DE JEVU ALL OVER AGAIN?
This will be the third time the regular church attenders will hear at least part of these verses. Verses 4-11 were read on the Baptism of our Lord B and verses 14-20 were read on 3 Epiphany B.
The theme on the First Sunday in Lent in all three years is Jesus' testing -- the parallel passages are used in Years A and C. I will concentrate on verses 12-13, which deal specifically with the testing in Mark.
While there are sufficient differences between Mark's testing story and those in Matthew (4:1-11) and Luke (4:1-13) to suggest different sources, there are also a number of similar elements.
All three (in different ways) have a reference to what happened before -- namely, Jesus' baptism. Mark says, "And immediately." Matthew says, "Then." Luke has the genealogy between the baptism and the temptation, but he states that Jesus is "returning from the Jordan," which is where he was baptized.
A possible theme could be "Life after Baptism" -- it's a life full of testing.
THE WORK OF THE SPIRIT -- THE REAL "REAL WORLD"
In Mark, the Spirit is "casting out" or "throwing out" (ekballo) Jesus into the wilderness. (Matthew and Luke are a bit less graphic with the Spirit "leading" [anago & ago] Jesus.) In the wilderness Jesus is to be tested (peirazo) by Satan (Mk) or the Devil (Mt & Lk). I wonder how many people really want to be led by the Spirit -- if this is where the Spirit leads!
Another possible theme is "Life in the Real World."
Another way of understanding the phrase "real world" is that the universe is made up of unseen beings who influence our lives. Our text mentions a Voice/God, the Spirit, Satan, and angels. From our faith perspective, these are part of the "real" world. The world we live in involves more than just what the eyes can see.
All three indicate that it took place in the "wilderness" or "deserted place" (eremos). All three use the word "40". Mark and Luke have the testing lasting 40 days. Matthew has Jesus fasting for 40 days and the testing following. Both these words are used in the LXX in reference to Israel's 40-year wandering in the wilderness (Dt 2:7; 29:5; see also 8:1-4).
All three use the word peirazo. Translators have to decide if the word means "to test" or "to tempt". It has both meanings. In a "test" the tester is not trying to make the testees fail, but to determine what they know or what they can do. In a "temptation" the tempter is trying to make the temptees fail.
Lowe and Nida give these definitions for this word.
God tested Abraham by asking him to sacrifice his son (Gn 22:1).
When God rained bread from heaven, God asked that they gather only enough for that day. "In that way I will test them, whether they will follow my instruction or not" (Ex 16:4).
A purpose of God's testing is given in Dt 13:3b: "for the LORD your God is testing you, to know whether you indeed love the LORD your God with all your heart and soul"
A closely related word, ekpeirazo, is used in Dt 8:2: "Remember the long way that the LORD your God has led you these forty years [the LXX does not have "40 years"] in the wilderness [eremos -- same word in temptation stories], in order to humble you, testing you to know what was in your heart, whether or not you would keep his commandments."
I think that the purpose of Jesus' "testing" in the wilderness is closely related to Dt 8:1-10. As I mentioned above, the same Greek words for "wilderness" (v. 2) and "40" (v. 4) occur in the LXX in this section. In the accounts of Matthew and Luke, Jesus quotes Dt 8:3 in response to turning stones into bread.
Generally when teachers or driving instructors give tests, they are not trying to flunk the testees, but to help discover what they know and what they can do -- their ability to do what is required of them. Doctors and lawyers and accountants among other professions have to pass tests so that the public can be assured that these people know what they are doing.
Recently I was looking at some of my many files under the "quotes" folder. One such quote is called, "The Road to Holiness."
I believe that this is God's purpose in times of testing -- to help us grow -- to show us that we have the faith and ability to stand up to the testing -- that we will trust God in difficult times -- to strengthen our faith and Christian character. At the same time, Satan has his own purpose -- to turn the testees away from God -- to "tempt" them to sin.
Every other time peirazo is used in Mark, the "testers" are human beings (always Pharisees): asking for a sign from heaven (8:11); asking about the legality of divorce (10:2); and with the Herodians, asking about paying taxes (12:15).
I don't think that most of the "testings" of our faith come from Satan or demonic beings, but from other people.
From whomever it comes, the tempter/tester does not have the power to make someone do something. Temptation is not coercion. The serpent in the garden didn't make Eve and Adam eat the apple. Satan in our text can't make Jesus turn against God. "To tempt" means to try and convince someone to do something. It means enticing someone to want to do something. Tempters can't make someone do something bad, but try to make the temptee want to do something bad. They don't take away the will. Rather, they try to change one's will.
In my own experience, often when I sin, it is not a problem of knowledge. I usually know what is good and bad -- we've known that since the time of Adam and Eve. It is a problem of the will. I just want to do the bad. Or there are times I just don't want to do the good. More often than not, it is not a question of ignorance -- of not knowing the difference between good and bad. It is a question of one's will or conviction -- what do I want to do and what will I do.
It is the responsibility of the parents and of the church not only to teach its baptized members the difference between right and wrong; but also to help motivate them to want to do the right thing. Satan (and much of human society) is still around trying to make us want to do the wrong thing.
I will look at the "characters" in Mark's story (the Spirit, Satan, wild beasts, and angels) and indicate their roles through the rest of Mark.
pneuma ("S/spirit") occurs 23 times in Mark: 6 refer to the (Holy) Spirit, 3 to an inner human spirit, 14 to evil/unclean spirit.
The Spirit's role in our text can lead us back to Deuteronomy where it is God who tests in order to know the people's hearts, whether or not they loved God with all their heart and soul. Is this the purpose of Jesus' testing before he begins his public ministry? Is this the purpose of seminary training (and the ability to pass some tests) before we are ordained into the public ministry? Should there be a period of testing -- to learn the character of one's faith and abilities -- before one is entrusted with important ministries of the congregation? We certainly want to know something about the abilities of an organist before s/he leads the congregation in worship or a treasurer before handing the checkbook over to him/her. We tend not to be so choosy about selecting readers or ushers or greeter or committee chairs, but should we be?
The only other activity of the Holy Spirit in Mark, besides casting Jesus into the wilderness, is speaking through David and speaking through disciples who have been arrested. In the first instance, the Holy Spirit gives authority to what David says. The second instance, which we might relate to the "testing" text, is that the Holy Spirit can make good come out of a bad situation. While we don't seek to be arrested or to be tested in the wilderness (or at work or at school or wherever), when such things happen, the Spirit can use them for good -- strengthening one's faith, creating an opportunity to witness, etc.
"Satan" comes from the Hebrew verb STN meaning "to be hostile, to oppose". The noun means "adversary," who usually is an earthling in the OT, but in 1 Chr 21:1; Job 1 & 2; Zech 3:1, 2 it refers to a heavenly being and is transliterated "Satan".
In the LXX, the Hebrew satan was always translated by the Greek diabolos ("the slanderer, the devil") -- a word that doesn't occur in Mark.
"Satan" occurs in 5 verses in Mark.
Starting with the last occurrence, "Satan" seems to be anyone whose mind is not set on divine things -- who seeks to stand in the way of Jesus (or us?) fulfilling God's purpose in our lives. "Satan" knows enough not to be divided against himself -- which may mean that Satan is clear about his purpose and role in the universe, which is to seek to take away the Word of God, which is easily done with people who are too "hard-hearted" for the Word to take root. If God's Word is not well rooted in our lives, then we can't know God's purpose for us. Thus it will be easy for Satan or other people to steer us away from that purpose.
I've known too many congregations that could learn a lesson from Satan -- a house that is divided against itself cannot stand. How many congregations are falling because they are not clear about their God-given role and purpose in the world?
I've heard Luther's thought summarized by saying that God uses the devil to test people. God's purpose in the testing is to strengthen faith, but the devil has his purpose in the testing -- to destroy faith. I think that Jesus' time with Satan resulted in a stronger faith that could have only happened by going through the 40 days of testing.
"Lead people into sin!" muttered the Evil Spirit contemptuously. "Why Lord, even before I can get a chance to say a blessed word to anyone he has already gone and sinned!"
therion occurs only here in all of the gospels. It is unique in Mark's account of the testing. It is a word that refers to any wild animal or beast. It is used in Acts 28:4-5 for the viper who bites Paul. It is used in Revelation to refer to the "beast" (representing the Roman Empire) who is worshiped rather than God.
There are two general ways of understanding the "wild beasts".
We might understand them as further dangers to Jesus in the wilderness. They are beings that would seek to prevent Jesus from carrying out his ministry in the world. In congregations they may be called "alligators" or "sharks". In a broader sense, we might also understand them allegorically as anything that might hinder the ministry of clergy, individuals, or congregations. Could we consider "We've never done that before," or "This is the way we've always done it," as wild beasts? Could we consider ignorance and apathy as wild beasts? (Answer: "I don't know and I don't care!") I'm certain that every clergy could come up with a list of "wild beasts" that are present in his/her congregation. Whether or not s/he wants to name them in a sermon is another question.
Another understanding of Jesus being with the "wild beasts" is as an image of the fulfillment of Isaiah 11:6-9. "The wolf shall live with the lamb," etc. Jesus being the wild beasts and not being harmed could be seen as a sign of the coming kingdom.
Both the Greek (aggelos) and Hebrew (mal'ak) words translated "angel" have the basic meaning "messenger." Just as earthly rulers needed messengers to carry messages to others before there was the post office and faxes and e-mail, so it was thought that God needed heavenly messengers to carry the divine word to earth.
Besides our text, this word occurs five times in Mark.
Quoting Malachi 3:1, it is the messenger who goes ahead of you, preparing your way (1:2).
They will be part of the entourage when the Son of Man comes in his Father's glory (8:38) and then they will gather the elect (13:27); but they do not know when that time will be (13:32).
The risen dead will be like angels -- unmarried (12:25).
The eschatological emphasis on angels could indicate that Jesus with the wild beast is a picture of the peaceful kingdom that is coming. However, I would more likely present a contrast between "wild beasts" and "angels". The wild beasts are those who would "devour" Jesus. Angels are those who "serve" or "minister" (diakoneo) him.
Here, I don't think it's too important to try and define "angels," except as those who serve. Even that word can lead to a little confusion. Even though Jesus said, "For the Son of Man came not to be served but to serve, and to give his life a ransom for many" (10:45), every other instance of the word, he is being served! Angels serve him in our text. After he heals Peter's mother-in-law, "she serves them" (1:31). A group of women served ("provided" in NRSV) him when he was in Galilee (15:41).
Twice Jesus uses a related word to entreat his disciples that they need to be servants (9:35; 10:43).
Our Lutheran communion liturgy ends with the dismissal, "Go in peace. Serve the Lord." One might explore ways that we "serve the Lord." When we are serving, then we are functioning as angels.
As I think about times when my faith has been tested/strengthen, often the best service that others can do for me, is to let me share the experience. Perhaps that is why this event is followed with Jesus' first public announcement. Maybe there is a connection between the Holy Spirit leading into times of testing and the Holy Spirit speaking through us. This text might lead to some autobiographical sermons.
Just as one can name the "wild beasts" in a congregation, one can also name the "angels" -- those who are godly servants. It would probably be safer in a sermon to name the "angels" in a congregation than the "wild beasts."
Lent is the season where we watch Jesus take his God-given path to the cross. Along the way there will be those who would try to steer him down a different path -- Satan and "wild beasts". As Jesus passes these "tests" his faith and resolve grows stronger to carry out his mission in Jerusalem. Also along the way there are those who will minister to him and help him in his needs. So may it be for each of us during our Lenten journey.


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Three Days in the Country*** (National Theatre, Lyttelton)
Posted: July 28, 2015 in Theatre
After supposedly suffering from a long spell of writers' block, Patrick Marber has reappeared in true London bus style with three productions in quick succession. First came the Donmar's revival of Closer, followed by The Red Lion in the Dorfman and now here is his new version of Ivan Turgenev's comedy of unrequited love, A Month in the Country. With the rural sojourn cut by around four weeks, perhaps we should feel cheated, but Marber is in top form, delivering a script that is concise, witty and modern. And, with a production that is cast to the hilt, surely nothing could go wrong. Unfortunately it could and Marber the director makes a very good attempt at sabotaging the work of Marber the writer. To start with, Mark Thompson's set – an array of perspex panels in front of a backdrop of a clouded sky and a square, descending red sun that later becomes a door – is truly dreadful and does nothing to complement the play. And then, Marber seats actors not involved in scenes, in varying numbers, on green chairs around the perimeter of the stage; towards the end, all the actors are so seated, standing in turns to deliver their lines. What Marber is aiming to achieve by making a polished production in one of our premier theatres appear like a first read-through in a rehearsal room is one of the evening's great mysteries. In earlier stages, at least the actors' movement around the large, empty stage is uninhibited, even if they have to speak to each other from some considerable distance apart and, in one case, make a references to an absent character being "in the billiard room" when, in fact he is sitting in clear view. Amanda Drew is a majestic Natalya, bored with her neglectful husband (John Light), toying with her long-time suitor (John Simm) and competing with her ward (Lily Sacofsky) for the attentions of her son's new tutor (Royce Pierreson). It is all delightfully played, never more so than in the second act opener in which the family doctor (Mark Gattis – developing into our finest character actor?) makes a hilarious proposal of marriage to an old lady's snuff-taking companion (Debra Gillett). It says a great deal for the writing and the acting that, ultimately, they are able to triumph over the peculiarities of a very quirky production.
Performance date: 27 July 2015
Temple**** (Donmar Warehouse)
Bakkhai**** (Almeida Theatre)

redpajama_set_name: RedPajamaCommonCrawl


We sat down with Dylan Farrell to get his take on the industry, choosing the right employees, and advice for up and coming designers!
Jacqueline Liddicoat outlines the major changes to working Visas in the architectural and design industries. Everything you need to know is here.


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Tudo por um Popstar é um filme brasileiro baseado no livro de mesmo nome da escritora Thalita Rebouças. O filme foi lançado no dia 11 de outubro de 2018, protagonizado por Maisa Silva, Mel Maia e Klara Castanho.

Enredo
Gabi, Manu e Ritinha são três adolescentes apaixonadas pelos Slavabody Disco Disco Boys, uma boy band americana, febre entre as adolescentes de todo o mundo. Um dia, a banda anuncia uma turnê mundial e que virá pela primeira vez ao Brasil para um show no Rio de Janeiro. Dispostas a tudo para conseguir realizar o sonho de ir ao show e conhecer os astros, as três amigas entrarão na aventura mais doida de suas vidas, contando com a ajuda da prima de Manu, Babette. O que as meninas não esperavam é que, além de enfrentar os pais, elas tem que lidar com os ingressos esgotados e o fato de que Dani, a garota mais popular do colégio, vai para o show também, fazendo questão de provocá-las.

Elenco

Filmagens
As filmagens ocorreram no Rio de Janeiro entre 23 de outubro e 30 de novembro de 2017.

Divulgação
Em 30 de agosto de 2018, Maisa Silva publicou em seu canal do YouTube o trailer oficial do filme.

Bilheteria
Na primeira semana em cartaz, o filme foi assistido por mais de 500 mil pessoas, ficando em terceiro lugar nas bilheterias do Brasil, com R$ 5,7 milhões arrecadados. Na quarta semana e já nos últimos dias em cartaz, o filme superou a marca de um milhão de espectadores.

Recepção
Tiago Soares no Cinema com Rapadura disse que é um "drama barato [que] deixa tudo menos verossímil e mais exagerado, assim como as cenas musicais que se utilizam de um lip sync bem ridículo." No CinePOP, Pablo Bazarello disse que o filme "não é um divisor de águas ou um filme que irá mudar o jogo sobre o tema. No entanto, possui seus temas relevantes e atuais nas entrelinhas, mesmo que tratados de uma forma tão ingênua quanto o resto do texto."

Barbara Demerov pontuou o longa no AdoroCinema com nota 2/5 indicando que é fraco. Em sua crítica no Papo de Cinema, Marcelo Müller disse que "é ingênuo ao ponto de mostrar estadunidenses cantando em português, por ser conveniente ao clima de celebração. Mesmo assim, tem méritos e um carisma que o sustenta."

Ligações externas

Filmes do Brasil de 2018
Filmes gravados no Rio de Janeiro
Filmes baseados em obras de autores do Brasil
Filmes sobre adolescentes
Filmes de comédia musical do Brasil
Filmes distribuídos pela Paris Filmes
Filmes de comédia musical da década de 2010
Filmes em língua portuguesa da década de 2010

redpajama_set_name: RedPajamaWikipedia


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← Stockholm, Sweden Percussive Arts Society
Get A Grip →
Vince Battista on The National Mall in Washington, D.C.
Sgt. Major Vincent J. Battista, Percussion Section Leader
-The United States Army Band, "Pershing's Own"-
Fort Myer, Virginia, 1940 through 1969.
Sgt. Major Vincent J. Battista
-Official United States Army Band photograph of Vincent Battista with the draped "Kennedy Drum"-
The Kennedy funeral procession drum beat written by V. Battista
For lovers of culture, The National Mall in Washington, D.C. rivals any destination in the world. The nineteen buildings that enclose its 2 mile, 300 acre rectangle, are part of the Smithsonian Institution and house some of the world's greatest art and precious artifacts of the United States. These treasure houses, courtesy of the U.S. taxpayer, are open without charge to the public.¹
My wife and I visited The Mall in early February, 2009. Our first stop was the newly refurbished National Museum of American History. Its interior had been gloomy, filled with an uninviting pastiche of poorly organized, dowdy exhibits. Now, its interior is bright and there are many well designed exhibits.
Just a few feet from the restored Star Spangled Banner, the great flag that waved O'er the ramparts of Fort McHenry while the U.S. beat the Brits for the second and last time, we came upon a U.S. Army rope tensioned field drum and drum sticks that had been used in President John F. Kennedy's funeral procession. Above them was a photograph of the man who had played that drum, Vincent Battista.
This was a surprise. Vince is a friend of ours, a quiet, reticent man who had never mentioned the existence of a public display such as this. We had been introduced to him and his wife Phyllis, by Bill Platt, Principal percussionist with the Cincinnati Symphony Orchestra (ret.), probably during the 1999 Percussive Arts Society International Convention in Columbus, Ohio. According to Bill, no mean drummer himself, Vince was one of the all-time great snare drummers and section leaders. Recently, Bill wrote:
"In 1965, I think, Jack Moore became the Principal of the Rochester Orchestra, having just completed 3 years with Vince in The Army Band. Jack was very much influenced by Vince's playing and passed along many of Vince's concepts to me during the year. I graduated from Eastman on June 3, 1966 and received my draft notice the very next morning! Jack suggested I go to DC and play for Vince. I did, however the band had no immediate openings, BUT Vince talked with the Colonel and they made an opening for me. This gesture on Vince's part saved my deployment to Vietnam and probably saved my life.
The next 3 years along side Vince in the band were probably the best years of my life – I learned so much from him – all who knew him at that time would agree that no one got the sound out of a snare drum like Vince did! There are a lot of great snare drummers, but Vince showed me that you can actually make MUSIC on an instrument that basically produces noise. Vince's hand positions are impeccable thanks to his affinity for Moeller and his hands are a model for me to this day.
Sanford A. "Gus" Moeller (1886-1966) was Vince's close friend and mentor. In response to my query regarding his teachers, Vince wrote:
"My main teacher influences were Ferdinand Lhotak, former Sousa euphonium player and my band leader at Valley Forge Military Academy. He certainly was an inspiration. Also Bill Kieffer, retired drummer and xylophone soloist from the U.S. Marine Band (Charles Owen's predecessor). Above all, whatever I have accomplished as a snare drummer, I credit my association with dear friend Sanford A. (Gus) Moeller."
Recently, Battista made a 37 minute DVD (cymvideo@msn.com) titled Vince Battista Presents a Tutorial, The "Gus" Moeller School of Drumming in which he demonstrates Moeller's snare drum techniques. The Moeller Book (Ludwig Drum Co., ©1956) contains three film strips showing Moeller, frame by frame, playing a right and left hand stroke and they help clarify what Vince recalls as Moeller's "arms around a barrel" motion.¡
"I like to make drums so well it is never tiresome", – Gus Moeller
Moeller was a dedicated snare drummer and gifted drum maker. His drums are collector's items, much revered by devotees of the "Ancient" Style of field drumming. His last drums-1960-were assembled by Baltimore drum maker Buck Soistman and can be seen behind the snare drummers in The United States Army Band (TUSAB) photograph below and, unassembled, behind Moeller in the photo of his workshop. ²
It is one of those drums that resides today in the Museum of American History. Vince explains:
"The joint services drum corp came into existence because of a request from Jackie Kennedy. She wanted the President;s body to be transported from the White House to the Capitol Rotunda at the sound of drums only. Hence, the "joint service drum corps" was assembled in about 24 hours. Our assistant band leader, Col. Gil Mitchell immediately contacted the other military services and within hours assembled all drummers in our rehearsal room at Ft. Meyer. He appointed me as lead drummer and asked me to play the beat to be used in the procession. When I received a certificate signed by Gen. Wehle,³ it was for performance of duty as principal drummer of joint service drum corps.
Shortly after the Kennedy funeral, the commanding officer of the TUSAB received a request from the Smithsonian Institution for a drum that was used in the funeral procession, to be used as the basis of a future public display. At that time, all inquiries, questions or comments about drums or drummers received by the band were referred to me for solution. It was certainly an easy decision for me to donate the drum that I used! It was not my own drum but one of the five drums ordered by TUSAB as shown in the Gus Moeller photo. Col. Gil Mitchell was happy to approve the transaction and made the necessary arrangements to transfer U.S. Army property (Drum) to the Smithsonian.
I have been told that the Smithsonian has a facility in Arizona where they hold in storage items intended for display at some future date. Initially, I did not include sticks and sling because I continued to use them until my retirement in 1969. In fact, it was not until about 5 years ago that I made an appointment with a Mr. Rubenstein of the Smithsonian, at which time I presented him with the sticks and sling I used in the funeral; together with an official army photo of me with the drum and a copy of a "certificate of Appreciation" for performance as principal drummer of the joint services drum corps. Mr. Rubenstein was happy to receive these items and they all became part of the final exhibit. Shortly thereafter, I received a certificate from the Smithsonian acknowledging the "gift" of these items and signed by Director Brent D. Glass."
"The Valley Forg"
-From A Revolutionary War Drummer's Book, ca. 1778, Massachusetts Historical Society-
At age sixteen, Vince attended Valley Forge Military Academy (founded 1928) outside Philadelphia, PA on a band scholarship, graduated from high school at Valley Forge in 1938 and and graduated junior college in 1940. Vince auditioned for the US Army Band in 1939 and joined in September the following year after graduating and completing ROTC camp. Vince served overseas in Algiers during the 1940s. His wife Phyllis, in Bill Platt's words, "mother to all us kids in the army band", passed away in November, 2008 and is buried in Arlington National Cemetery, Arlington, VA..(Vince died on the morning of November 29, 2010. His son and family were at his bedside.)
I am grateful to Vince Battista and Bill Platt for sharing their memories and giving me permission to quote them. Vince sent me copies of a Moeller speech and a personal letter from Moeller dated 1954 as well as all the photographs in this article with the exception of "The Valley Forg" & "The Civil War Veteran". I also thank George Carroll, Canadian by birth, who was a member of TUSAB, established the Old Guard Fife and Drum Corps and, in 1962, retired from TUSAB and established the Colonial Williamsburg Fifes and Drums and, later, the fife & drum corps of Epcot Center in Florida. A historian, author, teacher and drum maker, Carroll's American Drums of War-1607 to 2007 , (© Coleraine Incorporated, Alexandria, VA., 2008) is an historical reference deserving a wide readership.
J. Burns Moore, Moeller, Eames, Soistman, Reamer and Cooperman are some of the great field drum manufacturers. Their interconnectedness is as fascinating as their drums. So too are the percussionists of the United States military bands throughout the 20th century.
¹ The Library of Congress is not officially a part of The National Mall, but its vast resources and visual grandeur are as impressive as any of its brethren on the Mall.)
² The six small drums in front of the Army Band were made by "Buck" Soistman in 1968-69 for Richard M. Nixon's first inaugural parade. Soistman was very close to Moeller. After Soistman's death in 1975, his widow Marie, passed on Moeller's "Bending Machine" and other drum making tools and materials to Bill Reamer.
³ Phillip Campbell Wehle (1906-1978), Maj. General US Army, Commanding General of the District of Washington, D.C.-1962-65. Wehle oversaw three state funerals in a span of 12 months: John F. Kennedy, Nov. 1963; Herbert Hoover, October, 1964 and Douglas MacArthur, April 1964. Wehle helped plan all three of these funerals which featured Black Jack, the riderless horse. (Black Jack was used once more for the funeral of Lyndon Johnson in 1976.)
Posted by robinengelman on July 14, 2009 in Articles, Fifes & Drums, History
Tags: A Revolutionary War Drummer's Book, Bill Platt, Black Jack., Buck Soistman, Cincinnati Symphony Orchestra, Colonial Williamsburg Fifes and Drums, National Museum of American History, President John F. Kennedy, Sanford A. "Gus" Moeller, The horse, The National Mall, The United States Army Band, Valley Forge Military Academy, Vince Battista
8 responses to "Vince Battista on The National Mall in Washington, D.C."
Andy Reamer
Hi, Robin — Great stuff — Thanks so much! I've known the name of Vince Battista but was never fortunate enough to meet him, though I'm sure my late father Bill probably did. This is a really valuable service you're performing here, and it's inspirational too! Thanks.
Doris Zampieri Gatto
Wonderful article. I am thankful that Vincent (Jim to me) received the recognition that he deserves. I'm proud to be related to him thru marriage, Phyllis was my late husband's sister. Always enjoyed being in Vince's company.
Liz Ecton Ortuzar
Wonderful article, Mr. Engleman! I am Dick Ecton's daughter, and the goddaughter of Vince and Phyllis. As you well know, my Uncle Vince is a kind and humble man – I didn't know about the drum and sticks on display until rather recently!! In the late 60's, TUSAB's percussion section was top notch. I would love to have some of their concerts on cd – what a treat that would be!
Gordon & Marie MacDonald
We have been priviledged to know Vince and Phyllis since 1977. His reserved manner was complemented by Phyllis's outgoing style. It was only by visiting their home that we learned of his military accomplishments and actually saw and heard the renowned drum and cadence. Later, Vince became a member of the Charleston Symphony and we heard an expanded demonstration of his percussion skills. We are so glad that others can share our experiences via the exhibits, the Moeller CD and this website.
Trica Gatto
Neat article, and thank you for sharing history. Vincent is Uncle Jim to me, it's cool to have him as an uncle. It was always a treat to visit with him and Aunt Phyllis. I'll never forget all the times boiling live crabs in their kitchen. I have always known that his drum was on exhibit but I have not actually seen it. I agree Liz I would love to have some of the concerts on cd too!
Barbara Battista
"Vince" is my uncle (my deceased father's brother). Among my fondest childhood memories are those of our family reunions in the DC area, visiting with "Uncle Jim" (which I have always called him) and his beloved wife, my Aunt Phyllis, and their son, my cousin Barry. Uncle Jim has always been quiet and unassuming, never sharing with any of us his accomplishments. Thank you for sharing his history with the public. I have a reservation to attend the Cherry Blossom Festival in DC next April, and I can't wait to visit the exhibit in the Smithsonian which honors a man who so deserves to be honored. We are all so proud of you, Uncle Jim.
John Battista
Vincent Battista was my 'Uncle Jim'. One of my earliest memories of him was in 1947, flying from NY to DC to attend the ceremony at the Tomb of The Unknown Soldier on what was then Armistice Day, November 11, also my birthday. He was able to get us tickets to the ceremony and I saw President Truman give the memorial address. In my teen age years, I took up the drum as my instrument of choice, but never even came close to the talent of Uncle Jim. I have seen the display in the Smithsonian and was awed by the fact that a member of my extended family took part in a historical event and was so honored for his participation. It is truly deserved!
Garwood (Gar) Whaley
Thanks Robin for a great article on Vince. I was fortunate enough to serve with Vince in The United States Army Band and can only support what Bill Platt said about him. Not only an incredible snare drummer and musician (everything he played was musical!) but an incredible human being. Vince took me under his wing when I first joined the band and was like a father to me. In fact, he is my son's god father. Before joining the band, I had never marched with a rope drum and found it problematic. I used to practice marching with Vince's rope drum in his basement after concerts. After several weeks of this and Vince's rewarding me with cold beer, I actually got the hang of it! I credit Saul Goodman, Moe Goldenberg and Vince Battisti as my most influential mentors.


The downward trend continues here. Camel really starts to bring the pop out out here, as evidenced by the rather weak title track which opens the album. The main riff of the song isn't bad at first, but by the end of the song you are left quite bored and almost angry at these guys for making you sit (or stand, or run in place, or whatever you do when you listen to music) through that. But then! They quickly redeem themselves with "Echoes," a track that harkens back to the band's former musical glory. I'll admit, this is a solid song, and it was worth letting the first song finish so I could get to it, but disappointment peaks it's head out from around the corner and then comes over to hang out for the rest of the album.
For being a predominantly poppy record, Breathless isn't awful, but pop songs were never the forte of the 70's symphonic bands. The pop songs here are far better than those on their next record, but other than that, there isn't anything positive to say about this album. In hindsight, "Echoes," while being the highlight of this album and "The Sleeper" also standing out as a decent instrumental, really don't have anything on the good tracks from Rain Dances. Oh well.


text:
March 2023 (Germans and inhabitants)
Basic Dental Skills, Scientific foundations and key skills, General Medical Fundamentals, Specialist and case-specific clinical dental hygiene and emergency medicine, Healthcare Structures and Processes, Practical vocational training, Science and Research
Dental hygienist is a dental assistant profession that has been internationally established for more than 100 years. According to the "Recommendations on University Qualifications for Health Care" issued by the Science Council in 2012, the academisation of Dental Hygienist (B. Sc.) is another important building block in the healthcare system of today and tomorrow: "This is all the more true as prevention services are becoming increasingly important in view of increased teeth preservation and the increasing prevalence of periodontal diseases and their interactions with other, especially infectious diseases. Dental hygienists in particular are increasingly taking on complex tasks in dental prevention and therapy," says the Science Council.
open admission
General higher education entrance qualification, university of applied sciences entrance qualification or an equivalent university entrance qualification or university entrance qualification for qualified professionals according to Section 70 ThürHG* Proof of German language level B2 (for international applicants) Proof of completed vocational training in one of the following professions: Dental specialist (ZFA), dental prophylaxis assistants (ZMP), dental hygienists For graduates of advanced training courses in Dental Prophylaxis Assistant (ZMP) and Dental Hygienist (DH), additional achievements can be credited after an individual examination, which leads to a reduction in the duration of the course *ThürHG § 70 (2) Professionally qualified persons without university entrance qualification, who have completed vocational training and have worked full-time for at least three years, are also entitled to pass an entrance examination to study in a particular course.
You can apply without obligation at any time via our online portal. We will then check your application documents and invite you to a personal interview.
650.00 EUR / Month
EUR 650 per month plus one-off enrolment fee of EUR 200 Tuition fees are reduced by 10% for graduates of a course at an SRH university, as well as for SRH employees and their relatives.
Neue Straße 28 - 30
https://www.srh-gesundheitshochschule.de/dein-studium/erasmus/
Erasmus+ Coordinator
Frau Prof. Dr. habil. Claudia Wahn
0721 / 35453-27
claudia.wahn@srh.de
0365 / 773407-77
info@gesundheitshochschule.de
https://www.srh-gesundheitshochschule.de
Management of Interests
Frau Christina Müller
0365 / 036577340777
christina.mueller@srh.de
SRH University for Health
Health and Social Management
part time degree programmes for professionals, part time
Gera, Leverkusen
Inclusive childhood educational sciences (0-12 years)
Logopaedics
Düsseldorf, Bonn, Karlsruhe, Stuttgart
Medical and Health Education
Gera, Stuttgart


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The Southeast Career Technical Academy (SECTA or Southeast Tech) is a magnet public high school in Las Vegas, Nevada. Opened as the Southern Nevada Vocational Technical Center in 1966, it was the first public educational institution of its kind launched by the Clark County School District. Its name was changed before the start of the 2007-2008 school year.

About
SECTA is a four-year comprehensive high school accredited by the Northwest Accreditation Commission, designed to offer career technical training programs with an academic curriculum. It is located on top of the Whitney Mesa Nature Preserve, which is right next to Thurman White Middle School. It is one of eight career technical academies in Las Vegas.

Majors offered
The academic majors include:

3D Animation for Film & Games
Architectural Engineering Drafting & Design
Automotive Service Technology
Internetworking Technology
Website Interactive Media
Cosmetology
Culinary Arts
Construction Engineering
Graphic Design & Illustration
Nurse Assisting
Sports Medicine
Photography
Teaching and education

Extracurricular activities
SECTA students won 13 Gold, 24 Silver, and 19 Bronze Medals in the 2012 SkillsUSA State Competition. It has the most College of Southern Nevada Tech Prep College Credits garnered in the state in 2011.

The school mascot is the Roadrunners. It competes in the Southeast Division of the Sunrise 4A Region in every sport sponsored by the Nevada Interscholastic Activities Association with the exceptions of football, track and field, and wrestling. In 2012, SECTA won the Nevada State titles in Men's Bowling, Men's Soccer, and Men's Volleyball. The school also fields swimming, basketball, and baseball teams.

Alumni

 Cameron Miller, member of the Nevada Assembly
 Kevin Rose, former partner at Google Ventures

References

External links

Clark County School District homepage

Clark County School District
Educational institutions established in 1966
Magnet schools in Nevada
Buildings and structures in Paradise, Nevada
School buildings completed in 1966
High schools in Clark County, Nevada
Public high schools in Nevada
1966 establishments in Nevada


Should you be wearing a halo or horns? This Sizzling Fallen Angel Costume is a bustier dress with a back zipper and a tiered skirt, made from a polyester/rayon/nylon/spandex blend. The bodice is black poly interlock knit with a shiny wet-look finish. It has a center inset panel of gray interlock overlaid with black flocked tulle and laced with black satin ribbon to resemble a corset. The shoulders and long flared sleeves are black knit mesh. The gathered, tiered skirt has a base layer of gray interlock, with successively shorter tiers of flocked black tulle and two tiers of black shiny interlock. All tiers have jagged edges and are longer in back than in front. The halo is a circle of black feathers on a black plastic headband. The black feathered wings are on wire frames with elastic straps. Our matching fallen angel wig goes perfectly with this angel costume!


Total tax assessed: 0.4 geld units; 1.1 exemption units (quite small).
Lessland appears in 2 entries in Domesday Book (show all).
Taxable units: Taxable value 1.1 exemption units. Taxed on 0.62.
Ploughland: 2 ploughlands (land for). 2.5 men's plough teams.
Lords in 1066: Almer; Godman; Swarting; Woodman; Wulfnoth.
Value: Value to lord in 1066 £1.5. Value to lord in 1086 £0.8. Value to lord c. 1070 £1.
Lords in 1086: Peverel; William son of Azur; William son of Azur's nephew.
Places mentioned in this entry: Borthwood; Branstone; Lessland.


Anton Kreil, the managing partner at Jakubstadt Pte Ltd known for his work in professional training and coaching. Anton Kreil is currently a part of the Jakubstadt Holdings, Institute of Trading and Portfolio Management, FA Ltd.
Anton Kreil is known worldwide for his professional courses. Anton Kreil had been a huge part of the television in the year 2009 when he was a part of the famous British television series named Million Dollar Trade which was basically the show where the recreated Turtle Trades experiment. The television series had one season only.
Anton Kreil was born in the year 1979 and raised in Liverpool. Anton was not born in a well-off family and faced a tough life in his childhood. When Anton was 4 years old, his father moved to Germany, and his mother used to work for long hours just to feed the family.
Anton and his younger brother spent their childhood playing games like football with the kids next door. Anton is very thankful that he was born poor because that helped him a lot to be the man he is today. Anton has seen poverty while growing up and at an early age of 13, he realized that he had to get out of this and make a better living for himself.
People around Anton were more focused on surviving life than living is, so Anton worked hard to make sure he was able to live his life and not just survive like the people around him. Anton decided to attend college, and so he left his home at the age of 18.
Anton was the first person in his family who attended University. Anton got into Manchester University and studied Economics and enjoyed his life by parting from 18 years to 21 years of age.
Anton had a dream of working as a trader in one of the topmost Investment banks of London. Anton on his second year of college was invited to a presentation by Goldman Sachs for an interview.
He cracked the interview with flying colors and got the job in one of the best Investment Banks as a trader at the age of 20 before he was left with a whole year of college.
After graduation, Anton went to work as a trader in London, and he was sent to Wall Street New York to work. Ongoing back to London Anton made a name for him by talking big risks and soon became a known name in the trading business. He worked at Goldman Sachs he moved to Lehman Brothers to look after their European Trading Operations.
He worked at Lehman Brothers for 2 years and made Lehman Brothers the number one in European Trading franchise. Soon Anton became the go-to man. When someone wanted to get, a business deal done irrespective of the size or complexity of business everyone would go to Anton.
Anton became the Vice President of JP Morgan's Pan European Trading Desk just after his 26th birthday. While working in JP Morgan Anton realized that he did not want to work for others any longer because it was not making him happy. So he left his job sold all his assets, left his job and bought a plane ticket to South Africa and traveled to find his life inspiration.
Anton was the first child of his parents. He also had a younger brother who grew up with him. Anton lived in Liverpool until the age of 18 and then moved to Manchester for a college education.
Mr. Kreil is expected roughly to have a net worth of $10 million in the year 2017. Anton now runs a school set up by him training all the investment bankers and traders about the success to stock market trading.
Kreil is right now the owner of professional trading classes named "Professional Trading Masterclass." He set up this course to help out all the people who are new to the trading game and want to peruse their career in this field.


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Antonio Troyo Calderón (October 18, 1923 – December 1, 2015) was a Costa Rican Prelate of the Catholic Church.

Troyo Calderón was born in Cartago and was ordained a priest on November 30, 1947. Calderón was appointed auxiliary bishop to the Archdiocese of San José de Costa Rica on August 27, 1979, as well as titular bishop of Burca, and ordained bishop September 21, 1979, by Román Arrieta Villalobos, Archbishop of San José. Troyo Calderón retired from the archdiocese of San José de Costa Rica on July 13, 2002. He died in December 2015, at the age of 92.

References

External links
Catholic-Hierarchy
 San José de Costa Rica Archdiocese (Spanish)

1923 births
2015 deaths
People from Cartago Province
20th-century Roman Catholic bishops in Costa Rica
20th-century Roman Catholic titular bishops
Roman Catholic bishops of San José de Costa Rica