bit better recording but in this case we lose a cultural event and lose the opportunity to inspire and energise more and more musicians and poets to collaborate with us.
I'm joining others in saying that purchasing equipment for about a third of the budget, for a one-time event, seems out-of-place. I understand the equipment may be used in the future, but I still think a one time event does not warrant a substantial amount of money, just like no one would think of paying an employee to produce the event.
One more thing: the proposal states that the event will be publicized "in mass media", although I didn't see any mention of that. Is there a plan to do some public relations, and if so why isn't it in the budget?


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Brandi Carlile and Kacey Musgraves Among Leading Ladies For 2019 Grammy Awards
Published December 7, 2018 at 11:28 AM CST
Only Kendrick Lamar and Drake earned more Grammy Award nominations for 2019 than Brandi Carlile.
Brandi Carlile, a charismatic and activist songwriter long cherished by the folk music community and recently embraced by Americana, stamped a place in history by securing six nominations for the 2019 Grammy Awards, which were announced this morning. Carlile, who's getting set to host her first all-female music festival in Mexico in January, is part of a big year for women, who enjoyed key nominations in country, Americana, bluegrass and the overall industry categories as well.
Carlile's album By The Way I, Forgive You, is up for Album of the Year generally, as well as in the Americana category, while her anthemic anti-discrimination song "The Joke" is a prospect for Song of the Year, Record of the Year, American Roots Performance and American Roots Song. She was nominated for a Grammy Award once before in 2015.
Kacey Musgraves also finds herself in a position to be celebrated on Feb. 10 with four nominations. The acclaimed album Golden Hour is up for Album of the Year overall and Best Country Album, while her co-write "Space Cowboy" is up for Best Country Song. Her delicate and romantic "Butterflies" is tapped for Best Country Solo Performance. The artist won Best Country Album and Country Song in 2013 with Same Trailer, Different Park, her major label debut. In Carlile and Musgraves, the Recording Academy seems to be zeroing in on the kind of genre-transcending, populist roots music that made Alison Krauss a Grammy magnet since 1990.
Neo-traditionalist country songwriter Margo Price secured her first Grammy nomination in the Best New Artist category. And Ashley McBryde, one of the admired women who struggles for country radio airplay landed a Best Country Album prospect for Girl Going Nowhere.
Besides Carlile, mostly veterans rounded out the Americana Album category, with nominations for soul singer Bettye LaVette (Things Have Changed), John Prine (The Tree Of Forgiveness), Lee Ann Womack (The Lonely, The Lonesome & The Gone) and The Wood Brothers (One Drop Of Truth). The Prine album produced two nominees in the American Roots Song category – "Knockin' On Your Screen Door" and "Summer's End," both written with Nashville's understated roots/soul standout Pat McLaughlin.
In the Best Folk Album slot, Nashville's Mary Gauthier secured an unsurprising nomination for her emotionally epic Rifles & Rosary Beads, an album co-written with combat veterans and their families, most of whom had never written a song in their lives. The super-eclectic pool also includes the swan song from Joan Baez Whistle Down The Wind, the scholarly Black Cowboys by mover/shaker Dom Flemons, the intricate string band project All Ashore by Punch Brothers and the cozy EP Weed Garden by Iron & Wine. A noteworthy breakout in the Roots field is second generation hill country artist Cedric Burnside, who took a Traditional Blues nomination for his Single Lock Records debut Benton County Relic (putting the 40-year-old in competition with elders Buddy Guy, Elvin Bishop, Maria Muldaur and Charlie Musselwhite's duo with Ben Harper).
The nominees for Best Bluegrass Album are nearly all first time nominees, at least in their current configurations. This category also includes some powerful women who've distinguished themselves for years with too little notice, and that's Sister Sadie, the Nashville-based all female ensemble that dished up the album Sister Sadie II in 2018. The young and wildly talented Mike Barnett took a nod for the collaborative collection Portraits In Fiddles. Austin quartet Wood & Wire earned a nomination for North of Despair. Chicago's ever-shifting veteran band Special Consensus achieved their second nomination for Rivers & Roads, winner of the 2018 IBMA Album of the Year. Rounding out the field are The Travelin' McCourys, the next generation offshoot of the Grammy Award-winning Del McCoury Band. This field marks a welcome refresh of who's perceived by the wider industry as the tops in the genre.
The complete American Roots Field nominations list follows:
45. Best American Roots Performance
For new vocal or instrumental American Roots recordings. This is for performances in the style of any of the subgenres encompassed in the American Roots Music field including Americana, bluegrass, blues, folk or regional roots. Award to the artist(s).
KICK ROCKS
Sean Ardoin
SAINT JAMES INFIRMARY BLUES
THE JOKE
ALL ON MY MIND
46. Best American Roots Song
A Songwriter(s) Award. Includes Americana, bluegrass, traditional blues, contemporary blues, folk or regional roots songs. A song is eligible if it was first released or if it first achieved prominence during the Eligibility Year. (Artist names appear in parentheses.) Singles or Tracks only.
ALL THE TROUBLE
Waylon Payne, Lee Ann Womack & Adam Wright, songwriters (Lee Ann Womack)
BUILD A BRIDGE
Jeff Tweedy, songwriter (Mavis Staples)
Brandi Carlile, Dave Cobb, Phil Hanseroth & Tim Hanseroth, songwriters (Brandi Carlile)
KNOCKIN' ON YOUR SCREEN DOOR
Pat McLaughlin & John Prine, songwriters (John Prine)
47. Best Americana Album
For albums containing at least 51% playing time of new vocal or instrumental Americana recordings.
BY THE WAY, I FORGIVE YOU
THE TREE OF FORGIVENESS
THE LONELY, THE LONESOME & THE GONE
Lee Ann Womack
ONE DROP OF TRUTH
48. Best Bluegrass Album
For albums containing at least 51% playing time of new vocal or instrumental bluegrass recordings.
PORTRAITS IN FIDDLES
Mike Barnett
SISTER SADIE II
Sister Sadie
RIVERS AND ROADS
Special Consensus
THE TRAVELIN' MCCOURYS
NORTH OF DESPAIR
Wood & Wire
49. Best Traditional Blues Album
For albums containing at least 51% playing time of new vocal or instrumental traditional blues recordings.
SOMETHING SMELLS FUNKY 'ROUND HERE
Elvin Bishop's Big Fun Trio
BENTON COUNTY RELIC
Cedric Burnside
THE BLUES IS ALIVE AND WELL
NO MERCY IN THIS LAND
Ben Harper And Charlie Musselwhite
DON'T YOU FEEL MY LEG (THE NAUGHTY BAWDY BLUES OF BLUE LU BARKER)
50. Best Contemporary Blues Album
For albums containing at least 51% playing time of new vocal or instrumental contemporary blues recordings.
PLEASE DON'T BE DEAD
Fantastic Negrito
HERE IN BABYLON
Teresa James And The Rhythm Tramps
CRY NO MORE
OUT OF THE BLUES
VICTOR WAINWRIGHT AND THE TRAIN
51. Best Folk Album
For albums containing at least 51% playing time of new vocal or instrumental folk recordings.
WHISTLE DOWN THE WIND
BLACK COWBOYS
Dom Flemons
RIFLES & ROSARY BEADS
WEED GARDEN
ALL ASHORE
Punch Brothers
52. Best Regional Roots Music Album
For albums containing at least 51% playing time of new vocal or instrumental regional roots music recordings.
KREOLE ROCK AND SOUL
SPYBOY
Cha Wa
ALOHA FROM NA HOA
Na Hoa
NO 'ANE'I
Kalani Pe'a
MEWASINSATIONAL - CREE ROUND DANCE SONGS


The before and during. This year I shared a balcony in St Marks with Jonathan Dixon – good company and cost me in plates, stickers and tattoos. I like his work. This year I included some of my writing for the first time which felt a little scary but the feedback was good. Usually it sits at home unread. I don't seem to have many photos, possibly because I was chatting and eating cake.
You are currently browsing the archives for the open studios etc category.


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Authors: R-U, C, Crime, Thrillers and Mystery, R
Cuthbert's Way by LJ Ross
April 12, 2021 April 13, 2021 by mgriffiths163
Today Mandie has her review of Cuthbert's Way by LJ Ross as her DCI Ryan catch up continues. Here's what the book is all about:
A SECRET KEPT FOR A THOUSAND YEARS…
After the dramatic theft of a priceless artefact from Durham Cathedral, the rest of the world believes that DCI Ryan and his team were able to recover and return St. Cuthbert's cross to its rightful home. But Ryan knows the cross he recovered was a fake—far from being over, their problems are only just beginning…
Just as Ryan and his team begin to unravel the truth behind the spate of mysterious thefts, something even more priceless is stolen—something that can never be replaced.
As the nationwide manhunt continues without success, Ryan is thrust into despair—until he realises the answer lies not in modern policing but in an age-old secret known only to a chosen few. To recover what's been lost, he must first crack 'Cuthbert's Code', following the trail of a long-dead saint across the wild, unpredictable hills and valleys of the borderlands.
Can Ryan find what he's looking for, before it's too late?
He's going to need a miracle…
Murder and mystery are peppered with romance and humour in this fast-paced crime whodunit set amidst the spectacular Northumbrian landscape.
Mandie's Thoughts
Cuthbert's Way is the 17th book in the series and follows on quite nicely from the Shrine as the team try to resolve the mysteries and the crimes that started in the previous book. I was lucky enough to have been able to pick this one up straight after finishing The Shrine so felt that the two stories flowed quite nicely from one to the other. Normally you can read each of the Ryan series as standalones (although not sure why you would want to) but in this case you do really need to have read the preceding book first.
This book really does delve into the history of St Cuthbert and the myths surrounding him. Ryan needs to be able to remove the fact from the fiction and crack the code to be able to put the case to bed and ensure the safety of those around him and you just know that he will stop at nothing to make both things happen. This is a book that explores the relationships within the team and also Ryan's family as much as it does the case being investigated and it is that balance that often sets these books apart and makes them such a draw to fans time after time. Getting to know and love the main characters so that you are invested in outcomes is as important as the case being solved. I loved seeing more of the dynamic between Ryan and his father as they pulled together to protect loved ones and the gradual understanding and acceptance of each other almost felt like you were intruding on private moments.
As always, the settings were an integral part of the story and with each book I feel that I am getting to know and love the Northumbrian landscape just that little bit more. I am still holding out hope that one day the team will be able to relax a little in their personal lives and just have a gruesome case to deal with but am not sure that this will be on the cards any time soon but now that I am up to date with the series I am just going to have to wait patiently (or not so patiently) to see what life and the author has instore for the team next.
LJ Ross is an international bestselling author, best known for creating atmospheric mystery and thriller novels, including the DCI Ryan series of Northumbrian murder mysteries which have sold over 5.5 million copies worldwide.
Louise was born in Northumberland, England. She studied undergraduate and postgraduate Law at King's College, University of London and then abroad in Paris and Florence. She spent much of her working life in London, where she was a lawyer for a number of years until taking the decision to change career and pursue her dream to write. Now, she writes full-time and lives with her husband and son in Northumberland, where she enjoys reading all manner of books, travelling and spending time with family and friends.
#Northumberland Dark Skies Publishing DCI Ryan LJ Ross Murder
Land Rites by Andy Maslen
Rewind, recap, Weekly Update w/e 11/04/21


Let U be a domain in the complex numbers (resp., real numbers). A function f:U⟶ℂ (resp., f:U⟶ℝ) is analytic (resp., real analytic) if f has a Taylor series about each point x∈U that converges to the function f in an open neighborhood of x.
A complex function is analytic if and only if it is holomorphic. Because of this equivalence, an analytic function in the complex case is often defined to be one that is holomorphic, instead of one having a Taylor series as above. Although the two definitions are equivalent , it is not an easy matter to prove their equivalence, and a reader who does not yet have this result available will have to pay attention as to which definition of analytic is being used.


Rkhunter is a very useful tool that is used to check for trojans, rootkits, and other security problems.
How to setup a daily scan report?
gets the latest database updates from their central server and matches your OS better to prevent false positives.
I just got a false positive!! What do i do?
False positives are warnings which indicates there is a problem, but aren't really a problem. Example: some Linux distro updated a few common used binaries like `ls` and `ps`. You (as a good sysadmin) update the new packages and run (ofcourse) daily Rootkit Hunter. Rootkit Hunter isn't yet aware of these new files and while scanning it resports some "bad" files. In this case we have a false positive. You could always have your datacenter or a system administrator check out the server to verify that it is not compromised.


text:
A Tale of Two Cities: Beijing and Detroit
Helena Norberg-Hodge February 16, 2012 Helena Norberg-Hodge Global News and Analysis
Source: Yes Magazine
Which symbolizes success, and which disintegration? It may not be what you think.
Around the world, two opposing forces are contending to define our future. On one side are those working for a new economy—one that is more equitable, decentralized, and attuned to the needs of people and nature. On the other are the forces behind corporate globalization and its consolidation of political and economic power. While thousands of people have braved the winter cold and pepper spray to alert the world to the plight of the 99%, our governments are still forging ahead with destructive deregulatory treaties. The latest of these comes in the form of a new Trans Pacific Partnership, which will further line the pockets of the 1 percent, while increasing redundant trade and CO2 emissions.
After three decades of studying the impacts of globalization on cultures around the world, I am convinced that focusing on the re-regulation of trade and finance is the path towards creating a more just and sustainable economy. Because it runs counter to the interests of the powerful corporations and banks, this can sound more daunting than it really is. Once people recognize that economic deregulation lies behind not only global warming and toxic pollution, but also poverty, unemployment, and societal conflict, then the groundswell of public pressure could turn the tide.
To see the effects of globalization and its antidote, it's helpful to look at what has been happening in two very different parts of the world: Beijing and Detroit. About 15 years ago, I visited rural China, and found that despite decades of Maoism, the people I encountered were able to meet most of their basic needs locally, using their own labor and ingenious small-scale technologies. In the villages, we were greeted with spontaneous laughter and humor, simple but delicious food, and examples of vibrant, intergenerational cooperation.
When I visited China again a few years ago, while shooting footage for our documentary film, The Economics of Happiness, much had changed. Thanks to global trade agreements, Western corporations and banks had moved their operations there, in search of cheap labor and lax environmental standards. As a result, China's cities had grown at a furious rate: Beijing's population alone to about 20 million. Many villagers had been drawn into the cities by the siren song of a 'modern life' offered by these supposed opportunities. Among those with "good" jobs in a TNC-linked factory, the work week ran 80 hours or more; the rest struggled to feed themselves and their families on meager and inconsistent wages. According to GDP, people had prospered, but living amid Beijing's grimy streets, gridlocked traffic and choking pollution, their quality of life had actually declined. Meanwhile the gap between rich and poor was widening dramatically.
This wasn't good news for the environment either. Far from being more efficient, urbanization causes per capita resource use to rise dramatically. When people are concentrated in a high-rise world of cement, steel and plastic, every need—food, water, building materials—has to be met from outside, requiring massive investments in infrastructure, along with huge amounts of fossil fuel for transport.
On the other side of the planet, the city of Detroit is moving in the opposite direction. Having tied its economy to the fate of the auto industry, Detroit suffered a steady loss of jobs as global competition and outsourcing led to factory closures—another symptom of globalization. But when our film team went there five years ago, we found a grassroots revolution underway. Tucked into streets lined with empty houses and crumbling factories, nearly 200 community gardens had sprouted up. These green oases provided a gathering place for community members, encouraging a sense of sharing, cooperation and belonging, and providing a vital link to the natural world. Today Detroit boasts more than 2,000 urban agriculture projects, each one helping to bring life back into the heart of the city.
In villages, towns and big cities throughout the industrialized world, a whole host of initiatives are helping to rebuild local economies, reconnecting people with each other and the earth. The importance of this fledgling movement should not be underestimated: while the Occupy activists are asking fundamental questions about the nature of our economic system, these locally-based projects are beginning to demonstrate a tangible alternative: localization.
Localization doesn't mean ending trade or producing everything we need at the village level; it simply means meeting as many of our needs as close to home as possible. This not only reduces energy use and greenhouse gas emissions; it also fosters well being. The smaller scale of local production means less pollution, and a healthier living environment. Localization also builds a foundation for psychological wellness by providing a sense of belonging to place and community. Another strength of localization is its adaptability: unlike the globalizing model being imposed worldwide, there is no single blueprint for localization that can be applied everywhere; instead it reflects the diversity of place and people.
Going local on a global scale would require several key steps: first, it's vital that society determines the rules for business, rather than vice versa. 'Free trade' treaties have freed global business from oversight by communities, regions, and even nation states. We have to insist that our governments get back to the same tables where they signed our rights away—this time to agree that businesses need to be place-based or localized, making them more accountable to those they affect. Second, subsidies need to be shifted. Rather than promoting the large and global, we need to begin supporting the small and local instead. For example, phasing out subsidies for energy and technology—and using the money saved to decrease payroll taxes—would dramatically reduce both CO2 emissions and unemployment. These kinds of policy shifts would also help stem the destructive tide towards urbanization in developing countries.
In the end, the trajectory of change in China may yet catch up with that of Detroit. Just a 45-minute drive from Beijing lie the ruins of "Wonderland", a never-completed theme park once slated to be the largest amusement park in Asia. Today, the 100-acre site looks like a dystopian Disneyland, complete with abandoned "castles", faux medieval villages, and skeletal hotels. But like the urban gardeners of Detroit, farmers from a nearby village are already reclaiming the land, growing food in the shadow of a potent symbol of the excesses of globalization.
Helena Norberg-Hodge wrote this article for YES! Magazine, a national, nonprofit media organization that fuses powerful ideas with practical actions. Helena is the director of The Economics of Happiness and the founder of the International Society for Ecology and Culture.


Mick McGuire is the Founder and Managing Partner of Marcato Capital Management. Based in San Francisco, Marcato manages a select number of passive and activist investments across all industries with a primary focus on opportunities in middlemarket public equities. Mick has spent his entire career in private and public equity investing and holds an MBA from Harvard Business School and a Bachelor's degree in Economics from Princeton University. Mick also serves on the board of Tipping Point Community, the Bay Area's leading poverty-fighting organization.


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[SOLD] 1978-2002 Lake Shore Boulevard West
This property is one of the last undeveloped sites along Lake Shore Boulevard West with unobstructed lake views. The City of Toronto received title to this land in 1995 as part of a transfer of lands from the Toronto Harbour Commissioners. Historically, it housed an oil and gas station that was relocated in 2007. As a vacant parcel of land, it was declared underutilized for transfer to Build Toronto (now part of CreateTO). We are currently preparing the site for development so that a new gateway to the waterfront can be established. The site offers a maximum permissible height of 65 metres.
Major Intersection: Lake Shore Boulevard West and Windemere Avenue
Surrounding Uses: Gardiner Expressway and rail corridor to the north; a mix of high-density residential to the east; Lake Ontario, parks and recreation trails to the south; and green space and the Humber River to the west.
Ward: Parkdale-High Park
Councillor: Gord Perks
Official Plan - Land Use Designation: Mixed-Use Area
Planning and Staff Reports:
Preliminary Planning Report
Establish this parcel of land as a gateway into this area of Lake Shore and the western waterfront
Establish view corridors south to the lake and west toward the City
Create an edge along Lakeshore Boulevard West and establish linkages and connections to the open-space network to the south
Ensure an environmental remediation program
[SOLD] 1978-2002 Lake Shore Boulevard West Photo #1