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Online Registration closes May 15, 2019 (at 11:59pm) Hawaii Standard Time.
Late Registration will be available at the Packet Pick-Up Venue (TBD) on May 18, 2019 for $70 per runner (for Ekiden Team Relay Race) and $119 (for Full Marathon, single runners).
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I understand that participating in a road race is a potentially hazardous activity and can result in serious injury or death. I am aware of and I expressly assume all inherent and other risks associated with participating in this event, including, but not limited to, falls, contact with other participants, vehicles and other objects, the effects of weather, including high heat and humidity, traffic, and the conditions of the road. I certify that I am physically fit, have sufficiently trained for participation in the event and have not been advised otherwise by a qualified medical person, and have received the necessary instruction to participate in the event safely. I acknowledge that this Document will be used by the event holders, sponsors, organizers, and others and that it will govern my actions and responsibilities at the event and related activities. In consideration of my application and permitting me to participate in this event, I hereby take action for myself, my executors, administrators, heirs, relatives, family members, dependents, next of kin, successors, assigns and anyone asserting claims by or through me as follows: (A) I Waive, Release and Discharge from any and all liability for my death, disability, personal injury, property damage, property theft or actions of any kind which may hereafter occur to me including my traveling to and from this event, THE FOLLOWING ENTITIES OR PERSONS: City and County of Honolulu, State of Hawaii, Honolulu Ekiden Foundation, event sponsors, holders, directors, volunteers, as well as their directors, officers, employees representatives, and agents ("Released Parties"); (B) I agree to Indemnify, Defend and Hold Harmless the Released Parties from any and all liabilities or claims made as a result of participation in this event, whether caused by the negligence of the Released Parties or otherwise. I hereby consent to receive medical treatment, which may be deemed advisable in the event of injury, accident and/or illness during this event or relating to my participation in the event. I understand that at this event or related activities, I may be photographed. I agree to allow my photo, video or film likeness and voice to be used by the event holders, producers, sponsors, organizers, representatives and/or assigns in their sole discretion without payment. This Document shall be construed broadly to provide a waiver, release, assumption of risk, indemnification and consent to the maximum extent permissible under applicable law. If any portion of this Document shall be declared unenforceable, that portion shall be considered severed and the remainder of the Document shall be valid and enforceable. I hereby certify that I have read this document and I understand its content. And if participant is under 18 years old, I, the parent and natural guardian or legal guardian do hereby represent that I am, in fact, acting in such capacity and agree to the terms stated in this Document and further agree to waive liability, release, save and hold harmless, defend and indemnify Released Parties from all liability, loss, cost, claim or damage whatsoever which may be imposed upon Released Parties because of any defect in or lack of such capacity to so act.
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It's amazing how many miles we've covered in the past several years--from high school gyms, to hotel convention rooms, from arenas to opera houses. What started out as a summer show at the Barn Theatre in Tea, SD in 1998 has since played to thousands of people all over the upper Midwest. Some memorable stops along the way include the electrical short at the VFW in Gettysburg; the power outage in Humboldt when the fire department brought in a generator for the show; the van breakdown's in Chamberlain and the Black Hills; the broasted chicken! The candlelight vigil before the September, 2001 show in Irene; the tragic fire that burned down the State Theater in Mitchell; the beautifully restored theatres in Fargo, Spearfish, Detroit Lakes, Aberdeen and many, many more.
We have met so many wonderful folks. Some are die-hard Patsy fans, and some claim to have never liked country music before seeing Always… But the memories of Patsy prevail. There's the woman in Pipestone who's father was one of the rescue workers at the site of Patsy's plane crash, the steel guitar player from Rapid City who played for Patsy whenever she came to town and the man who saw Patsy's last concert in Kansas City the night before she died. Not to mention the countless people who tell us how they had the song "Always" at their weddings, or remember parking with their sweethearts while a Patsy tune played on the radio. We treasure those stories!
The Past, Present and Future:
Always… has certainly changed us too. What we thought would be a one-year tour has grown into a seven and a half year phenomenon! Jill left the show, got married, and came back. Steve Peterson joined the band, and Lorenzo's a grandpa! We welcomed Ellie Alayne into our hearts. And over the past 7 years… we've lost our biggest fans, our parents, John, Buffy, Jim and Norma. We miss them. Remember to always "Count your someone's and your something's!"
The Comfort Theatre Company also produces East of Westreville and Of Thee I…Swing. Both are original musical reviews that offer two completely different styles of music. If you would like to present this or one of our other shows at your next event, give us a call or check our website: www.comforttheatre.com. We are so grateful to our fans. As Patsy would say, "It's a good life!"
See you on the road,
Kaija and Brian Bonde
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The Nigerian Army on Wednesday said that media reports alleging the killing and drowning of 150 people in Kukuwa-Gari, Gujiba Local Government Area of Yobe, "cannot be substantiated''.
This is contained in a statement issued in Abuja on Wednesday by the Acting Director, Army Public Relations, Sani Usman.
Usman said in the statement that reports in some quarters had alleged that more than 150 civilians had been massacred and drowned by the Boko Haram insurgents.
According to the statement, troops have arrested two fleeing key members of the terrorist group with two pick up vehicles in Geidam, Yobe.
It said those arrested were currently being interrogated by the authorities.
Usman, in the statement, also said that there were reports and distressed calls about suspected movements and planned attacks by the Boko Haram terrorists around Damasak general area.
He, however, stated that the Nigerian Air Force had conducted air surveillance and armed reconnaissance in the area, while the Nigerian Army troops had also been reinforced.


An inspiring film about Mercedes-Benz with what3words. It showcases the partnership and how the what3words system works, along with its benefits. what3words is the simplest way to talk about location. Every 3 m x 3 m in the world has a unique 3 word address. Now every precise location – a restaurant front door, an airport car park entrance or a remote beachside viewpoint – has a simple and accurate address that's far easier to input than a regular street address. More and more businesses are displaying 3 word addresses on their websites, email signatures and business cards. You'll also find them in travel guides, and be sent them by friends and family. Always ask for a 3 word address for where you're going, and always give a 3 word address when you plan trips with others. You'll spend less time lost and find your destination more easily.


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The Easter Festival in relation to the Mysteries
[ Lecture: S-5694: 21st April, 1924 | Dornach | GA0233a | AdamsG ] [ Make Corrections | Help ]
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THE MOON-SECRET.
SPRING AND AUTUMN MYSTERIES
Continuing our subject of the last two lectures, I shall now indicate the astronomical aspect of the Easter Festival. To this end it will be first be necessary to touch upon some of the facts relating to the so-called secret of the Moon.
In all ages, wherever there was knowledge of the Mystery Wisdom, men spoke of the secret of the Moon which was connected with the being of man, inasmuch as man himself, in his full nature, is connected with the whole Cosmos, just as he is connected, with respect to his physical body, with the Earth. Now with the epoch of materialism it has come about that of these far spaces of the Cosmos whose spiritual life is expressed in the forms of the constellations and in the movements of the wandering stars, nothing at all has remained in human consciousness save the external appearance of the stars, the calculation of their movements if they are planets, and so forth.
To study these things in the way of modern astronomy is just as though one were to consider the outer measurements and proportions and conditions of movement of the human body in complete unconsciousness of the fact that a soul-and-spirit permeates this physical body. It is just as though one were to forget that in the proportions and movements of this body a soul-and-spirit comes to expression.
Now in the human being a single soul-and-spirit gathered together in an Ego makes its appearance. But in the organism of the universe, spiritually seen and considered, it is not a single soul-and-spirit that comes to expression, but a multiplicity. It is an immeasurable, infinite multiplicity of spiritual beings who express themselves in the forms of the constellations, in the movements of the planets, in the radiating light of the stars, and so forth.
All the multitude of spiritual beings who live in the stars are connected with the human being's inner life, just as the substances of the Earth environment available for human nourishment are connected with the physical man on Earth. And the first and nearest relationship of man to the great universe has to do with what we may call the secret of the Moon.
Outwardly regarded, the Moon appears from the earthly aspect in constant metamorphosis. At the present moment we see the full disc of the Moon shining brightly. Then we see it differently and have to assume that it is partially illumined, half illumined, quarter illumined, and so on. Moreover there is that appearance of the Moon when it withdraws entirely from our external vision, the time we call the New Moon, and at length we have again the return to the Full Moon.
Nowadays all this is explained as though the Moon were some material body moving out there in cosmic space, illumined in various directions by the Sun and thus showing itself to our vision in varying shapes and forms. But this by no means exhausts what the Moon is for the Earth and notably for humanity on Earth. For the Moon especially we must clearly understand the following. — When we look at something that represents itself to us so evidently in physical surfaces as the Full Moon, showing us a physical aspect, we see something altogether different in its appearance from what it is when it reveals itself as the New Moon. The New Moon, through all the cosmic relationships in which it stands, cannot reveal itself directly. We must now, however, imagine that in its influence the Moon is absent when it does not reveal itself as an outward phenomenon. At the times when through the whole world-relationships we become conscious of the appearance of the New Moon — at these times the Moon is present invisibly and for this very reason is present in a more spiritual way than when it appears to us in the physical light as the Full Moon. Thus the Moon is present, now in a fully physical way and now again in a fully spiritual way. We have indeed the perpetual rhythmic alternation between the physical manifestation and the spiritual manifestation of the Moon.
To understand what this really means we must look back to the event which is described, for instance, in my book, Occult Science. The Moon was once within the Earth; it belonged to the Earth body. It went forth from the Earth body and became a satellite as we say, or accompanying planet of the Earth. It split off from the Earth and circles around the Earth.
Now in the time when it was united with the Earth it influenced the human being from the Earth. Man was of course a very different being when he stood and evolved on an Earth which still had the Moon within its body. The Earth was impoverished by all that the Moon contains when the Moon went forth from it; and now from beneath, man is shaped and held fast by other forces, namely, by the Earth forces alone, no longer by the Earth-and-Moon forces together. On the other hand that which worked upon him from the Earth, from within outward when the Moon was still within the Earth, now works upon him from without inward, namely from the Moon.
Thus we may say: The Moon forces once rayed through the human being, impinging first upon his limbs, upon his feet and legs and then streaming through him from below upwards. But since the Moon has left the Earth, the Moon forces work on him inversely, from the head downwards. And as a result the Moon forces now have a quite different task for man than they had before. How does this manifest itself? It manifests itself as follows. When man descends from the pre-earthly into this earthly life he undergoes certain definite experiences. He has passed through the time between death and a new birth. He has absolved, so far as his soul-and-spirit is concerned, all that must be absolved between death and a new birth, and now he prepares to descend to Earth to unite with the physical bodily nature that is given to him by the father and the mother. Yet before he can find the possibility for his Ego and astral body to unite with the physical, he must first clothe himself in an etheric body which he draws into him from the surrounding Cosmos.
It is this process which has changed fundamentally since the time when the Moon left the Earth. Before the departure of the Moon, when man had absolved the life between death and a new birth and was approaching the Earth once more, he needed certain forces with which to attract and incorporate in the form of an etheric body around the Ego and astral body, the ether which is scattered through the whole universe. These forces which he received as he approached this earthly life, he received from the Moon which was then within the Earth. Since the Moon left the Earth man has received the forces which he needs to build his etheric body from outside the Earth, namely from the Moon which is now split off. Thus immediately before his entry into the earthly life man must have recourse to what lies inherent in the Moon forces, that is to say, to a cosmic principle, in order to build his etheric body.
Now this etheric body must be built in such a way that it has, so to speak, an outer and an inner aspect. When man forms the outer aspect of this etheric body he needs the forces of the light, for along with other substances the etheric body is created above all out of the flowing light of the Cosmos. But Sunlight is useless for this purpose; Sunlight can provide no forces enabling the human body to form his etheric body. For this, the light shining from the Sun to the Moon and raying back again from the Moon is needed. And by this process of reflection the Sunlight is essentially transformed. In effect, all the light that rays forth from the Moon into the Cosmos contains the force whereby man as he descends is enabled to form the outer aspect of his etheric body. On the other hand all that rays forth spiritually from the Moon when it is a New Moon, all this rays out into the Cosmos the forces which man needs to form the inner aspect of his etheric body. This rhythm, therefore, of the external shining of the Moon and of its darkening enables man to form the outer and the inner side of his etheric body.
Now what the Moon forces thus do for man essentially depends upon the fact that the Moon is not the mere physical body of which modern science tells its tales, but is permeated everywhere by spirituality. The Moon itself in fact contains a multitude of spiritual beings.
I have often explained how these things are. The Moon once separated from the Earth. But it was not only physical matter that went forth into cosmic space. There were also those Beings who lived in ancient time upon the Earth, not in a physical body but in a spiritual form, the Beings who were the primeval Teachers of mankind. These too journeyed forth with the Moon into the Cosmos and there founded a kind of lunar colony. Thus we must distinguish in the Moon the physical and etheric from the soul-and-spirit, only that the soul-and-spirit is not a unity but a multiplicity of Beings.
Now all the spiritual life in the Moon depends upon the way in which the Beings who inhabit it look out into the universe around. If I may express myself pictorially I would say: the spiritual Beings of the Moon turn their gaze to begin with on what for them is most important, namely, upon the wandering stars that belong to our planetary system. And all that happens on the Moon — including all that happens in order that man may properly receive the forces he needs to build up his etheric body — all this depends on the results of observation arrived at by the Beings in the Moon who, living as it were within the Moon, look out and observe around them the stars of our planetary system, Mercury, Sun, and so forth.
Knowledge of this was contained in certain ancient Mysteries. They knew that constellations, relationships and movements of the planetary system belonging to our Earth were observed from the Moon and that the deeds of the Moon Beings were determined accordingly. They not only knew, but they expressed the fact; for they brought these Moon forces into the consciousness of mankind in relation to the forces of the other planets, taking the Moon, as it were, as the point whence the cosmic relationships connected with the forming of the human etheric body are determined. They did so in the days of the week: Moon — Monday. The Moon in its observation has to do with Mars — Mars day — Tuesday; with Mercury — Mercury day, Mercredi, Wednesday; with Jupiter — Jupiter is the Germanic Thor or Donar — Thursday. Then again with Venus, the Germanic Freya — Friday; and with Saturn Saturday, and at length with the Sun itself. The Sun cannot influence the forming of the etheric body with its own forces directly, but in the reflection from the Moon it plays its part — Sunday.
Thus the facts related to the standpoint of the Moon were taken as the starting-point in bringing home the planetary system to the consciousness of man in the division of time. It was as though they meant to say in the ancient Mysteries: "Oh Man, remember that before you came down to the Earth you had need of the forces which are fashioned on the Moon when the Moon Beings look out upon the other Beings of the Planetary system. You owe to what the Moon receives from Tuesday, Wednesday, Thursday, Friday . . . the peculiar configuration which your etheric body can assume when descending into this earthly life."
Thus we have on the one hand the rhythmic course of the Moon around our Earth through light and darkness, and on the other hand we have recorded in the consciousness of man the whole succession of the planets. And the Mysteries also proclaimed the knowledge that through the fact of the Moon Beings turning their gaze to Mars man receives the faculty of speech incorporated into his etheric body. Through the fact that the Moon Beings can turn their gaze to Mercury, man can receive the faculty of movement concentrated into his etheric body.
To speak for a moment in terms of these Moon secrets, we may express in quite a different form how Eurythmy arises out of speech. We may say, Eurythmy is born from speech, when having discovered the mysteries of speech by letting the Moon Beings tell us the observations that they make when they gaze on Mars, we hear from them how these observations change when they now turn their gaze to Mercury. That is to say, when we transform the Mars experiences of the Moon Beings into their Mercury experiences we receive from the faculty of spoken sound in man the faculty of Eurythmy. This is the cosmic aspect of it.
Then we come to that which permeates the human being with the faculty of wisdom. This we receive through the experiences of the Moon Beings with Jupiter. And that which flows through the human being by way of love and beauty in his soul, this we receive through the experiences of the Moon Beings with Venus. And what they experience by observing Saturn instils into the etheric body the inner warmth of soul which man requires. And at length we come to something that must be warded off as it were, which must be held aloof lest it should disturb and mar the forming of the etheric body. It is that which proceeds directly from the Sun before man's descent to Earth. Thus from the Sun — or the beholding of the Sun — proceed the forces from which the human being must be protected so that he may become a human being self-contained through the incorporation of the etheric body.
Thus we learn to recognise what happens on the Moon and by this we also learn to recognise how the human etheric body is formed when man descends from the pre-earthly into this earthly life. These are the things that relate to the secret of the Moon.
Such things as these can be told today; but in certain ancient Mysteries they were not merely told, they were consciously experienced. Men did not merely know these things; they inwardly discovered them.
Tuesday:   Speech
Wednesday: Movement
Thursday:  Wisdom
Friday:    Love, Beauty
Saturday:  Inner warmth of soul
Sunday:    Protecting forces (reflected from the Moon)
By Initiation into the Mysteries of which I told you yesterday, man could get beyond the mere looking outward through the eyes or listening outward through the ears, to see and hear the physical earthly environment. He could free himself from his physical body and live in his etheric body. He could hold himself apart from the physical body and live in the etheric body only. And when he thus lived in the etheric body he lived with all the things of which I have just spoken, he lived not with the speech that is formed through the physical larynx but with the speech that resounds in Mars as cosmic speech. He moved in the way that Mercury guides the movements in the Cosmos; he moved not with the physical feet and legs but in the sense in which Mercury guides the movements of the human being. Nor did he have the wisdom that is acquired with such pains in childhood and adolescence, a wisdom which in this materialistic age is, to speak truly, an unwisdom. He lived directly within the wisdom of Jupiter; he lived in the wisdom of Jupiter because he could unite with the Moon Beings who observed Jupiter. When he was initiated in this way man was altogether within the Moon-radiating light. He had left the Earth. He was not a being of flesh and blood on Earth, he had gone away from the Earth and lived as a being in the Moon light. But this Moon light was configurated, differentiated, modified by what lived in the other planets of our planetary system.
At the time of spiritual observations in such Mysteries man did indeed become a light being of the Moon. I do not mean it in a symbolic sense or conceived abstractly, but just as the ordinary man of today, if he has gone to Basle and come back again, is conscious of the reality of it, he knows he has experienced something quite real — so was man conscious of a reality when through the Initiation rite he had paid his visit to the Moon Beings. He knew that he had taken leave of his physical body for a while. With his soul and spirit he had gone out into the light-radiating spheres of the Moon Beings, clothed in a light body, and through his unison with the Moon Beings he had looked out into the far planetary spaces, he had really been able to observe all that could be revealed to him in the far spaces of the planetary system.
And what did he see? This in the main — all the other things he observed too, but this he observed above all — he saw that from the Sun there come the forces of Beings who may have nothing to do with the form of the etheric body of man. He looked up to the Sun as to something that had a dissolving, destructive effect for the etheric body. By this experience he knew that the forces which were received by the Sun Beings must take their start not from the etheric body but from the higher members of man's nature, from the Ego and the astral body. The Sun forces must be allowed to work only upon these higher members. Thus he knew that for the human etheric body he cannot turn to the Sun, for the etheric body he must turn to the planets.
It is for the astral body and especially for the human Ego that he will turn to the Sun. He knew that for the full inner force of the Ego, of the "I am", he must go to the Sun. This was the second great experience in the Initiation that took its start from the Moon Mystery. This was the second thing. Man learned that for the etheric body he belongs to the planetary system, whereas for the inner force and permeation of his Ego above all and of his astral body, he must look up to the Sun. Such indeed was this initiation. Man himself became one with the Moonlight. But through the Moonlight life of his own being he gazed into the Sun. And now he said to himself: The Sun sends its light to the Moon because he may not give it to man directly. Thence we have the Moonlight in unison with the planetary forces and from these we build up our etheric body.
This secret was known to him who was thus initiated. And so he knew to what extent he bore within him the force of the spiritual Sun, for he had seen it in his vision. He had gained a consciousness of how he bore the spiritual forces of the Sun within him, and this in effect was the degree of Initiation whereby man became a Christ-Bearer, that is to say, a bearer of the Sun Being, not a receiver of the Sun Being, but a bearer of the Sun Being. Just as the Moon itself when it is Full Moon is a bearer of Sunlight, so man became a bearer of the Christ, a Christophoros.
This initiation whereby a man became Christophoros was an absolutely real experience.
And now imagine this real experience whereby man sped away from the Earth and rose to the Light-Being as earthly man upon the way of Initiation — imagine this inner human Easter experience of former times transformed into a cosmic Festival. In later times men no longer knew that such a thing could happen. They no longer knew that man can really go forth from the earthly realm, unite himself with the Moon nature and from the Moon behold the Sun. But a certain remembrance of it had been preserved. This remembrance in effect was preserved in the Easter Festival.
For the real way in which man can experience these things was not transmitted to the later, increasingly materialistic consciousness. In abstract idea however it was transmitted. Man no longer looked into himself and said: "I can unite myself with the Moonlight", but he looked up to the Moon, to the Full Moon. Gazing upward to the Full Moon he said, not "I myself can evolve up yonder", but "The Earth strives yonder". When does it do so most of all? It is when the Springtime begins, when the forces that were hitherto with the seeds, with the plants within the Earth, stream forth from the surface of the Earth. On Earth they become plants, but they go further. They stream outward into the far spaces of the Cosmos.
In the ancient Mysteries they used this image: When the forces of the Earth bear outward through stem and leaf of plant that which is raying forth from the Earth into the Cosmos, then man can most easily attain the Moon-Sun Initiation and become Christophoros. For then, as it were, he can float upward to the Moon — borne upward by the forces that in Springtime ray forth from Earth to Moon. Only he must enter into the Full Moonlight.
All this afterwards became a remembrance but it grew abstract — "he must enter into the Full Moonlight". Subconsciously therefore, no longer with the clear knowledge that this could become a human experience, it was conceived that something or other, not man himself, goes out towards the Full Moon, the first Full Moon after the beginning of Springtime. And what can this Full Moon of Springtime do? It looks out towards the Sun, that is to say it looks towards the first Sun-consecrated day, towards the first Sunday that follows after it. As in former times the Christophoros from his Moon standpoint looked out and gazed upon the Being of the Sun, so now the Moon looks to the Sun, that is to say, to its symbolisation in the Sunday.
Thus we have first the beginning of Spring, the 21st of March. The forces of the Earth are sprouting forth into the universe.
But we must await the coming of the right observer, namely, the Full Moon.
21st March — Full Moon — Sun day.
And what does the Full Moon observe? He observes the Sun. We await the first Sun-day after the Full Moon and that is Easter Sunday. Thus all that is left of a real process of the Mysteries which many human beings often underwent in ancient Mysteries — all that has remained is an abstract fixation of time.
And so it is indeed with this Easter Festival. Our present spiritual Festival of Easter represents an event in the Mysteries which was indeed everywhere enacted in the Springtime. But this is a different Mystery from the one I described the day before yesterday. The event in the Mysteries which I described the day before yesterday led the human being to understand the fact of death. I told you of how the idea of resurrection was brought home to man by such festivals as the Adonis Festival in Autumn time. It really led the human being into the experience of death and into the resurrection in the Spirit after about three days. This event of resurrection truly belongs to the Autumn time for the reasons which I explained in that lecture.
The process which I have described today is a different one. It was celebrated or enacted in other Mysteries for certain Initiations, namely for the Sun and Moon Initiation. And this later process confronted the human being with the beginning of his life.
Thus we look back to ancient times when the descent of man from pre-earthly life into this earthly life was recognised in certain Mysteries, while the ascent, the resurrection in the Spirit, was recognised in other Mysteries, namely in the Autumn Mysteries.
In later days man was no longer able to penetrate the living reality of this his relationship to the Spiritual in the Cosmos. And at length things went so far that the Autumn Mysteries of resurrection were simply superimposed on the Springtime Mystery of the descent. The confusion that thus arose in the course of human evolution shows how deeply materialism worked in the course of time. For it not only created false opinions but brought mankind into real confusion with regard to those things which, if I may put it so, were once in sacred, holy order in the course of human earthly life. Once upon a time there was a sacred order in these things. As Autumn came near, mankind celebrated a Cosmic Festival, a Festival which pointed to a real process of the Mysteries. Nature, they said, is fading and dying away, Nature is laid waste. It is like the gradual death of man as to his physical life. But whereas when we look at Nature we see only the transitory at work in her, in men there lives the Eternal which we must now behold apart from what takes place in outer Nature, for we must behold it in the spirit as that which is resurrected after death in the spiritual world.
And through the Mysteries of springtime it was made clear to man that Nature herself is overcome by the Spiritual; the spiritual works in again from the Cosmos, the Physical springs and sprouts forth from the Earth, because it is impelled by the Spiritual. This however was to lead man to remember, not how they passed through death into the Spiritual, but how they have come hither and descended out of the Spiritual. Just when Nature is springing and ascending, man was to remember his descent into the Physical; and again when Nature is declining man was to remember his ascent, his resurrection in the Spiritual. And indeed it infinitely deepened the life of the soul thus to experience how man is related to the Cosmos.
These things varied according to the different regions of the Earth. In ancient times there were indeed some peoples who were more Autumn peoples, and others who were more Springtime peoples. Within the Autumn peoples there were the Mysteries of Adonis, while in the Springtime peoples there were other Mysteries related to what I have described today. And only those seekers after knowledge of whom it is truly related how they journeyed from place to place, from one Mystery to another, like Pythagoras, only they underwent the real totality of human experience. From a place of the Mysteries where they could behold the Autumn secret which is the real secret of the Sun, they wandered to another place where they could behold the Springtime secret, that is the secret of the Moon. Hence of the greatest Initiates of ancient times it is again and again related how they wandered from one place to another of the Mysteries. And we may truly say that those old Initiates in a certain sense experienced the year in their inner life, the year with its sacred Festivities. An old Initiate might say: "When I come to such and such a place where Adonis Festivals are celebrated, I behold the cosmic Autumn, the shining of the spiritual Sun in the beginning of the night of Winter." And as he came to another place where the Springtime Mysteries were celebrated, he would say: "Now I shall witness the secret of the Moon." Thus in his inner life he learned to know that which determines the whole meaning of the year.
So you see our Easter Festival has in fact been burdened with things with which it ought not properly to have been burdened. It ought really to be a Festival of the "laying in the grave", and as was the case in such festivals in relation to the spiritual part of man, so this Springtime Festival of the laying in the grave should at the same time be a Festival to stir man to work, a Festival such as a man of more strong and pristine impulses needs for the Summer season. The Easter Festival was indeed a Festival to summon man to work during the Summer. And the Autumn Resurrection Festival was for the spiritual world a Festival celebrated in the time when man departed from his work once more. But as he departed from his work he was to experience in his inmost being that which is most important for his soul and spirit. He was to become conscious of his eternal being as he gazed upon the resurrection in the spiritual world three days after death.
Passing thus from earthly secrets to cosmic secrets, from earthly knowledge to cosmic knowledge, we may indeed recognise what I may call the inner structure in the order of our festivals throughout the year. But there are still many secrets that were hidden in these Mysteries which have disappeared.
Tomorrow, as far as possible, I shall try to deepen these things still further, referring more nearly to certain places of the Mysteries. Thus I shall try to deepen what I explained to you today in our study of the relationships in the Heavens.


The desire to change the inspection framework has been driven by criticism of current teaching practice. The new framework will be designed to discourage schools from teaching to the test, or off-rolling pupils, by making curriculum and learning (rather than outcomes) the focus of inspections.
For most schools, the decision to focus on the quality of teaching and learning, rather than on raw performance data, is likely to be met with jubilation! Ofsted has been a straightjacket in many ways, offering judgements that are often heavily weighted against a very limited measure of academic success. Yet, while most people do already understand that the factors that influence a school's academic successes, and therefore league table positions, are many, varied, and frequently out of schools' control, league tables continue to paint an inaccurate picture of individual schools' successes.
Comparing the percentage of A*, or A*-C, or pass rates achieved by different schools, while many of the 'top performers' have highly selective academic intakes and the majority of those appearing lower down the league tables are likely to be non-selective academically, has never offered a fair comparison. But, without an alternative standard by which parents can compare schools, league tables have been the default yardstick.
If the proposed changes truly free schools from an overemphasised scrutiny of assessment outcomes, and instead create greater scrutiny of consistent high quality teaching and learning, then school leaders will need to have the confidence to liberate teachers, to encourage them to forget the mind-set that many have had imposed on them, to prioritise exam success at all costs.
Some have queried whether the changes might actually create more, rather than less, work for teachers. There is an argument that schools will still need to do the same amount of tracking and measurement for their own internal processes, but that additional investment may need to be made into proving the value of each lesson. However, most teachers I know joined the profession not because they wanted to be part of an exam factory, but because they enjoy igniting a spark of interest in a pupil for their subject; they feel pride when they have enabled a child to grasp a new skill or understand a new theory; and they believe in the value of education to change young people's lives forever.
Under the new framework, Ofsted inspectors will be able to make qualitative judgements based on what they can ascertain and understand from their visit, whereas the current situation doesn't provide any leeway to make a qualitative judgement where the data doesn't paint the same picture. The same is true vice versa; even if an inspector wishes to make a qualitative judgement based on concerns he has about the way a school works, if the data paints a positive picture, their hands may be tied. Schools are incredibly complicated organisations, with an inordinate amount of context to consider, so treating schools as pockets of data was never going to allow Ofsted to fully understand them. Having a system that allows inspectors to make qualitative judgements must be welcomed.
Finally another positive impact we can hope to see is an end to the dire reports of pupils being 'off-rolled' ahead of their GCSEs or A Levels – and in some extreme cases even before Year 6 SATS. It is a complete dereliction of duty for schools to be putting their own league table performances ahead of the needs of individual pupils, and I hope that the new framework will ensure not one pupil is off-rolled in future because of their potential impact on the school's league table position.
So, for schools that have always welcomed children of mixed abilities, and that focus on nurturing inquisitive and happy children, equipped for the real world, the proposed shift in focus may finally offer an opportunity to be celebrated for the good work that is already taking place, across the country. I certainly hope this will prove to be the case!


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import GiphyService from './GiphyService'

const Ajax = () => Block({
  blocks: {service: GiphyService()},
  on: {
    'in.init': () => 'service',
    'dom.click': () => 'service',
    service: response => state => response
  },
  view: state => ({content: [
    {tag: 'h1', content: 'Cyclow: a framework made for you'},
    {tag: 'img.main', attrs: {src: state}},
    state === ''
      ? 'Loading...'
      : {tag: 'button', on: {click: 'click'}, content: 'More'}
  ]})
})

export default Ajax

redpajama_set_name: RedPajamaGithub


text:
The Recording Academy And CBS Announce "Homeward Bound: A GRAMMY Salute To The Songs Of Paul Simon"; Featuring Performances From Dave Matthews, Brad Paisley, Brandi Carlile, Billy Porter, Rhiannon Giddens & Many More
Taking place on April 6 at the Hollywood Pantages Theatre in Los Angeles and airing later in 2022, the special tribute concert will feature performances from Dave Matthews, Brad Paisley, Brandi Carlile, Billy Porter, Rhiannon Giddens, Shaggy & many more
GRAMMYs/Mar 24, 2022 - 03:00 pm
The Recording Academy and CBS have announced "Homeward Bound: A GRAMMY Salute to the Songs of Paul Simon," a special tribute concert honoring 16-time GRAMMY winner Paul Simon. Taking place on Wednesday, April 6, 2022, at the Hollywood Pantages Theatre in Los Angeles and airing later in 2022, the tribute will feature a star-studded performer lineup of GRAMMY-winning artists and past and current GRAMMY nominees, including Brandi Carlile, Rhiannon Giddens, Angélique Kidjo, Little Big Town, Dave Matthews, Brad Paisley, Billy Porter, Shaggy, Take 6, Irma Thomas, and Trombone Shorty, who will all pay tribute to the singer/songwriter's legendary career. Paul Simon himself will make a special appearance at the tribute.
Tickets for "Homeward Bound: A GRAMMY Salute to the Songs of Paul Simon" go on sale to the public on Saturday, March 26, 2022, at 10:00 a.m. PT here.
The salute will air on the CBS Television Network later in 2022 and will feature additional guest appearances and performances.
Concert Info:
Wed, April 6, 2022
Hollywood Pantages Theatre
6233 Hollywood Blvd.
Doors – 6:30 p.m. PT
Concert – 7:30 p.m. PT
Homeward Bound: A GRAMMY Salute to the Songs of Paul Simon is produced by Ken Ehrlich Productions. Ken Ehrlich is executive producer.
2022 GRAMMYs Awards Show: Complete Nominations List
Press Play On GRAMMY U Mixtape: New Year, It's Poppin'! Monthly Member Playlist
The GRAMMY U Mixtape is a monthly, genre-spanning playlist to quench your thirst for new tunes, all from student members. GRAMMY U celebrates new beginnings with fresh pop tunes that will kickstart 2023.
Heather Howard
|GRAMMYs/Jan 6, 2023 - 12:17 am
Did you know that among all of the students in GRAMMY U, songwriting and performance is one of the most sought after fields of study? We want to create a space to hear what these students are creating today!
The GRAMMY U Mixtape, now available for your listening pleasure, highlights the creations and fresh ideas that students are bringing to this industry directly on the Recording Academy's Spotify and Apple Music pages. Our goal is to celebrate GRAMMY U members, as well as the time and effort they put into making original music — from the songwriting process to the final production of the track.
Each month, we accept submissions and feature 20 to 25 songs that match that month's theme. This month we're ringing in 2023 with our New Year, It's Poppin'! playlist, which features fresh pop songs that bring new year, new you vibes. Showcasing talented members from our various chapters, we felt these songs represented the positivity and hopefulness that GRAMMY U members embody as they tackle this upcoming year of exciting possibilities.
So, what's stopping you? Press play on GRAMMY U's Mixtape and listen now on Spotify below and Apple Music.
Want to be featured on the next playlist? Submit your songs today! We are currently accepting submissions for songs of all genres for consideration for our February playlist. Whether you write pop, rock, hip hop, jazz, or classical, we want to hear from you. Music must be written and/or produced by the student member (an original song) and you must be able to submit a Spotify and/or Apple Music link to the song. Students must be a GRAMMY U member to submit.
About GRAMMY U:
GRAMMY U is a program that connects college students with the industry's brightest and most talented minds and provides those aspiring professionals with the tools and opportunities necessary to start a career in music.
Throughout each semester, events and special programs touch on all facets of the industry, including the business, technology, and the creative process.
As part of the Recording Academy's mission to ensure the recorded arts remain a thriving part of our shared cultural heritage, GRAMMY U establishes the necessary foundation for music's next generation to flourish.
Not a member, but want to submit to our playlist? Apply for GRAMMY U Membership here.
Paul Simon with Take 6
Photo: Getty Images for the Recording Academy
8 Highlights From "Homeward Bound: A GRAMMY Salute To The Songs Of Paul Simon"
Paul Simon's GRAMMYs bash included moments of vulnerability, generation-straddling duets and plenty of other surprises. Stream it on demand on Paramount+ and read on for eight highlights.
Morgan Enos
|GRAMMYs/Dec 22, 2022 - 03:51 pm
Many tribute shows for legacy artists end in a plume of confetti and a feel-good singalong. But not Paul Simon's.
At the end of the songbook-spanning "Homeward Bound: A GRAMMY Tribute To Paul Simon," the only person on the darkened stage was the man of the hour. Sure, the audience had been baby-driven through the Simon and Garfunkel years, into the solo wilderness, through Graceland, and so forth. But all these roads led to darkness.
Because Simon then played the song that he wrote alone, in a bathroom, after JFK was shot.
It doesn't matter that Simon always ends gigs with "The Sound of Silence." After this commensurately cuddly and incisive tribute show, it was bracing to watch him render his entire career an ouroboros.
That "The Sound of Silence" felt like such a fitting cap to a night of jubilation speaks to Simon's multitudes. The Jonas Brothers coolly gliding through "50 Ways to Leave Your Lover," juxtaposed with the ache of Garth Brooks and Trisha Yearwood's "The Boxer," rubbing up against Dave Matthews getting goofy and kinetic with "You Can Call Me Al," and so on and so forth.
The intoxicating jumble of emotions onstage at "Homeward Bound: A GRAMMY Tribute To Paul Simon" did justice to his songbook's emotional landscape — sometimes smooth, other times turbulent, defined by distance and longing as much as intimacy and fraternity.
Here were eight highlights from the telecast on Dec. 21 — which you can watch on demand on Paramount+ now.
Read More: Watch Jonas Brothers, Brad Paisley, Billy Porter, Shaggy & More Discuss The Legacy And Impact Of Paul Simon Backstage At "Homeward Bound: A GRAMMY Salute To Paul Simon"
Woody Harrelson's Lovably Bumbling Speech
After Brad Paisley's rollicking opening with "Kodachrome," the momentum cheekily ground to a halt as Harrelson dove into a rambling, weirdly moving monologue.
"The songs of Paul Simon really are like old friends," the cowboy-hatted "The Hunger Games" star remarked, interpolating one of his song titles and crooning the opening verse.
Harrelson went on to recount a melancholic story from college, where the spiritually unmoored future star clung to Simon songs like a liferaft. We can all relate, Woody.
Garth Brooks & Trisha Yearwood's Pitch-Perfect "The Boxer"
Brooks has always been one of the most humble megastars in the business, praising his wife Trisha Yearwood — and his forebears — a country mile more than his own. (Speaking to GRAMMY.com, he described being "married to somebody 10 times more talented than you.")
The crack ensemble could have made "The Boxer" into a spectacle and gotten away with it, but Brooks wisely demurred.
Instead, the pair stripped down the proceedings to guitar and two voices; Brooks provided an aching counterpoint to Yearwood.
Billy Porter's Heart-Rending "Loves Me Like A Rock"
The "Pose" star blew the roof off of Joni Mitchell's MusiCares Person Of The Year gala in 2022 with "Both Sides Now," so it was clear he would bring napalm for a Simon party.
Given the gospel-ish intro, one would think he was about to destroy the universe with "Bridge Over Troubled Water."
Instead, he picked a song of tremendous personal significance, "Loves Me Like a Rock," and dedicated it to his mother. The universe: destroyed anyway.
Stevie Wonder & Ledisi's "Bridge Over Troubled Water"
The question remained: who would get dibs on the still-astonishing "Bridge Over Troubled Water"? A song of that magnitude is not to be treated lightly.
So the producers gave it to generational genius Wonder, who'd bridged numberless troubled waters with socially conscious masterpieces like Songs in the Key of Life.
But he wouldn't do it alone: R&B great Ledisi brought the vocal pyrotechnics, imbuing "Bridge Over Troubled Water" with the grandiosity it needed to take off.
Jimmy Cliff & Shaggy Brought Jamaican Vibes With "Mother & Child Reunion"
Simon embraced the sounds of South Africa with his 1986 blockbuster Graceland, yet his island connection is criminally underdiscussed; since the '60s, Jamaican artists have enthusiastically covered his songs.
For instance, it's impossible to imagine a "Mother and Child Reunion" not recorded in Kingston, pulsing with the energy of Simon's surroundings.
Enter genre luminaries Jimmy Cliff and Shaggy, who flipped the tribute into a bona fide reggae party.
Take 6 Dug Deep With "Homeless"
Leave it to the Recording Academy to avoid superficiality in these events: Mitchell's aforementioned MusiCares tribute included beyond-deep cuts like "Urge for Going" and "If."
Most remember "Homeless" as Ladysmith Black Mambazo unaccompanied vocal cooldown after bangers like "You Can Call Me Al"; eight-time GRAMMY-winning vocal group Take 6 did a radiant, affectionate rendition.
When Simon took the stage at the end of the night, he was visibly blown away. Touchingly, he shouted out his late guitarist, Joseph Shabalala, who founded Ladysmith Black Mambazo.
"Imagine a guy born in Ladysmith, South Africa, [who] writes a song in Zulu and it's sung here by an American group, singing his words in his language," Simon remarked. "It would have brought tears to his eyes."
Angélique Kidjo & Dave Matthews' Love Letter To Africa
Graceland was Simon's commercial zenith, so it was only appropriate that it be the energetic apogee of this tribute show.
Doubly so, that this section be helmed by two African artists: Angélique Kidjo, hailing from Benin, and Dave Matthews, born in Johannesburg.
"Under African Skies," which Simon originally sang with Linda Ronstadt is a natural choice — not only simply as a regional ode, but due to its still-evocative melody and poeticism.
"This is the story of how we begin to remember/ This is the powerful pulsing of love in the vein" drew new power from Kidjo's lungs.
Afterward, Matthews — a quintessential ham — threw his whole body into Simon's wonderful, strange hit, "You Can Call Me Al."
The Master Himself Took The Stage
With his still-gleaming tenor and still-undersung acoustic guitar mastery, Simon brought the night home with "Graceland," a Rhiannon Giddens-assisted "American Tune" and "The Sound of Silence."
At 81, Simon remains a magnetic performer; even though this is something of a stock sequence for when he plays brief one-off sets, it's simply a pleasure to watch the master work.
Then, the sobering conclusion: "Hello darkness, my old friend," Simon sang, stark and weary. With the world's usual litany of darknesses raging outside, he remains the best shepherd through nightmares we've got.
And as the audience beheld Simon, they seemed to silently say: Talk with us again.
15 Essential Tracks By Paul Simon: In A Burst Of Glory, Sound Becomes A Song
Paul Simon performing at "Homeward Bound: A GRAMMY Salute To Paul Simon"
Photo: Kevin Mazur/Getty Images for The Recording Academy
Watch Jonas Brothers, Brad Paisley, Billy Porter, Shaggy & More Discuss The Legacy And Impact Of Paul Simon Backstage At "Homeward Bound: A GRAMMY Salute To Paul Simon"
Performers at the star-studded tribute from the Jonas Brothers to Brad Paisley to Angélique Kidjo explain why Simon deserves the highest praise in the echelon of American singer/songwriters.
Paul Simon may have won 16 GRAMMYs throughout his illustrious career, but he's getting another honor from the Recording Academy — something much bigger than a golden gramophone.
On Dec. 21, "Homeward Bound: A GRAMMY Salute To The Songs Of Paul Simon," a two-hour special illuminating the 16-time GRAMMY winner's songbook, will air on the CBS Television Network from 9-11:00 p.m. PT/ET.
The concert features Garth Brooks and Trisha Yearwood, Eric Church, Rhiannon Giddens, Susanna Hoffs, Jonas Brothers, Angélique Kidjo, Ledisi, Little Big Town, Dave Matthews, Brad Paisley, Billy Porter, Sting, Take 6, Irma Thomas, Shaggy and Jimmy Cliff, Trombone Shorty and Stevie Wonder.
Additionally, Sofia Carson, Herbie Hancock, Woody Harrelson, Dustin Hoffman, Elton John, Folake Olowofoyeku, and Oprah Winfrey also make special appearances.
Below, watch exclusive clips where many of these artists express what Simon, a leading light of singing and songwriting, means to them.
Folake Olowofoyeku
Paul Simon in 1965
Photo: RB/Redferns via Getty Images
Paul Simon has written some of the most incisive and moving tunes in the American canon. Ahead of the broadcast of "Homeward Bound: A GRAMMY Salute To The Songs Of Paul Simon," here are 15 Simon songs you need to know.
When Paul Simon announced his retirement from touring, he was clear about his intended pursuits in his autumn years: Spirituality, neuroscience and the occasional one-off gig benefiting the environment. (Ideally in "acoustically pristine halls," he clarified.)
The latter is a clever way to frame your wind-down: just quitting touring, not all the other stuff. Because it leaves open the possibility for more public music-making. And Simon has taken advantage of that caveat: ever since he plucked his final note on his farewell tour in 2018, he's played one-offs that laid audiences flat.
Case in point: his brief set to an agog audience at Newport Folk Fest in 2022. As the sun set over the water, he closed with an undeniable classic, which he wrote as a shaken youngster in response to the Kennedy assassination: "The Sound of Silence." This writer was there. You could cut the vibe at Newport with a knife.
The experience drove home how Simon's songs already reflect his planned post-retirement pursuits. Simon's written brilliant inquiries into spirituality, like "Questions for the Angels." Countless tunes from "The Sound of Silence" onward deal heavily in psychology. The environment? Check out multiple songs from his most recent album, 2016's Stranger to Stranger.
All these themes are bound to swirl around "Homeward Bound: A GRAMMY Salute To The Songs Of Paul Simon," a two-hour special set to air on CBS on Wed. Dec. 21 from 9-11:00 p.m. PT/ET. Featuring everyone from Garth Brooks to Angélique Kidjo to Stevie Wonder, the performance will illuminate the 16-time GRAMMY winner's timeless and revered songbook.
A retired Simon may go on to abandon music entirely, but what his songs added to the public consciousness may dwarf anything he could pursue in a scientific or philanthropic sense. Because Simon's greatest works are some of the finest inquiries into the human experience — internal, external, and ineffable — ever penned.
A 15-song list of the finest Simon tunes could easily, and fairly, fall in line with his greatest hits. But what's the fun in simply reproducing the "essentials" playlists across streaming services? So, if you'll forgive a lack of "Kodachrome" or "50 Ways to Leave Your Lover," we'll raise you deep cuts you might not be familiar with. The list is below.
"The Sound of Silence"
In 1963, a 21-year-old Simon softly fingerpicked an acoustic guitar in the reverberating bathroom of his family's Queens home. He had a spectral melody in mind, but the words hadn't come yet.
But when John F. Kennedy was assassinated in November of 1963 — just over a month after Simon's 22nd birthday — a line came to his lips, staggering in its power and simplicity. "Hello, darkness, my old friend," he sang. "I've come to talk with you again."
A meditation on distance between human beings, "The Sound of Silence" unfurls with borderline terrifying, hallucinogenic power — and has lost zero impact across the decades. On the 10th anniversary of the 9/11 terrorist attacks, which occurred a few subway stops from his apartment, he sang it on Ground Zero.
The electrified, pop-friendly version of "The Sound of Silence" is the one everyone knows; riding on the popularity of the Byrds, electric guitar and drums were added in post-production.
The one to truly cherish is the sparse, acoustic version included on the Old Friends boxed set. It's not on YouTube, but it's on streaming — and it'll make the hairs on your arms stand up.
"The Boxer"
From that "darkness" flies an ember of resilience: "The Boxer," from Simon and Garfunkel's final studio album in 1970, Bridge Over Troubled Water.
"The Boxer" is just as haunted, but in a realistic sense. Instead of depicting phantasmagoric images of blazes of light and prophetic pronouncements, the narrator finds himself unmoored in New York City: "Laying low, seeking out the poorer quarters/ Where the ragged people go."
According to Simon, these feelings stemmed from his battle with the critics: "I think the song was about me," he told Playboy in 1984. "Everybody's beating me up, and I'm telling you now I'm going to go away if you don't stop."
These gloomy verses tip into a wordless lamentation of a chorus, which swells with power after the unforgettable final verse. Therein, Simon sketches a portrait of a pugilist. He's beaten, weary and humiliated, but unwilling to surrender.
Then, that chorus slams back in, augmented by reverberated cannon-shots from Wrecking Crew drummer Hal Blaine. Right then, from hopelessness springs courage. "Lie-a-lie." Crash.
"Bridge Over Troubled Water"
That voice. No, we're not talking about Simon's, as fluid and supple a vocalist he is. Any analysis of Simon and Garfunkel's music must acknowledge Art Garfunkel's world-beating talent as a vocalist, and his creative synergy with his more celebrated former partner.
"Bridge Over Troubled Water" began as a demo by Simon; in the studio, it took on wonderfully grandiose dimensions.
From Garfunkel's mostly unaccompanied lungs — although Simon sings a harmony near the end — this devotional testifies like gospel and surges like an orchestra.
However you feel about the somewhat controversial, belatedly added third verse, "Bridge Over Troubled Water" is a masterpiece in a songbook full of them.
At the 1971 GRAMMYs, the song won a golden gramophone for Record Of The Year; the album of the same name won a GRAMMY for Album Of The Year.
"America"
Come 1968, America was in flux — Vietnam, MLK, RFK. And few songs released that year channeled all that turmoil, uncertainty and abstraction into such a Möbius strip of a song.
Listening today, as the country reckons with the sins of its past and questions the circumstances of its own founding, the America in "America" feels like this one.
Simon's itinerant protagonists set out to discover this nebulous concept for themselves, yet the song finds no resolution. Still, the aching melody and indelible chorus will imprint themselves on your memory.
"America" is another example of a Simon tune that finds the light just as it can't feel darker: "'Kathy, I'm lost', I said, though I knew she was sleeping," one character reports. "I'm empty and aching and I don't know why."
And in the sea of cars on the New Jersey Turnpike, Simon finds totality, oneness, and a paradoxical sense of peace. What is America? All of this, and none of this. It's the search that's so damned satisfying.
"Mother and Child Reunion"
In 2022, before Simon's unannounced Newport Folk appearance, Nathaniel Rateliff and the Night Sweats performed an exultant set of Simon covers — beginning with "Mother and Child Reunion," that effervescent classic from his self-titled 1972 album.
It was a long, dusty, sweltering day for this writer — one where it was tempting to call it. But the decision to stick it out paid off.
As soon as Rateliff and his accompanists launched into "Mother and Child Reunion," every inch of exhaustion melted away; it felt physically impossible to not holler along.
Simon caught the inspiration to write the tune from the name of a chicken-and-egg dish on a Chinese restaurant menu; the reggae-inflected sound is all Jamaica, reflecting its recording in Kingston.
The result could wrest you from a bedridden depression; "Mother and Child Reunion" is pure release, relief, and exaltation. Word to the wise: reach for it in the darkness.
"American Tune"
1973's There Goes Rhymin' Simon is chock full of classics, like "Kodachrome," "Take Me to the Mardi Gras," "One Man's Ceiling is Another Man's Floor," and "Loves Me Like a Rock." But the arguable centerpiece is "American Tune" — essentially "America" in concept, but several degrees deeper and more philosophical.
Simon wrote it right after Richard Nixon was elected. It reflects the complication of that moment, cycling through a multitude of chords as if it's turning each one over like a leaf and pondering it.
"We come on the ship they call the Mayflower/ We come on the ship that sailed the moon," Simon sings at its crescendo, as the strings swell to a head. "We come in the age's most uncertain hours/ And sing an American tune."
While still early in his career, Simon had written not one, but two alternative national anthems — ones that got beneath the hood and truly examined the oppression, jubilation, and complication that makes this place tick.
With such an economy of language, to boot. And although he rarely got this political again, in a way, he'd just keep writing more.
"Hearts and Bones"
1983's subtle, supple Hearts and Bones typically gets lost in the Simon conversation, as the titanic Graceland would follow it three years later. But the title song alone is worth the price of admission.
What immediately jumps out about "Hearts and Bones" is Simon's elegant verbiage, charged with erotic energy: "The arc of a love affair/ His hands rolling down her hair/ Love like lightning shaking 'til it moans." But the song is so effortlessly percolating, so smooth and rolling, that it's easy to let the details fly over your head.
The lovers are "one-and-a-half wandering Jews" roving through the Sangre de Christo mountains in New Mexico. The second verse is a flashback to nuptials: "The act was outrageous/ The bride was contagious/ She burned like a bride."
Finally, the sojourners return to their "natural coasts" to lick their wounds and "speculate who had been damaged the most."
Who could the itinerant couple be? None other than Simon and Carrie Fisher. (The late Fisher was the half-gentile.) These layers of details give "Hearts and Bones" astonishing gravitas: Simon himself has considered it to be superior to "The Sound of Silence."
"As the writing gets more complex and more layered, it's harder to have a lot of people who really like it," Simon admitted in a 1986 interview. Now that the dust has settled, it's time to give this astonishing song its due.
"Graceland"
By the time Simon was ready to make a career-defining statement in Graceland, his writerly voice had become maximum-cerebral; Simon was writing about distances and journeys and potential reunions with astonishing detail and verve.
And it all came to a head with "Graceland" — his self-described "true hybrid of South African music and American." Therein, drummer Vusi Khumalo choogles like Sun Records; fretless bassist Bakithi Kumalo adds buoyant swoops; rock 'n' roll progenitors the Everly Brothers coo along.
What follows is nothing short of a songwriting clinic. "Graceland" isn't about Graceland at all; as Simon has explained, it's about the journey, not the destination.
Nine words capture Simon's surroundings: "The Mississippi Delta was shining like a national guitar." His failed marriage to Fisher hangs heavily in the air. The incisive chorus details how a shattered heart renders us all see-through.
Ever notice the songwriting trick behind the line about "the girl in New York City who calls herself the human trampoline"? He doesn't bother to give her a name or a motive, or any further detail at all; it doesn't matter.
Because she could be anyone in our lives, teaching us to fall, fly, and tumble in turmoil. We all rub shoulders with ghosts and empties. Graceland is any promised land, just out of our reach.
But, know this: we all will be received.
"Diamonds on the Soles of Her Shoes"
Before opening up into its mellower latter half, Graceland builds to a fever-pitch of momentum and anticipation that's borderline absurd.
In the opening, vocal group Ladysmith Black Mombazo backs Simon in Zulu chordal harmony, roughly translating to "It's not usual but in our days we see those things happen. They are women, they can take care of themselves."
Then, that irresistible groove, with Simon's conversational yet hyper-melodic diction. The storyline itself, exploring love amid class differences, is rendered a dreamlike blur.
Still, the key lines cut to the quick: "She was physically forgotten, but then she slipped into my pocket with my car keys." Who with a pulse hasn't experienced this sensation, never quite given a name, or expressed in the English language so succinctly, until then?
Even when it's difficult to parse Simon's literal meaning ("She makes the sign of a teaspoon/ He makes the sign of a wave"), his verbiage is gorgeous. And by the time the economical clash of lovers ends up "sleeping in a doorway" uptown, the song detonates like fireworks, in a jubilant rain of scatting.
"You Can Call Me Al"
Aurally, it's difficult to think of another song in the pop canon quite like "You Can Call Me Al." Synth-horn fanfare, bubbly polyrhythms, massive gated reverb on the snare, a reversed bass solo, a friggin' pennywhistle solo: were these elements ever combined to this effect?
Then, there's the laconic Simon, way behind the beat, effortlessly fitting busy verses into the groove like a rapper, images spinning in infinity. A disillusioned, middle-aged man in a foreign land laments his lack of purpose, snaps at strangers, and vapidly whines for a "photo opportunity."
Even as the music leaps and bounds, Simon's character's dark night of the soul reaches a head — his "role model" has fallen from grace, embroiled in some scandal with a "roly-poly bat-faced girl."
But as the culture-shocked protagonist wanders through what we might have called the "third world" in 1986, he finds something like salvation, or grace. The "angels in the architecture" swirl into a celestial portal; the song becomes William Blake-sized.
As "You Can Call Me Al" crescendos, confetti practically rains from the ceiling. When Simon sang it on the final night of his farewell tour, Forest Hills Stadium went up. From lyrics to melody to production to the classic video starring Chevy Chase, this is a bona fide '80s classic.
"The Coast"
Juiced up from Graceland's blockbuster success (despite poorly-thought-out apartheid controversy), Simon continued in a so-called "worldbeat" direction with 1990's The Rhythm of the Saints.
Despite being far less splashy than Graceland and lacking a hit single, The Rhythm of the Saints is just about perfect. With synthesizers excised, it achieves a naturalistic quality that its predecessor lacked, and songs like "The Obvious Child," "Can't Run But" and "The Cool, Cool River" rank among his very best.
For whatever reason, the magnificent "The Coast" tends to get lost in the shuffle — and it shouldn't be. From a dust-devil of hand-drums and windchimes, it coalesces in the air; it feels weightless, continually ascending, never reaching a ceiling.
In the chorus, Simon undercuts an everyman lamentation — "This is a lonely life/ Sorrows everywhere you turn" — with an oblique hustler's inner monologue: "That is worth some money, if you think about it!"
Always with a way with a finale: as backing vocalists join the throng, Simon sings of stars and skies falling across the shore; the drums shimmer in the air like fireflies. Graceland was pop magic; "The Coast" is just magic.
"That's Where I Belong"
2000's You're the One is rarely brought up outside of the most zealous Simonite circles, but Simon clearly thinks a lot of it: he included a whopping four of its songs on his 2018 album of deep-cut re-recordings, 2018's In the Blue Light.
The original album's opener, "That's Where I Belong," isn't among them. But the obscure track, in its own quiet way, a treasure.
Every element of "That's Where I Belong" exudes a sense of peace Simon hadn't fully touched on before. Simon said in an interview at the time that "It's the first time I ever had domestic bliss," and the entirety of You're the One is charged with that energy. And everything about "That's Where I Belong" feels enveloping, capacious, invitational — a balm and a hideaway.
At the end, he sings of a villager — a "spiny little island man" at the mouth of a river, with music in the air. That, Simon sings, is home.
"Darling Lorraine"
"I always thought 'Darling Lorraine' was one of my best songs," Simon told Mojo in 2018, which galvanized him to give it a fresh coat of paint on In the Blue Light with accompanists like guitarist Bill Frisell, bassist Renaud Garcia-Fons and drummer Steve Gadd.
Unlike many of the above songs, "Darling Lorraine" doesn't build to a climax; it hesitates, pontificates and mulls for its seven-minute runtime. This is appropriate for the subject matter: Simon negotiates the hills and valleys of a turbulent marriage — and no relationship is a completely neat arc.
The couple are a mismatch. The husband, Frank, is uptight and reticent, and gave up a dream of a musician life; Lorraine is effervescent and open-minded. Naturally, she feels stifled by domesticity; the song captures their arguments and walk-outs. Finally, she dies bedridden, "her breathing like the echo of our love."
Simon's choice of including "Darling Lorraine" with the equally obscure You're the One cut "Love" is interesting. That song pulls apart the four-letter concept like a child examining the guts of a radio; "Darling Lorraine" is love in action, seemingly unspooling in real time, and eventually being extinguished.
And even after "the moon takes Darling Lorraine," the song seems to hang in the air, like a faint plume of smoke.
"Wartime Prayers"
Simon's Eno-assisted album Surprise may have been released in 2006, during the height of the Iraq war. But this is Simon we're talking about, he would never write his own "Freedom" or "Let's Impeach the President."
Instead, Simon analyzes the efficacy of prayer. What does it mean to appeal to the Most High during peacetime? How do rice Christians and religious hypocrites add static to the connection?
Ultimately, Simon seems to concede that "wrapping yourself in prayer" can be the final tool in the toolbox when dealing with suffering and death. Crucially, he never preaches: "I don't pretend that I'm a mastermind/ With a genius marketing plan."
Rather, Simon wonders how much he can sand his rough edges and embrace grace before the end of his life. At a time when death and uncertainty hung in the air, "Wartime Prayers" rang true.
Of all the Bush-era songs by classic rockers, this one arguably reverberates strongest — right up to our days of bloodshed in Ukraine, 14 years later.
"Questions for the Angels"
In 2018's Paul Simon: The Life, Simon laid out his spiritual MO.
"If there is a God, and He created this planet and everything on it, I've got to say an incredible 'Thank you so much — great job,'" he stated. "If it turns out there's no God, I still feel the same way. I'm really grateful to be here. What a beautiful planet."
Seven years earlier, mortality was on Simon's mind; it weighs heavily on his 2011 album So Beautiful or So What. On "The Afterlife," he envisaged heaven as a mind-numbing bureaucracy akin to the DMV. He followed that thread deep into the album, and the result is "Questions for the Angels."
It's a song of riddles and reflections on materialism, following a modern-day pilgrim as he traverses New York "at the hour when the homeless move their cardboard blankets / And the new day begins." The character walks across the Brooklyn bridge and looks at a billboard of Jay-Z.
Everything about "Questions for the Angels" feels primeval; Simon wants to know about the animal kingdom, the state of his mind and the nature of divine connection. Hey, that sounds like Simon's post-retirement plans — dealing in psychology, spirituality, ecology.
"Somewhere, in a burst of glory/ Sound becomes a song," Simon sang at the outset of "That's Where I Belong." Maybe he's ready to write the third part of that life. His songs are about to become him.
How To Watch "Homeward Bound: A GRAMMY Salute To The Songs Of Paul Simon"
Read List
1The Recording Academy And CBS Announce "Homeward Bound: A GRAMMY Salute To The Songs Of Paul Simon"; Featuring Performances From Dave Matthews, Brad Paisley, Brandi Carlile, Billy Porter, Rhiannon Giddens & Many More
2Press Play On GRAMMY U Mixtape: New Year, It's Poppin'! Monthly Member Playlist
38 Highlights From "Homeward Bound: A GRAMMY Salute To The Songs Of Paul Simon"
4Watch Jonas Brothers, Brad Paisley, Billy Porter, Shaggy & More Discuss The Legacy And Impact Of Paul Simon Backstage At "Homeward Bound: A GRAMMY Salute To Paul Simon"
515 Essential Tracks By Paul Simon: In A Burst Of Glory, Sound Becomes A Song


Former Prime Minister John Howard will welcome seven new Ambassadors for Sydney at the Opera House tonight.
• Professor Ken Maher, Hassell, president-elect, Australian Institute of Architects.
Ambassadors use their global network and expertise to help Business Events Sydney secure multi-million dollar international events for Australia. These span priority sectors including infrastructure, information and communication technology, professional services, medical research and education. Hosting these events drives STEM jobs, fosters innovation and entices global talent to relocate.
Launched in 2009, the Business Events Sydney Ambassador Program today includes more than 90 influential leaders including the Hon Warwick Smith AM and Rod McGeough AO.
Existing ambassadors are listed here.


text:
<?php

namespace Symfony\Component\BrowserKit;

/**
 * @author Fabien Potencier <fabien@symfony.com>
 *
 * @final since Symfony 4.3
 */
class Response
{
    /** @internal */
    protected $content;
    /** @internal */
    protected $status;
    /** @internal */
    protected $headers;

    /**
     * The headers array is a set of key/value pairs. If a header is present multiple times
     * then the value is an array of all the values.
     *
     * @param string $content The content of the response
     * @param int    $status  The response status code
     * @param array  $headers An array of headers
     */
    public function __construct(string $content = '', int $status = 200, array $headers = [])
    {
        $this->content = $content;
        $this->status = $status;
        $this->headers = $headers;
    }

    /**
     * Converts the response object to string containing all headers and the response content.
     *
     * @return string The response with headers and content
     */
    public function __toString()
    {
        $headers = '';
        foreach ($this->headers as $name => $value) {
            if (\is_string($value)) {
                $headers .= sprintf("%s: %s\n", $name, $value);
            } else {
                foreach ($value as $headerValue) {
                    $headers .= sprintf("%s: %s\n", $name, $headerValue);
                }
            }
        }

        return $headers."\n".$this->content;
    }

    /**
     * Returns the build header line.
     *
     * @param string $name  The header name
     * @param string $value The header value
     *
     * @return string The built header line
     *
     * @deprecated since Symfony 4.3
     */
    protected function buildHeader($name, $value)
    {
        @trigger_error(sprintf('The "%s()" method is deprecated since Symfony 4.3.', __METHOD__), E_USER_DEPRECATED);

        return sprintf("%s: %s\n", $name, $value);
    }

    /**
     * Gets the response content.
     *
     * @return string The response content
     */
    public function getContent()
    {
        return $this->content;
    }

    /**
     * Gets the response status code.
     *
     * @return int The response status code
     *
     * @deprecated since Symfony 4.3, use getStatusCode() instead
     */
    public function getStatus()
    {
        @trigger_error(sprintf('The "%s()" method is deprecated since Symfony 4.3, use getStatusCode() instead.', __METHOD__), E_USER_DEPRECATED);

        return $this->status;
    }

    public function getStatusCode(): int
    {
        return $this->status;
    }

    /**
     * Gets the response headers.
     *
     * @return array The response headers
     */
    public function getHeaders()
    {
        return $this->headers;
    }

    /**
     * Gets a response header.
     *
     * @param string $header The header name
     * @param bool   $first  Whether to return the first value or all header values
     *
     * @return string|array The first header value if $first is true, an array of values otherwise
     */
    public function getHeader($header, $first = true)
    {
        $normalizedHeader = str_replace('-', '_', strtolower($header));
        foreach ($this->headers as $key => $value) {
            if (str_replace('-', '_', strtolower($key)) === $normalizedHeader) {
                if ($first) {
                    return \is_array($value) ? (\count($value) ? $value[0] : '') : $value;
                }

                return \is_array($value) ? $value : [$value];
            }
        }

        return $first ? null : [];
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}


text:
Q: Link multiple border/textblock combinations to one event C# I'm working on a project and have a question to optimize my C# code.
I have 30 rows and 15 columns, the first column contains keywords and the next 14 columns to the left contain all kind of calculations for that keyword.
Now I need to be able to click on a keyword so every calculation form that row is highlighted in another color, and only that row.
My buttons are build with a xaml border + textbox combination and look like this:
    <Border x:Name="x_1" Grid.Row="1" Grid.Column="0" Cursor="Hand" MouseLeftButtonUp="btn_1">
        <TextBlock FontWeight="Bold" Foreground="Ivory" HorizontalAlignment="Center"
                VerticalAlignment="Center">beloof</TextBlock>
    </Border>
    <Border x:Name="x_2" Grid.Row="2" Grid.Column="0" Cursor="Hand"
          MouseLeftButtonUp="btn_2">
        <TextBlock FontWeight="Bold" Foreground="Ivory" HorizontalAlignment="Center"
                VerticalAlignment="Center">televisie</TextBlock>
    </Border>

These are 2 examples of the calculations in xaml code, I read them out of the xml file with xpath and they are build that their x:Name is "number" + row_column.
        <TextBlock x:Name="number1_1" Visibility="Visible" Grid.Row="1" Grid.Column="1"
             FontWeight="Bold"
             Foreground="Ivory"
             HorizontalAlignment="Center"
             VerticalAlignment="Center">4332.84</TextBlock>
    <TextBlock x:Name="number1_2" Visibility="Visible" Grid.Row="1" Grid.Column="2"
             FontWeight="Bold"
             Foreground="Ivory"
             HorizontalAlignment="Center"
             VerticalAlignment="Center">4201.62</TextBlock>

Now i could make 30 events in the code behind, one for every 'button' but then every event is almost the same and I dont think that is the right/propper way to do it.
I read some Stackoverflow articles where people said it was possible to attach more buttons to one event. My plan was to load every Border into a List of Borders at initialize, call this list in the general event and load the Borders that have the same row as the Textblocks of the calculations.
Is this the right way to do it ore is there a more optimal way to do it?
Regards Gijs

redpajama_set_name: RedPajamaStackExchange


>I've been producing one of the highest rated automotive podcasts for more than 5 years with a listener base that almost always shows growth. I would like to share with you some tips on how you can help your podcast retain listeners and snag the new listeners as they come around. And a few words about WordPress, since you can never have enough talks about WordPress!
If you are in Arizona and want to hang out with a bunch of new media folks, cruise over to the University of Advancing Techonlogy on November 20-21. There are already quite a few great sessions on the books. The last podcamp I did was in Southern California and there was a ton of great information shared and I had a great time. You can too! Did I mention it was free? You can register here.
Details on the session to follow. I'm going to use as a bit of a sounding board, since I've never actually done this before. Should be fun!


Metro North Hospital and Health Service (HHS) respects the privacy of patients and their families.
Your previous care history can help us identify which treatments are likely to be safe and effective for you, and can also help reduce the likelihood of repeating tests unnecessarily.
Metro North HHS is subject to privacy and confidentiality legislation which sets the standards for how we handle your personal information. More information on how Metro North HHS handles your personal information can be found in our Privacy Plan.
Medicare and Commonwealth benefit card details.
Health information may be contained in paper records, electronic information systems or in other mediums depending on the tests and treatment you have had.
Every time you attend a health facility, new information is added to your record. Information will generally be collected directly from you. However, there may be circumstances where we may need to talk to someone else, for example, your doctor or a relative, in an emergency situation. This information may also be included in your record.
'The Viewer' is a read-only web-based application that sources available electronic information from a number of systems.
It is available to all Department of Health Hospital and Health Services (HHS), outpatient centres, community centres and primary care centres.
The Australian Government's Personally Controlled eHealth Record (PCEHR) system is a secure online summary of your health information. You control what goes into it and who is allowed to access it.
Who owns my health record?
We know some people may wish to use another name (alias) when receiving health services. However, this may prevent us from finding all the information we hold about you and providing appropriate care.
Regardless of whether or not you use an alias, we will search our records and attempt to match and merge all records about you.
All staff are bound by a strict legal duty of confidentiality. It is an offence for our staff to give information about you to anyone except under limited circumstances set out in the National Privacy Principles, which deal with how we collect and handle your personal information. We maintain strict security policies and practices with respect to who has access to personal information about you.
If you have any questions about privacy and confidentiality within Metro North HHS facilities, talk to the privacy and confidentiality contact officer at your hospital.
When can my information be disclosed?
billing or recovering debt in relation to services received.
collecting information about particular health conditions such as life-threatening diseases or diseases with high public health risks.
We will ensure that any such disclosure is limited to only what is necessary. On occasion, information may be used for research that will help us to improve healthcare practices without your consent. All research involving patients must undergo ethics consideration and be authorised by a chief executive before it can be conducted.
Documents of a non-personal nature released under the Right to Information Act 2009 will be progressively published through our disclosure log.


text:
Songwriter-Producer
Possessing excellent songwriting ability and developed track production skills, songwriter-producers are involved every step of the way in the songs they choose to take on—from the writing process to the studio and in between.
Also called: Beat Maker, Producer
What does a Songwriter-Producer do?
We live in a hyphenated world, and songwriter-producers—such as Ryan Tedder, Danger Mouse, Linda Perry, and Bruno Mars—are like one-stop shops for new tracks, blending the talents of a master songwriter and a top-shelf producer. Involved in every step of their songs' life cycle—from conception to revision to recording and production—songwriter-producers have unparalleled control over their product, enabling them to shape it with a broad and cohesive vision. Some songwriter-producers, like Max Martin and Greg Wells, work behind the scenes. Others, including the four mentioned above, are high-profile recording and performing artists who add their name and brand image to songs, in addition to their technical and creative prowess.
Songwriter-producers are hired for their ability to shepherd a song from a germ of an idea to a finished product.
Songwriter-producers may work occasionally as songwriters or producers on tracks where these roles are distinct. Most of the time, however, they are hired for their ability to shepherd a song from a germ of an idea to a finished product, produced and recorded. To do this, they employ a wide-ranging set of skills that includes programming beats and samples; playing instruments and singing; writing and revising melodies and lyrics; arranging songs; eliciting inspired performances from vocalists and musicians; and creating professional-level demos or master recordings. Songwriter-producers often develop sustained collaborative relationships with other recording artists and songwriters.
Songwriter-Producer at a Glance
Some start out as songwriters, others as producers, but almost all are proficient performing musicians on at least one instrument. For songwriter-producers, finding success and moving up the ladder is all about making strong tracks, participating in numerous collaborations, and building an industry reputation. Songwriter-producers who have found respect in the industry have their pick of who to work with and what to work on.
As with many gigs in the entertainment industry, finding work as a songwriter-producer comes down to talent, hard work, connections, and luck—in roughly that order. Aspiring songwriter-producers are advised to cultivate their skills, collaborate frequently, and meet as many people in the industry as possible: artists, managers, producers, and label executives.
Lyric writing
Melody writing
Critical listening
Instrumental proficiency
Songwriter-producers are often described as exceptionally hardworking. They have to be, in order to develop the large toolbox of skills required to do this work. However, just as importantly, songwriter-producers must be well-connected and collaborative. Whether it's writing as part of a team or inspiring strong performances from an artist, succeeding as a songwriter-producer sometimes comes down to basic people skills: communication and teamwork. In addition, rigorous, sustained networking is essential to landing jobs in this business.
The work life of a songwriter-producer is variable and unpredictable, with no set workplace, schedule, or infrastructure. All that matters is that the songwriter-producer complete the demo, which usually requires working alone, after hours, and on a deadline for publishers. Some songs are written and produced in a day, while others take a year or more to get right. In general, songwriter-producers spend more sustained effort and solo work on projects than top-line songwriters, who often do as many as three songs a day.
Most songwriter-producers work on a number of separate projects at the same time and fill free time (if they have any) by seeking out new collaborations, finishing demos or records, and performing side jobs like creating music libraries, producing game or sync music, and building sample packs.
Until they make it to the big leagues and start pulling in serious royalties, most songwriter-producers will need to find a supplemental source of income; fortunately, that income can be generated from the freelance activities noted above, by working as an assistant to a more successful producer, or by working as an engineer at a recording or publishing studio.
Related Career Paths
Session musicians are expert studio players who are hired on a short-term basis to record backing tracks for recording artists.
Music Teacher (Schools, Universities)
Teaching artists are practicing, professional artists who have dual careers as educators. They come from every artistic field—music, dance, theater, visual arts, writing—and work in many settings, from schools and museums to hospitals and prisons.
Music Director – Solo Artist or Theater Company
Music directors for performing artists and bands take on a diverse array of duties, which could include hiring and leading the act's backing musicians, creating arrangements for the band, running rehearsals, shaping and perfecting the performance, acting as in-house producer, or even playing in the group.
Bandleaders are professional musicians who bring instrumental players together, organize them into a cohesive ensemble, and lead them in rehearsal and performance.
Freelance Producer
Music producers oversee and direct recording projects for musical artists. Although their roles vary by project, producers commonly help artists choose material and adapt arrangements, coach them in the studio, select and hire side musicians, work with the recording engineer, and weigh in on decisions about mixes.
Freelance Performer
General business musicians are musical chameleons who are hired to play for private events, adopting a style to suit the occasion.
Freelance Educator (Online education, private instructor)
Private music instructors teach students in a one-on-one setting, providing instruction in technique, performance, music notation, and more. Most specialize in one or two specific instruments.
Artist-Songwriter
Working alone or in collaboration with others, performing songwriters create, record, release, and perform original songs.
Cruiseship Musician
A cruise ship musician performs music for guests aboard a cruise ship.


text:
kempsey west public school, obstacool, kempsey obstacle course, kempsey school event, obstacle course, west kempsey school
Kempsey West Public School recently hosted an obstacle course fun day. During the morning, and some of the afternoon, the students had free rein to tear through the top-notch course from 'ObstAcool'. Later in the day, the school watched on as several Macleay businesses raced trough the course to decide who would take home the coveted Kempsey West Public School trophy and ultimate bragging rights. Teacher Emma Bates was instrumental in organizing the fun day for Kempsey West Public School. "We saw the obstacle course in Port Macquarie, and most of our students can't get to Port, so we brought it here," she said. "Then, the idea was put forward to get the community involved in the school. "We sent the word out over Facebook, and before we knew it Kempsey Macleay RSL, Kempsey Toyota, Coastline Credit Union, Kempsey Shire Council and Kempsey Neighborhood Centre had all signed up to race." It was a tough-fought race; there were thrills, spills and more than a little bit of good-natured banter, but ultimately the staunch team from Kempsey Macleay RSL won the day, the trophy and bragging rights. The last match of the day had the best racer from each team battle it out one last time. Annabelle from Coastline Credit Union set a relentless pace that left the other teams representatives in the dust. This was the first time Kempsey West Public School has hosted the course, and parent liaison officer Kellie trees is hoping it won't be the last. "The kids had an absolute ball, and it looks like the adults did as well, I think we will look to do something like this again," she said. "The Commonwealth Bank sponsored a barbecue lunch and even sent their Dolomite mascot. We are also having other schools from the area visiting to test out the course; it has turned into a real community event." Stay ahead with local news by signing up for the Macleay Argus newsletter here.
https://nnimgt-a.akamaihd.net/transform/v1/crop/frm/stephen.katte/150fe71f-d6f0-4478-8ff1-8a651c5170e0.JPG/r0_314_4288_2737_w1200_h678_fmax.jpg
September 10 2019 - 11:30AM
Kempsey West Public School hosts obstacle course fun day | Photos, Video
Stephen Katte
Photos: Kellie Trees and Stephen Katte
Kempsey West Public School recently hosted an obstacle course fun day. During the morning, and some of the afternoon, the students had free rein to tear through the top-notch course from 'ObstAcool'.
Later in the day, the school watched on as several Macleay businesses raced trough the course to decide who would take home the coveted Kempsey West Public School trophy and ultimate bragging rights.
Teacher Emma Bates was instrumental in organizing the fun day for Kempsey West Public School.
"We saw the obstacle course in Port Macquarie, and most of our students can't get to Port, so we brought it here," she said.
"Then, the idea was put forward to get the community involved in the school.
"We sent the word out over Facebook, and before we knew it Kempsey Macleay RSL, Kempsey Toyota, Coastline Credit Union, Kempsey Shire Council and Kempsey Neighborhood Centre had all signed up to race."
It was a tough-fought race; there were thrills, spills and more than a little bit of good-natured banter, but ultimately the staunch team from Kempsey Macleay RSL won the day, the trophy and bragging rights.
The last match of the day had the best racer from each team battle it out one last time. Annabelle from Coastline Credit Union set a relentless pace that left the other teams representatives in the dust.
This was the first time Kempsey West Public School has hosted the course, and parent liaison officer Kellie trees is hoping it won't be the last.
"The kids had an absolute ball, and it looks like the adults did as well, I think we will look to do something like this again," she said.
"The Commonwealth Bank sponsored a barbecue lunch and even sent their Dolomite mascot. We are also having other schools from the area visiting to test out the course; it has turned into a real community event."
Stay ahead with local news by signing up for the Macleay Argus newsletter here.
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Dan Baker takes the reins of Nulla's Premier League side
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Big hitters eye off the cash
Primary producers are encouraged to apply for $75,000 bushfire recovery grant
The Macleay Argus