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Hire Manor House in Dartford
Submit your event / occasion details to see a personalised list of Manor Houses in Dartford available to book instantly.
Poptop Event Management / Venues / Manor Houses / Manor Houses in Kent / Manor Houses in Dartford
205 Manor Houses in Dartford for you to choose from
The Lana Mia Manor
Berwick Pond Road, Rainham, Essex, RM13 9EL, Rainham, Essex
Up to guests
We are fully licensed to hold civil ceremonies and civil partnerships (in and outdoors) allowing your guests a chance to relax. The Manor Hotel prides itself on being one of the only venues in Essex licensed to hold ceremonies outside, and have invested in some major improvements to the ceremony ar…
Etham Palace
Court Yard,, SE9 5QE, London, Greater London
Inside this circular wood panelled room, exquisitely picked out in shades of coffee and cream, is where many couples choose to marry. Like a Hollywood star, brides can make an entrance down one of a pair of curved staircases before the couple exchange vows beneath a glass dome. Family and friends c…
Ranger's House
Rangers House, Chesterfield Walk,, SE10 8QX, London, Greater London
Ranger's House is an elegant Georgian villa on the boundary of Greenwich Park and Blackheath which houses The Wernher Collection, a world-class art collection amassed by the 19th-century businessman, Sir Julius Wernher.
Over 700 works of art are displayed across a dozen panelled interiors, and i…
Queen's House
Romney Road, Greenwich, South East London, SE10 9NF, Greenwich, Greater London
Royal Museums Greenwich comprises four unique venues available for hire. Located in the UNESCO World Heritage site of Maritime Greenwich – Cutty Sark, the National Maritime Museum, Queen's House and the Royal Observatory Greenwich offer an epic backdrop for events.
This historic collection showcas…
The Old Royal Naval College
Greenwich London, South East, SE10 9NN, London, Greater London
Just minutes away from central London, the Old Royal Naval College is the jewel of Greenwich and the perfect setting for all kinds of events. Whether you seek grandeur or intimacy, you will find it at Sir Christopher Wren and Nicholas Hawksmoor's historic masterpiece, considered to be 'the finest a…
De Rougemont Manor
Great Warley Street, Brentwood, Essex, CM13 3JP, Brentwood, Essex
De Rougemont Manor Hotel & Suites in Brentwood is a family managed & owned hotel in the heart of the Essex Countryside. Whether you are looking for a perfect wedding, wedding reception or a family celebration De Rougemont Manor offers fantastic facilities and excellent service to provide a memorabl…
Tower Hill, London, East Central London, EC3N 4DH, London, Greater London
Trinity House on Tower Hill is a beautiful location for your wedding. The building design and layout is especially sympathetic to wedding celebrations.
History and grandeur
Civil wedding ceremonies and wedding receptions can be held in the spacious Library, with its beautiful stained glass wind…
The Historic Dockyard Chatham
Chatham Historic, Dockyard Trust, The Sail & Colour Loft The Historic Dockyard, Chatham, Kent, ME4 4TW, Chatham, Kent
At The Historic Dockyard Chatham you are not just "hiring a venue", you are buying into a complete and unforgettable experience set within a place that is quite simply like no other.
Sitting at the heart of this wonderful place is Commissioner's House (1704), the most intact naval building from…
Farleigh
Old Farleigh Road, Warlingham Near Selsdon, Surrey, CR6 9PE, Surrey, Surrey
Weddings, parties, anything – let our friendly expert events team help you plan the perfect occasion. Located in an area of outstanding natural beauty, your guests can enjoy the countryside whilst being just moments from the M25 and Croydon town centre. Even the City is only 30 minutes away!
Wimbourne House
Wimbourne House, 151-155 New North Road, N1 6TA, London, Greater London
Looking for a desirable venue to make your own? JJ Media has a breathtaking array of spaces for you to create your memorable wedding. From shabby-chic to sleek, our airy and bright studios can be tailored to create your dream environment.
Uniquely positioned in a courtyard oasis which offers pri…
Ingatestone Hall
Hall Ln, CM4 9NR, Ingatestone, Essex
All or part of the public rooms of Ingatestone Hall and its grounds are available for hire for public and private events of all kinds.
The range of events that can be accommodated is wide. Whether you are planning a meeting for a couple of dozen people or a large exhibition over several days with…
Cromwell Manor
Pitsea Hall Ln,, SS16 4UH, Basildon, Essex
Our beautiful and historical venue has 3 beautiful rooms to choose from to hold your wedding ceremony in. Our ground floor ceremony room with oak beams, fireplace and bay window seats up to 40 guests for a more intimate day.
Upstairs we have a further 2 rooms licensed to hold ceremonies, I mirro…
Clossold House
Stoke Newington Church Street, N16 9HJ, London, Greater London
Clissold House is a stunning Grade II* listed space set in the tranquil surrounds of Clissold Park located near Hackney, East London and North of the City. This eighteenth century mansion house offers expertly restored architecture, beautiful interiors and a stunning outdoor terrace.
Recently re…
RSA House
8 John Adam Street, London, West Central London, WC2N 6EZ, London, Greater London
The RSA House offers a well-equipped events venue in central London for hire, including for conference, weddings, Christmas and private celebrations. The House combines Georgian splendour with high quality contemporary design and is a versatile space suitable for a variety of events. Over 260 years…
The Dolls house
181 Upper Street, N1 1RQ, London, Greater London
Whether your big day calls for a fabulous party or intimate celebration, The Dead Dolls House is committed to putting on your perfect day. With space for the smallest of weddings to rein of the whole three-floors we have done it all.
The in-house team are dedicated to making your day perfect.
Bloomsbury House
2 - 3 Bloomsbury House, WC1A 2RL, London, Greater London
Bloomsbury house is yours exclusively for the duration of your wedding day. We want you to treat the house as your own, from first thing in the morning, through to the ceremony, drinks, dinner and dancing.
Licensed for up to 100 guests for a civil ceremony, we have three gorgeous rooms you can…
Manor Houses in other cities of Kent
Manor Houses in Bromley
Manor Houses in Rochester
Manor Houses in Chatham
Manor Houses in Southend On Sea
Manor Houses in Maidstone
Manor Houses in Canterbury


Congrats! Even with the hail it was probably still a better day than Saturday for testing.
JASmith wrote: Congrats! Even with the hail it was probably still a better day than Saturday for testing.
TBH, glad I didn't come to spectate. My softtopper would have been beat up.
Congratulations! Lots of dedication and work behind that accomplishment.


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Audio Book Narrators
A Grammy award-winning audio book producer/director celebrates the most incredible instrument of all: the human voice.
Paul Alan Ruben
Not For Librarians Only: An Audio Book Reviewer's Template
If we want criticism to matter…we have to treat it with
more respect. This means abandoning the notion that it's
just hack work or service journalism or literary
bookkeeping… criticism, done well, is…a singular genre in
which a lot of great writers have done their best work.
-Sam Anderson, "Why Criticism Matters"
New York Times Sunday Book Review, Dec. 31, 2010
TEMPLATE (Online Miriam Webster): a gauge, pattern, or mold …used as a guide to the form of a piece being made.
STORYTELLING: A co-creative experience involving the senses with an intentional storyteller and acknowledged listener
-Rachel Hedman, Professional storyteller
I begin by acknowledging that most audio book reviewers are not compensated, or paid little for their services. Their listening commitment (a 15 hour book is 15 hours) and the time required to conscientiously assess a program is significant.
In recognition of the reviewer's serious labor (of love, mostly), I hope the following template will add credibly to the proposition that audio book narration - whose roots burrow powerfully through a time-honored and singularly distinctive storytelling tradition that probably dates back to humanity's nascent guttural utterances – is eminently worthy of the reviewer's effort to unpack this performance art for the listener.
By the way, narrators and audio book professionals do read reviews and do take them seriously, especially when they're favorable. That's a fact!
REVIEWER'S TEMPLATE FEATURES:
PERFORMANCE MARKERS: Critique vocabulary that identifies specific performance issues directly related to the listener's experience.
LISTENING LINK: Audio book segments that - in the best sense - epitomize performance markers.
EVALUATION QUESTIONS: Highlighted in boldface, salient critique questions reviewers might pose to themselves while evaluating performance.
THE SINGULARITY OF STORYTELLING
Before identifying vocabulary (what I'm calling 'performance markers') that specifically addresses the efficacy of a given performance, it's important to remember that this template separates experience of the written word from the spoken word, the implication being that there's something special about 'spoken' storytelling. While automobiles and their standard cassette players may have been the progenitor of audio books, there is, nevertheless, something wholly unique about speech, something the storyteller can conjure that the writer cannot. It's what that most incredible instrument of all - the human voice - can perpetrate on a listener that I'm drilling into when I serve up this so-called performance vocabulary.
In a word, this template is dedicated to the singularity of the narrator's performance art: storytelling.
PREPPING THE REVIEWER'S LENS
As you prepare to evaluate an audio book, take a metaphorical breath, as if to allow yourself time to position the critic's lens to properly see the storyteller's aesthetic purpose: To act as a conduit that connects the text's emotional intent to the listener. That is the performer's bottom line obligation.
Said differently: Whatever the main character Joe is experiencing emotionally – whether he's evil incarnate or Mr. Lovable - the narrator (conduit) must connect Joe (his feelings) to the listener, precisely as the author intends.
FASTENING THE REVIEWER'S EARS
The reviewer's ears separate performance from text. Love the book or hate it, conflating text and narrator disregards the storyteller's only obligation: emotionally connecting you to the story. A performance review focuses on the transport of the narrative's feelings and perhaps, depending on the text, a little pity for the narrator who is at the words' mercy.
REVIEWING EMOTION
Axiomatically, if actors can only act emotions, shouldn't emotions be the reviewer's primary focus.
If a reviewer writes, "I liked Cindy's performance," or "the narrator's characterizations were great," we might fairly ask, how does 'like' inform us about Cindy's emotional impact on the listener? It kind of does, but kind of not, too. "The narrator's portrayal of tough-minded Cindy was good, straight-forward, precise," doesn't quite reference how we might actually feel when hearing Cindy.
Again, actors act emotion. That's it. If I'm directing an actor and say, okay, this character, Cindy, she grew up in poverty, so what does that tell you emotionally about Cindy? Nothing.
Poverty isn't an emotion; it's not actable. Therefore, mentioning Cindy's poverty isn't an actable clue to the storyteller. But, when I suggest that Cindy's poverty has made her strong-willed, suspicious of wealthy people who never knew what being poor meant, now the actor gets Cindy emotionally. These are actable clues that encourage the narrator to inhabit Cindy's feelings, then connect those feelings to the listener.
An emotionally-centric review might alert us to "…Cindy's forceful, yet tempered tone…The town's arrogant mayor, whose patronizing opposition to Cindy's implacable demands to help the poor pushes us to dislike him as though he were the object of our scorn." This more evocative syntax suggests to the listener, here's how you're going to feel about these characters.
ASTERISKS
* If you're an exception-to-the-rule person, please know that attached to the following performance markers is an imaginary asterisk. My vocabulary is not fixed. It's meant to be mediated.
* The accompanying performance links are my opinion, yours may differ. That's what makes awards ceremonies maddening.
THE TEMPLATE
Note: The following guidelines apply to fiction and non-fiction.
PERFORMANCE MARKER: Chewing the syntax
LISTENING LINK: Listen to Simon Jones.
Is there an abandoned, unloved word, let alone phrase?
Imagine an author slaving over his narrative, saying to himself, well, I'll just heave in some sentences that really don't matter to me.
Not likely.
The reviewer should rightfully imagine the storyteller - as she contemplates six grueling days in the studio plowing through a 23 finished hour marathon – silently ingratiating herself to the author: 'Yeah, your words, I know. I know, all 216,000 of 'em. Your babies. Well, for the next week, they're mine!'
Contemplating the author's narrative, storytellers recognize that there's no such thing as a word or phrase undeserving of their total emotional commitment.
Readers languidly gum the language, storytellers chew it, intensely.
PERFORMANCE MARKER: The here and now
LISTENING LINK: Listen to Maggie-Meg Reed
and Barbara Caruso.
Are these storytellers in the moment, experiencing what's occurring as if it were happening in the here and now?
Or do they sound removed, uninvolved, as if reporting an unfelt event or a time whose palpitating resonance they can longer recall, much less replicate?
When the storyteller inhabits this marker, it's a performance maker. Ignore the here and now, or worse, defy it, it's a performance breaker.
Without the here and now there's no emotional consequence, no storytelling. At best, you'll get a well enunciated, bland reading. In the absence of the here and now, listeners may understand everything, but they'll feel nothing about it.
Storytellers evoke the here and now when they emotionally engage the text as if events were unfolding in front of them right now, even if they're talking about the invention of the wheel. Storytellers experience the words' feeling, existentially, in real time. Regardless of topic, location, or who is speaking, if the storyteller is immersed in the here and now, the listener will be as well.
Narrators who disregard the here and now tend to 'report' experience. Reporting, as I call it, is emotionally empty, non-committal, passive, as if proffered by a marvelous body (great voice) with no soul (feelings).
Think of it this way: a reporter's job one is the objective dissemination of information, one-eighty opposite the storyteller's prime directive, emotional connection.
Next time you hear the TV news broadcaster's honeyed rhythms, authoritative cadences or the commercial voice-over talent's clear, buttery-smooth voice, mellifluously uttered, meticulously modulated words, it's worth noting their outcome: Dispassionate reportage; encouragement of the purchase of a product or service. But never to connect themselves to you emotionally, as if they were an integral part of the story.
Reportage is anathema to storytelling because it emotionally distances narrator and listener. The here and now actualizes the moment. It immerses narrator and listener in events as if they're occurring in real time. If the goal is transfer of information, hire a reporter or announcer.
PERFORMANCE MARKER: Point of view
LISTENING LINK: Listen to Holter Graham
and Beth McDonald.
Is the story unfolding as if these narrators were the characters they're talking about?
Or, do the narrators act merely as if they're the characters' spokesperson? Or maybe the narrators are speaking as themselves, for themselves, as if their finely tuned vocal instrument should be the story's focus rather than its characters?
Storytelling cannot exist unless narrators speak from the point of view of who or what they're speaking about.
Point of view can only be revealed when the narrator speaks, not as the character (that's what the actual dialogue is for), not for the character (implying the performer is the narrative's focus), but rather as if the narrator has permeated their soul for the purpose of intimately transmitting the character's feelings to the listener.
Think of a story about a man who hates his wife. As a listener, would you prefer to hear an omniscient voice announce the story from his emotionally unattached vantage or be thrust by the storyteller into the marrow of this hateful husband's bones, feeling suddenly provoked by the woman he detests? When point of view vanishes, so does emotional connection.
It's challenging enough for narrators to consistently maintain the point of view of whom they're speaking of. What about inanimate objects and non-sentient beings?
LISTENING LINK: Listen to Barbara Rosenblat breathe feeling into mostly things.
PERFORMANCE MARKER: Discovery (playing the 'wow')
LISTENING LINK: Listen to David Ledoux.
Does his cadence reflect someone who, just before he utters the next word, suddenly discovered it? As if he has no idea of what he's going to say until the syntax erupts from his lips?
Or are David's words perfunctorily expelled, quickly, as if uninterrupted by preceding thought? Does he blow through punctuation, reading what sounds like a 300 page run-on sentence Gatling gun style?
Discovery is literally the conscious thought that occurs the very moment before the syntax that expresses it. Discovery is an emotional propellant that turbocharges listeners' willing suspension of disbelief, immersing them, magically, in the here and now. To the storyteller, discovery translates as: Wow!
I'll explain:
Discovery is a counterintuitive process because the narrator is reading what should sound extemporaneous. Because the book is in front of her, she knows what's coming.
The narrator's discovery challenge exemplifies one of storytelling's ironic truths: listeners are aesthetically defaulted to want to willingly suspend their disbelief, to believe that what's being read is actually occurring in the moment.
Because narrative fiction and non-fiction connect us with our experience of ourselves and others, isn't sharing in the active discovery of the feelings that emotionally represent that experience a lot more exciting than being treated to a recitation by some bored reader for whom there are no emotional stakes.
Or think of it this way: in real life discourse, do we literally know what's coming next? Don't we routinely stop/start, stutter, pause, mumble, hesitate when we speak. So, why wouldn't the narrator do the same?
I often tell narrators that discovery oscillates in the white spaces between punctuation (a comma, period, colon, etc.). That white space is where the author readies us for a new thought – from subtle to profound - which is always joined at the hip with attendant feeling. When the storyteller discovers this white space, it's as if to say: Wow! Wait till you hear this!
PERFORMANCE MARKER: Emphasis
LISTENING LINK: Listen to Oliver Wyman.
As he describes this couple's passion, is it as if the words he's emphasizing emerge from his discovery of their intimate relationship?
Or is he arbitrarily modulating ('punching,' 'vocally highlighting,' almost 'singing' words or phrases) in an effort to percolate his narration, juice it with inflection? Simply, does his emphasis sound real or fake, organic (natural) or modulated (forced)?
Axiomatically, real (organic) connects; fake (manufactured) disconnects.
Ironically, emphasis is as much the storyteller's enemy as her friend. The harder the narrator works at 'hitting' the right words, the more boring (or annoying) she becomes. Why? Because modulation disconnects us from feeling. Emphasis for its own sake invalidates emotion. Manufactured inflection asserts emphasis over empathy. Modulation – purposefully whacking a word for variety sake or because it somehow begs to be EMPH-a-sized - is the moral equivalent of gorging on a lusciously gooey hot fudge sundae: tastes great but try surviving off those calories.
When directing narrators, if I detect manufactured inflections that indicate feeling, I'll often suggest to the narrator: Don't sing, don't modulate. Inhabit the feeling inside the word and emphasis will occur, naturally, organically.
To sample what I'll suggest is empty calorie emphasis (again, only as it pertains to storytelling) listen to a radio or TV voice-over, or news broadcaster: their job is to interest or inform only. If you happen to ride the New York City transit, listen to Charlie Pellett, ubiquitous voice of the newest subway cars. His mother of all empty calorie announcements - a vocal aria that regards words as manic action figures - bounce sung syntax up, down, high, low, as if each were on its own trampoline. And why not! His job is to inform passengers, alert them about any "suspicious package," not freak the daylights out of them, cause mass panic, or insinuate his feelings into the content of his communication.
Modulation mocks feeling. You'll know empty emphasis when you hear it because its emotional impact will be like you were just punched by a pleasant puff of air.
PERFORMANCE MARKER: Dialogue
LISTENING LINK: Listen to Thérèse Plummer
and Tristan Layton.
Is each character responding directly to the other?
Or rather, to some amorphous, don't quite know who? Are the characters' responses indicative of their emotional state based on what they just heard as well as how they're predisposed? In other words, as they interact, are the characters engaged?
The essential dialogue challenge for narrators isn't speaking, it's listening. Think of it this way: how can a character's response believably resonate if that person hasn't heard what was just said?
When dialogue sounds distant, oddly wooden, metaphorically 'out there,' the reason can usually be traced to one of two distinct possibilities: the storyteller simply can't affect believable characterizations (bluntly, he can't act) or in the pejorative show biz lingua franca, she's 'phoning it in': reciting unfelt feelings, as if by rote, rather than inhabiting them; indicating emotions, rather than responding organically to them.
Considering the bottom line (emotional connection between listener and narrator), as reviewers critique dialogue, it is fair to consider: did that character who just spoke hear and then react to what was previously said? Or was it simply that character's turn to speak?
What about accents, creating unique voices, and playing the opposite gender?
Remember the narrator's chief concerns: reflecting the point of view of whom or what she is speaking about; honoring the author's intent; keeping the listener connected. When an implausible sounding voice or opposite gender short-circuits the listener-narrator connection, the listener's willing suspension of disbelief wriggles distractedly, uncomfortably, aesthetically frazzled, jarred. It's as if the head phones had been unceremoniously ripped from the listener's ears.
We know that the narrator plays every character. We accept that the storyteller is one sex. Of course individuated voices immediately identify who is speaking, and we certainly need to know whether the character is male or female. But I would argue, all things being equal, who characters are resonates more than what they sound like.
I often suggest to talent, play the character, not his voice; inhabit the gender. Males and females speak in differing rhythms and cadences and when an actor can locate those, gender differences become obvious.
Finally, less is almost always more. Subtle tonal shifts generally identify which sex is talking. Yes, the degree of characterization must fit the genre, and commensurately address the author's vocal description of the person. But ultimately, if the characters aren't responding to what they heard, great character voices become little more than vocalized bling.
PERFORMANCE MARKER: Accents
Listen to Chuck Stransky
and Yelena Shmulenson.
Think: genre and aesthetic. Are their accents consistent with both? Chuck's narrative is clearly comedic. Do these guys sound like comedic tough guys? Yelena's story is dramatic. Does her accent support or interfere with the narrative's intimate mood?
Considering accents - domestic and foreign - think propriety, necessity, and less is more, generally.
An accent's 'thickness' may reduce a 3-D character to1-D. A hint may be enough to fully believe the character is Irish. To aesthetically buy into the character, is an accent even necessary? Not if the accent isn't directly indicated or implied.
Nothing distracts a listener from the narrative like an inauthentic, unidentifiable or plainly inaccurate accent. I always suggest to actors, if you can't imitate the accent perfectly, don't even go there, or just suggest a hint. Second, listeners accept that the narrator isn't part Chinese, Italian, Mexican, British, South African, and Texan. A hint will maintain their suspension of disbelief, willingly.
The text - the primary reference for every performance question – may or may not provide clarity. If the author writes, "she said with a pronounced Kentucky twang," the actor must comply. But just because the story takes place in Boston does not imply the characters all have to sound like JFK.
Imagine the cackling Brooklynite, driving home over the Verrazano Bridge, as he pauses the CD then glances at the wife: "Dis here guy's supposed to be from Canarsie? Fahhgetaboutit!"
There are at least two performance claims that distinguish non-fiction from fiction, and they're interrelated:
PERFORMANCE MARKER: It's the author's story…
PERFORMANCE MARKER: …never the characters' story
LISTENING LINK: Listen to Dennis Boutsikaris.
Do you have the distinct impression the author is speaking? Is Dennis reporting or inhabiting the author's point of view?
From a performance perspective the fiction narrator's objective is to connect the listener to each character's point of view. The non-fiction narrator is obliged only to connect us to the author's.
The non-fiction author is eager to excite us about the ideas, characters or events she's describing. Her objective is to convey her amazement, her fascination, and her belief that her story must be told, now.
When the narrator affects a 'voice' our focus shifts to the characterization and/or accent, to this actor's vocal acuity. Suddenly, the author's purpose is transgressed as we are aesthetically torn from non-fiction's calling: to illuminate, inform, or otherwise educate us about this particular topic.
Non-fiction characters aren't really three-dimensional. They exist to serve the author's intellectual purpose. Portrayal of their voice promotes them undeservedly, features them instead of the author and negates non-fiction's performance mandate: author-listener connection.
Think of it this way: When the non-fiction narrator affects Robert E. Lee's southern accent, voices the Arab and Israeli, or imitates Lincoln, the aesthetic blow-back turns the author's story into the actor's audition: hey everyone, do I sound like Barak Obama or what!
AUNT MARY: The Narrator's Altered Ego
Readers of this blog are familiar with the vicissitudinous kvetchings of the ever suffering (and insufferable) would-be narrator, Aunt Mary. Tenaciously insistent, long on ambition, devoid of intuition, AM emailed me after reading my last post, insisting, "…once the reviewers here (sic) my skills, well, you can believe they'll tell publishers to hire Aunt Mary for everything! You betchya!"
Aunt Mary – the storyteller's nightmare - is an obtusely arrogant agglomeration of vocal affectations that are incompatible with storytelling: She flamboyantly strains declaimed syntax, her not altogether unappealing vocal instrument torturing the ear like a Stradivarius infected with irritable bowel syndrome. Her artificially placed, mildly frantic pitch, and her modulated volume nauseate the narrative, as if the author wrote seasick. And her speedy reads reduce her male/female characterizations to stereotypical sound-alikes whose point of view always appears to be, who else? Aunt Mary's.
But AM seeks employment, persistently - a serially misinformed performer who conflates words spoken with stories told. To her, it's all about 'the voice.'
But what about sentience?
Sorry AM, but you don't get the storyteller as emotion's conduit. You don't feel the storyteller's commitment to dislodge the palpable humanity embedded in the author's narrative, then connect those live feelings into the listener. Alas AM, you're a reader. End of story.
REVIEWER'S TEMPLATE SUMMARY
I hope reviewers will regard this template's performance markers – from chewing the syntax to the here and now - as malleable assessment tools whose collective bias sheds informative light on the process of critiquing the narrator's capacity to emotionally connect to the listener.
I think of each tool as an individual performance portal, or maybe a lens, through which the critic can analyze the particular storytelling element it addresses.
Finally, I am arguing that precise critique vocabulary exists (performance markers) that can be referenced by the reviewer in order to advise listeners about what they're going to feel when they press 'start,' how much or how little they're going to feel and why or why not.
Posted by Paul Alan Ruben at 4:47 PM
Heather Farrar February 28, 2012 at 9:39 AM
Thank you for your wonderful article and examples. I was an audiobook reviewer, but apparently was not well at my craft-being asked to stop. I wrote my reviews based much on what you have stated. I am a professionally trained voice-talent with a BA in Mass Communications majoring in writing/film. But I am not bitter, in fact I am grateful. Currently, I am under contact for my first audio book in the "non-fiction" catagory. Now, I pray, should one day someone out there review my work they first read your wonderful article, and take to heart this template and listen to these examples. Knowledge and education create better understanding making intellectually driven reviews.
Lynn Benson March 2, 2012 at 1:12 AM
Many thanks for this lesson. I just spent time with this and feel like it was a class in acting.
Lynn Benson
Bettye Zoller March 7, 2012 at 1:11 AM
Brilliant. We're sharing this with students in our Dallas Audio Book Weekend March 24-25.
Kat Hooper March 12, 2012 at 10:09 AM
Thank you, this has been very helpful!
Kat Hooper
http://www.fantasyliterature.com
Jane Jacobs April 18, 2012 at 12:42 PM
Sensational article. Thank you for sharing your insight, Paul.
Very late to the party here but this was brilliant to read. I cant open the sound files though - any advice?
Paul Ruben has produced and directed award-winning audio books for every major publisher since 1987. Grammy awards (Best Spoken Word Album) include: Lies and the Lying Liars Who Tell Them (2003) written and narrated by Al Franken; Always Looking Up (2009), written and narrated by Michael J. Fox. Industry Audie awards include: It's Not About the Bike (Narrator: Oliver Wyman), Raymond and Hannah (multi-cast featuring David LeDoux/Kathleen McInerney), The World is Flat (Narrator: Oliver Wyman), A Slight Trick of the Mind (Narrator: Simon Jones). Paul has a B.A. degree in Theatre and Philosophy (Yankton College), an MA in theatre (Bowling Green State U.), and has directed numerous regional and summer theatre productions. He has contributed feature articles on audio book narration to Audiofile Magazine. In 2005 Paul was elected to the Audio Publishers Association Board of Directors. He currently teaches narration to professional talent. For more information visit: www.tribecaaudio.com
Not For Librarians Only: An Audio Book Reviewer's ...

redpajama_set_name: RedPajamaCommonCrawl


National Commission for Colleges of Education (NCCE) Approves and Implements Open Distance and e-Learning (ODeL) for Teachers in all Colleges of Education.
In a bid to improve teachers' education, the National Commission for Colleges of Education (NCCE) has approved the implementation of the Open Distance and e-Learning (ODeL) in all Colleges of Education.
According to a statement issued by Lovedays Egbedion, Head of Project and Partnership, the Executive Secretary, Prof. Bappa-Aliyu Muhammadu, disclosed this while inaugurating the NCCE/M8 Global Tertiary Institutions E-learning Resource (TIER) Project Implementation Committee.
Other benefits include: internationalization, as well as enhanced student progression through collaborative provision.
Speaking on behalf of the provosts, the National Chairman of the Committee of Provosts in Colleges of Education, Prof. Johnson H. Pongri, thanked the management of NCCE and pledged their support towards realising the TIER project objectives.
Dr. Lovedays Egbedion, assured the management of the readiness of all the TIER Consortium partners towards improving Teachers' Education in Nigeria in tandem with the best global practice.


Engraving on key rings, pens, aluminium products, etc. These can be engraved in white, black and blue.
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Perspex, Plastic or wood letters and shapes can be laser engraved according to your needs.
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We can use courier services to deliver your laser engraved items in Pretoria, Centurion, Midrand, Johannesburg, Rivonia, Randburg and generally in any area in Gauteng or any other province in South Africa, at an affordable delivery fee.


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Chris Coraggio 0
Smith Undergraduates deserve the Undergrad Lounge in VMH1407!
Chris Coraggio 0 Comments
We, the undergraduate students at the Smith School of Business, firmly believe that we deserve the undergraduate lounge and SUSA Executive Board Office in Van Munching, Room 1407. We deserve this space because: 1.) 2,800+ Smith Undergraduates use this space for socializing, group work, and as a workspace. 2.) Giving the undergraduate lounge to a few Smith Staff means that Smith Undergraduates are not a priority for the Smith Administration. 3.) The Smith Undergraduate Community is hampered because there is no space for us. 4.) Smith Undergrads are sent the message that we do not belong in Van Munching Hall because there is no space whatsoever that is reserved for us. 5.) The SUSA Executive Board works around the clock to create community for undergraduate students. Taking this space away would force the Executive Board to relocate to the SUSA Storage Office, hampering our ability to have a regular space to work, print out flyers and other materials, and have a private space to keep confidential materials. 6.) In terms of utilization of space and time, Smith Undergraduates by far need the undergraduate lounge more. Smith Undergraduates using the lounge for over 12 hours a day, 7 days a week should take priority over 3 or so Smith Staff using the office for a maximum of 8 hours a day, for only 5 days a week. As Smith Undergraduate students, we deserve a space to socialize and work, just as the Smith MBAs do. We understand that Smith Staff must be relocated, however, 2,800+ Smith Undergraduates, the largest population in the Smith School, deserve to keep the space that we have made our home in Van Munching Hall.


I have been teaching violin, viola, and piano lessons for over twenty years. I love working with students and watching them improve and gain self-confidence. Teaching is my passion and I feel so fortunate to have this job that I truly enjoy.


It's that time of the year for AUTOSPORT's own to vote on the best driver and the most memorable grand prix of the year.
Each of our 17 experts selected five drivers and three races, awarding the best driver five points, all the way down to one point for the driver in fifth place. The best race was awarded three points, down to one point for the race in third.


-Who do I contact to ask for documents?
The best approach is to first ask the agency that holds the documents you are seeking whether the documents are publicly available or can be made available to you without a formal access application. It is often effective to talk to someone in the agency.
If the documents are not provided to you, or the agency asks you to formally apply under the FOI Act, you will need to lodge an access application with that agency.
See below for contact information relating to local government, public sector employment & prisoner records.
Each local government authority should have an FOI Coordinator who can provide information about the kind of documents it holds and whether you are required to make an access application under the FOI Act.
If you are an officer or former officer of a State or local government agency, first, talk to the HR section of the agency that holds the documents to see what you can access under the relevant legislation, your employment award or other arrangement.
Depending on your employment circumstances, you may have a right to inspect your employee records under the Industrial Relations Act 1979 (see sections 49D and 49E).
Otherwise, visit the agency's website.


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Air Block docking fenders use pneumatics to absorb the energy between a vessel and the dock. This means that the aging and stiffening of rubber, an effect that is common in traditional rubber fenders, has no effect when using Air Block Fenders. Furthermore, Air Block Fenders will provide very soft initial contact with low friction force and reaction forces that increase very gradually.
By equipping an Air Block fender with a protector panel that is specifically designed for the size of the vessel, the specific type of vessel, and the state of the dock, superior results can be achieved compared to other types of fenders and Air Block Fenders that are equipped with a standard cap. By equipping your dock with ABF-P fenders, optimal safety for dock and vessel will be guaranteed.
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The Office of Ethnic Communities is very proud to see Ranjna Patel – a well-known business entrepreneur and a community worker receiving the Deloitte Top 200 Visionary Leader award for 2016. Congratulations!
The Office of Ethnic Communities was pleased to attend the Waimakariri District Council community team end of year function at the district council office in Rangiora on 8 December. Denise Wiggins (Community Development facilitator) and the community team have been very active in generating links with agencies in Christchurch around the needs of newcomers and ethnic communities in the area.
On 17 November 2016 the first Whangarei Migrant Local Settlement Network Meeting was held by the Whangarei Settlement Steering Group. The purpose of this network meeting is to proactively share skills, resources, information, ideas and experiences in a collaborative and supportive manner to respond to settlement needs within Northland/Whangarei area for newcomers and their families, local service providers and local employers. This network meeting plans to come together twice a year to create opportunities for cross-agency collaboration to provide better public services, in particular for new migrants to the region.
PLAINS FM Christchurch calls for those who wish to participate in developing its new disaster operating plan to get in touch. Disasters can happen anytime/anywhere and as PLAINS FM station manager Niki Reece knows only too well from past experience it is important to regularly upgrade communication strategies and create clear pathways to reliable information. Get in touch with Nicki if you want to be part of this initiative which will kick off in the New Year.
On 6 December, the Micies Award was hosted by the Access Community Radio in Auckland. This is a gathering for members and broadcasters with the annual Planet broadcasting awards for their contributions in producing and hosting their community programmes. This annual award has been hosted alternatively by different ethnic groups. This year the Romanian community provided their traditional food and folk dancing performance.
Well I must say it feels like ground has shifted significantly since my last update in October! The ground has shifted literally in Kaikoura, and it continues to move along the many fractured fault lines which run through our country.
The growth of diversity in New Zealand is a fairly obvious phenomenon of the last few decades. New Zealand has more ethnicities than the world has countries.
Two Korean young women were successfully elected to community boards from Christchurch local election 2016. Catherine Chu gained 2,074 votes; elected for Riccarton Ward of the Halswell-Hornby-Riccarton Community Board, as well as her sister Linda Chen received 3,391 votes for Harewood Ward of the Fendalton-Waimairi-Harewood Community Board. The siblings were thrilled with the final result and sincerely appreciated the unique experience, the support and encouragement from voters while they actively campaigned for the election by door knocking. "We kind of prepared and expected that we might experience discrimination during the campaign. But people's passion, attitude and their embrace on diversity really inspired us" said Linda and Catherine.
The Office of Ethnic Communities facilitates the appointment of people from ethnic communities to state sector boards and committees.
Becoming a board member requires certain level of experience and skills. The Ministry for Women has developed a comprehensive non gender specific tool called My board strengths to help assess your readiness for governance roles.


Losing weight can be a difficult, time consuming, and expensive process if you go through the typical routine of reducing caloric intake and improving exercise. Getting tummy tuck tattoos to cover up the procedure can be a great way of taking a shortcut that is not only useful for you in the short term, but also improves your long term confidence and look as well. Using the following article, you will understand exactly why this procedure is so useful. Hopefully, it will guide you through the process so that you can better understand your options.
Getting a tummy tuck is not something that everyone decides for right away, but it is a good option nonetheless. You will find that the main reasons to get a tummy tuck are aesthetic, but this has far reaching implications for mental health as well.
1. Improved self-confidence – The whole point of getting the procedure is to improve confidence, which tummy tuck tattoos can help to do. You will be losing a lot of weight and this is perfect for you to improve your confidence with other people and with life in general. That being said, if you have a scar that people can always view, it is going to be a different story altogether. You might want to consider some of the options that we explain later in order to remove the scar or at least cover it up. This way you will have the confidence that you are not fat and you are not deformed as some women consider themselves to be.
2. Enhanced aesthetic appearance – Of course, the main reason to get tummy tuck tattoos is to look better, but this comes for other people as well as yourself. When you think that you look better without the scar being seen, other people will enjoy it as well. Speak to some men about the tattoos and they might find it a lot more attractive than the scars. This is one of the main reasons why women get the tummy tuck in the first place; having a man see a tattoo instead of a scar is a lot better.
3. Do not improve half-way – Getting a tummy tuck is only have of the procedure that can help you to look a lot better. Even if you get rid of the weight, you still have a massive scar, which requires you take responsibility for the other half of the job. For a lot of women, forgetting about the tummy tuck tattoo can be all too simple; it is a good idea to make sure you are improving completely rather than half way and half way.
Getting a tummy tuck tattoo is nothing to be ashamed of. There are plenty of beautiful designs that you can get in order to look a lot better and not be seen in any worse light than you currently are. For most women, getting the tummy tuck is the first and hardest step, but the process of making yourself look better is not yet over. It requires you to look for certain surgeries that can make all of the difference.
When it comes to something like a tummy tuck, it is a good idea for you to consider getting the tattoo only after allowing the scar to heal a bit. Many women try to do it too soon and end up having a bunch of problems. Instead, it is best to give it some time and return to the issue when you get a chance to do so.


With technology built into even the smallest devices, it seems like having your life and home connected has never been easier. But it can be overwhelming trying to decide which parts of the home are worth automating and how to set these systems up. If you're struggling to choose a home automation system, understanding what each one can do is a good way to make a decision. Here is a quick overview of some of the best ways to automate maintenance and other daily tasks around the home.
Today's security systems do much more than protect entry points to the home. They can also help monitor the outside of the home, control the interior and exterior lights and even allow you to lock doors remotely if you forget to do so when you leave the house. This can help you automate simple but time-consuming tasks, like ensuring the lights are turned off at night and checking to make sure each window and door is closed.
A more budget friendly option to having a full security system put in place is to install a video doorbell yourself. These systems run on Wi-Fi and are made to be easy to install on any kind of door. Once set up, you can connect your computer or mobile device to the feed so you can monitor traffic past your door.
There are plenty of ways to automate shopping for your home without spending a fortune. If you have an Amazon Prime account, you can get Dash buttons for essentials like soap, toilet paper and cleaning supplies. Just push the button to have more of the item sent right to your door.
If you have a little more to spend, smart appliances aren't at the point where they can fully automate things for you, but they can streamline daily annoyances like shopping trips and rushing home to cook dinner. Samsung's latest smart fridge (we're not affiliated, we just think it's awesome) allows you to remotely see inside, so if you're at the store unsure if you need more milk, you can peek inside the fridge via your phone and find out for sure. Many manufacturers also offer smart ovens that can be warmed up even when you aren't home to make cooking faster.
Subscription boxes make it easier to cook a variety of meals without having to go to the grocery store. While the cost of having pre-portioned ingredients sent directly to you is more than shopping for your own ingredients, meal delivery services make it easy to set the amount you spend per serving.
If you're looking to make this the year you plan to find a new place to call home (and turn it into a smart home) The Core Group is here to help! Use our interactive map search tool to find the right home in the right area, OR, you can use the form below to get connected with one of our highly experienced agents. Let's begin the process of finding your dream home!


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text:
Q: How to extend pandas Dataframe by values in multiindex column? I have a table with Multiindex getting by groupby():
new_data=data.groupby(['id','category']).sum('amount')
new_data

Output looks like that (just a random table with the same form as mine):
#               amount
#id category
1   2           12
    3           1
2   1           45
    3           56

Unique Id has some amount in each category.
But I need to get a table where is amount presented for each 'id' for each category in the same columns.
Something like that:
#id amount_category_1 amount_category_2 amount_category_3
1   0                 12                1
2   45                0                 56

A: Assuming that you reset the index of your dataframe and have it in the form:
   id  category  amount
0   1         1      45
1   1         3      34
2   2         2      36
3   2         3      24

you can pivot your dataframe and rename your columns:
df = df.pivot_table(index='id',columns='category',values='amount').rename_axis(None, axis=1).reset_index()
df = df.rename(columns={c: 'category_'+ str(c) for c in df.columns if c not in ['id']})

to get somethng like this:
   id  category_1  category_2  category_3
0   1        45.0         NaN        34.0
1   2         NaN        36.0        24.0

Change NaN using df.fillna(0) to get
   id  category_1  category_2  category_3
0   1        45.0         0.0        34.0
1   2         0.0        36.0        24.0

redpajama_set_name: RedPajamaStackExchange


This is my first post so I apologize if I don't follow any formalities.
When I go to create a logical volume, I'm able to name it, select the volume group I want, but when I get to choosing a size, it's grayed out. I just upgraded to OVM 2.1 today so that may be the issue but I was wondering if any of you had any thoughts.
The save button doesn't work, either. I can click on it but nothing happens. The cancel button works just fine.
That looks like a bug, maybe the js file needs and update for the plugin. Have you open the browser in private mode or clearing browser cache to access the webui?
Fixed with sourceforge.net/p/openmediavault/code/1918. Check for openmediavault-lvm 2.1.
New package has been uploaded into the package repository.
Thank you so much! You guys work really fast!
I'm writing a new thread for a suggestion in the same area but I'm sure could effect more parts of the system. Thanks again!


Citation: Bickhart, D.M., Xu, L., Hutchison, J.L., Sonstegard, T.S., Van Tassell, C.P., Schroeder, S.G., Garcia, J.F., Taylor, J.F., Schnabel, R.D., Lewin, H., Liu, G. 2014. The use of population-scale sequencing to identify CNVs impacting productive traits in different cattle breeds. Plant and Animal Genome Conference Proceedings. Plant Animal Genome XXII, San Diego, CA, Jan. 11–15, P078.
Technical Abstract: Individualized copy number variation (CNV) maps have highlighted the need for population surveys of cattle to detect rare and common variants. While SNP and comparative genomic hybridization (CGH) arrays have provided preliminary data, next-generation sequence (NGS) data analysis offers an increased resolution and sensitivity for CNV detection. In this study, we analyzed NGS sequence data derived from 67 taurine (consisting of the Angus, Holstein, Jersey, Limousin and Romagnola breeds) and 20 indicine cattle (consisting of the Brahman, Gir and Nelore breeds). Individual genome sequence coverage ranged from 4X to 30X , with an average coverage of 11.8X across animals. To identify CNVs, we used a customized read-depth CNV calling algorithm that utilizes population-scale data to derive a smoothing coefficient for lowess normalization. We identified 2,947 unique CNV regions that account for approximately 4% (117 Mbp) of the cattle genome. Several dairy- and beef-breed specific variants were found, including a duplication of the cell growth-related RICTOR gene in dairy breeds and a duplication of the Patatin-like phospholipase 3 (PNPLA3) gene in beef breeds. Identification of low frequency and breed-specific CNVs within cattle will enable a better understanding of functional variants influenced by domestication and selection for performance traits.


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Millennials are taking over the workplace and it's sooner than you think. By 2025, millennials will comprise 75% of the workforce. Due to demographic shifts, including more experienced Baby Boomers retiring, it is essential for businesses to engage Millennials now so they are able to fulfill talent shortages in the near future. Developing a strong leadership pipeline and expertise are key to business continuity.
Unfortunately, many organizations are not prepared to attract, engage, and retain Millennials because they continue to use management practices that are off target. Only one in three employees are engaged in their role, costing organizations billions of dollars in productivity. Neglecting to engage Millennials will result in talent shortages, turnover expenses, and a damaged reputation.
Managers today frequently complain about the challenges of managing Millennials, yet rigorous empirical studies show that Millennials differ little from previous generations at the same age.
Millennials driven by the same factors as other generations. Leverage these similarities to develop an engagement plan which will motivate a multi-generational workforce, including the Millennial segment.
The differences that do exist, create opportunities for HR to enhance their performance.
Using Kelowna Human Resource's Employee Engagement Framework, organizations can improve Millennial engagement at both the job and organizational levels.
Millennials had a different upbringing than the Baby Boomers and Generation X; however, much of what they demand in the workplace will engage the entire workforce, not just their demographic.
Improved Millennial engagement will result in an increase in the attraction and retention of high-performing Millennial employees.
Want to know more about how Kelowna HR can help improve your Millennial engagement and increase your organization's efficacy? Contact us now to discuss your situation and goals.


text:
We get a decent turnout between the email list and the foot
الصفحة الرئيسية / الأخبار / We get a decent turnout between the email list and the foot
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			<AuxiliaryListForm/>
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					<xr:FullTextSearch>Use</xr:FullTextSearch>
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						<v8:Type>cfg:CatalogRef.ИдентификаторыОбъектовМетаданных</v8:Type>
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					<ChoiceHistoryOnInput>Auto</ChoiceHistoryOnInput>
					<Indexing>DontIndex</Indexing>
					<FullTextSearch>Use</FullTextSearch>
				</Properties>
			</Resource>
			<Resource uuid="e16b05d9-a742-496c-9f4a-7a6e3b3a463d">
				<Properties>
					<Name>ИдентификаторВладельца</Name>
					<Synonym>
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							<v8:lang>ru</v8:lang>
							<v8:content>Идентификатор владельца</v8:content>
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					</Synonym>
					<Comment/>
					<Type>
						<v8:Type>v8:UUID</v8:Type>
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					<PasswordMode>false</PasswordMode>
					<Format/>
					<EditFormat/>
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					<QuickChoice>Auto</QuickChoice>
					<CreateOnInput>Auto</CreateOnInput>
					<ChoiceForm/>
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					<ChoiceHistoryOnInput>Auto</ChoiceHistoryOnInput>
					<Indexing>DontIndex</Indexing>
					<FullTextSearch>DontUse</FullTextSearch>
				</Properties>
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			<Resource uuid="912a3013-cf14-487c-b16f-6088ea27035b">
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						<v8:TypeSet>cfg:DefinedType.БезопасныйРежим</v8:TypeSet>
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					<LinkByType/>
					<ChoiceHistoryOnInput>Auto</ChoiceHistoryOnInput>
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				</Properties>
			</Resource>
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						<v8:Type>xs:boolean</v8:Type>
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				</Properties>
			</Attribute>
			<Attribute uuid="df916574-b3c0-4146-93d2-82f1af90915a">
				<Properties>
					<Name>ДобавляемыеРазрешения</Name>
					<Synonym>
						<v8:item>
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					</Synonym>
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						<v8:Type>xs:string</v8:Type>
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redpajama_set_name: RedPajamaGithub


text:
Q: PHP Undefined Index When Checking Cookie Value And Cookie Exists I know to check for the existence of a cookie before I try to use it, but in this case If I set a cookie and then try to use it immediately afterwards without checking, the code works, however I get an "undefined index" warning in my php.log.
The code below determines if the device is a computer or mobile and sets a cookie.  It then checks the cookie value and if a mobile it redirects to a page.  (If not, it will output a page and then show the content within a frame).
<?php
// Determine if computer or mobile device
if (!isset($_COOKIE['devicetype']))
{
require_once 'assets/mobiledetect/Mobile_Detect.php';
$detect = new Mobile_Detect;
$deviceType = ($detect->isMobile() ? ($detect->isTablet() ? 'tablet' : 'phone') : 'computer');
// Any mobile device (phones or tablets).
if( $detect->isMobile() || $detect->isTablet() ){
    setcookie('devicetype', 'mobile',0,'/');
}
else
{
    setcookie('devicetype', 'computer',0,'/');
}
}

// Show flipper page full screen if mobile device
if ($_COOKIE['devicetype'] == 'mobile'){
header('Location: flipping-promotions/'.$_GET['link']);
}

?>

The only thing I can think of is that it's a timing issue and that the cookie doesn't exist at the time the check is made, however the correct value is obviously retrieved because it works correctly on tablets and phones.
Any thoughts?  I know it's not a major problem, but it's nice if you can prevent any PHP logging other than REAL errors.

A: Ahh Eureka! The answer finally dawned on me following a similar cookie related problem.
If you set a cookie, you can't check the value in the same cycle of the script, it's only recognizable once the page output has been sent to the browser.
So, in this case I would need to recode the last part of the script, assuming I had just created the cookie.


text:
Great Men Began A Great Country
This nation will remain the land of the free only so long as it is the home of the brave. ~Elmer Davis ~Paul Sweeney
Paul & Sues Homepage
July 4th Homepage
About July 4th
General Information About Independence Day
Our Patriotic Sites
Our Military
Patriotic Poster Boards
The Signing
Independence Day Prayer
The Signers
Declaration O Independence
Fireworks Light Up The Sky
Making Fireworks
Everybody Loves A Parades
God Bless Our Military
July 4th Homepages
The Founding Fathers Were A Wise Group Of Men
The founding fathers were those political leaders who were part of the American Revolution and the founding of the new nation after independence was won. There were many more than ten founders that had a huge impact on the American Revolution, the Articles of Confederation, and the Constitution. However, this list attempts to pick the top ten founding fathers who had the greatest impact. Honorable mentions not included were John Hancock, John Marshall, Peyton Randolph, and John Jay.
1. George Washington - George Washington was a member of the First Continental Congress and signed the Declaration of Independence. He was then chosen to lead the Continental Army. He was the president of the Constitutional Convention and of course became the first president of the United States. In all these leadership positions, he showed a steadfastness of purpose and helped create the precedents and foundations that would form America.
2. John Adams - John Adams was an important figure in both the First and Second Continental Congresses. He was on the committee to draft the Declaration of Independence and was central to its adoption. Because of his foresight, George Washington was named Commander of the Continental Army at the Second Continental Congress. He was chosen to help negotiate the Treaty of Paris that officially ended the American Revolution. He later became the first vice president and then the second president of the United States.
3. Thomas Jefferson - Thomas Jefferson, as a delegate to the Second Continental Congress, was chosen to be part of a Committee of Five that would draft the Declaration of Independence. He was unanimously picked to write the Declaration. He was then sent to France as a diplomat after the Revolution and then returned to become first the vice president under John Adams and then the third president.
4. James Madison - James Madison was known as the Father of the Constitution, for he was responsible for writing much of it. Further, with John Jay and Alexander Hamilton, he was one of the authors of the Federalist Papers that helped persuade the states to accept the new Constitution. He was responsible for drafting the Bill of Rights that were added to the Constitution in 1791. He helped organize the new government and later became the fourth president of the United States.
5. Benjamin Franklin - Benjamin Franklin was considered the elder statesman by the time of the Revolution and later Constitutional Convention. He was a delegate to the Second Continental Congress. He was part of the Committee of Five that was to draft the Declaration of Independence and made corrections that Jefferson included in his final draft. Franklin was central to getting French aid during the American Revolution. He also helped with negotiating the Treaty of Paris that ended the war.
6. Samuel Adams - Samuel Adams was a true revolutionary. He was one of the founders of the Sons of Liberty. His leadership helped organize the Boston Tea Party. He was a delegate to both the First and Second Continental Congresses and fought for the Declaration of Independence. He also helped draft the Articles of Confederation. He helped write the Massachusetts Constitution and became its governor.
7. Thomas Paine - Thomas Paine was the author of a very important pamphlet called Common Sense that was published in 1776. He wrote a compelling argument for independence from Great Britain. His pamphlet convinced many colonists and founding fathers of the wisdom of open rebellion against the British if necessary. Further, he published another pamphlet called The Crisis during the Revolutionary War that helped spur on the soldiers to fight.
8. Patrick Henry - Patrick Henry was a radical revolutionary who was unafraid to speak up against Great Britain at an early date. He is most famous for his speech which includes the line, "Give me liberty or give me death." He was a governor of Virginia during the Revolution. He also helped fight for the addition of the Bill of Rights to the US Constitution, a document with which he disagreed because of its strong federal powers.
9. Alexander Hamilton - Hamilton fought in the Revolutionary War. However, his true importance came about after the war when he was a huge proponent for the US Constitution. He, along with John Jay and James Madison, wrote the Federalist Papers in an effort to secure support for the document. Once Washington was elected as the first president, Hamilton was made the first Secretary of the Treasury. His plan for getting the new country on its feet economically was instrumental in forming a sound financial basis for the new republic.
10. Gouverneur Morris - Gouverneur Morris was an accomplished statesman that ushered in the idea of a person being a citizen of the union, not the individual states. He was part of the Second Continental Congress and as such helped provide legislative leadership to back up George Washington in his fight against the British. He signed the Articles of Confederation. He is credited with writing parts of the Constitution including possibly its preamble.
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Fall season offers exciting local sports action
August 31, 2021 By Kevin Weiss
The fall sports season is here, and there's plenty of action on tap across The Laker/Lutz News coverage area.
Here's a closer look at some notable storylines, events and other local happenings these next few months.
The Gaither Cowboys are poised to be one of the Tampa Bay area's top football teams this year. (Courtesy of Gaither High School Athletics Department)
Which area prep football program will reign supreme?
Fall is synonymous with football — particularly the Friday night lights variety in many communities and small towns. There are about 15 high schools in The Laker/Lutz News coverage area in Hillsborough and Pasco counties. Several of those football programs are expected to have successful, winning campaigns in 2021.
Deciding which program is best is difficult, considering varying school sizes and classifications. However, it might be wise to pay close attention to the Gaither Cowboys (7A), Wiregrass Ranch Bulls (7A), Zephyrhills Bulldogs (5A) and Zephyrhills Christian Warriors (2A).
By year's end, one or more of these programs could be showing gaudy records and an appearance in the state series for its respective classification.
Of course, winning an FHSAA (Florida High School Athletic Association) 11-man football title is extremely elusive. The last local program to do so was the Pasco Pirates some three decades ago — back in 1992 when they downed Tampa Jesuit 28-16 in the 3A state championship at the University of Florida's Ben Hill Griffin Stadium.
If you can catch just one regular-season game in person this season, check out the 64th edition of the 9-Mile War between rivals Pasco and Zephyrhills. This year's contest is set for Nov. 5, at Bulldog Stadium at Zephyrhills High School. Pasco leads the all-time series, 41-22.
The Bishop McLaughlin Hurricanes varsity volleyball program has had an incredible three-year run. All that eludes them is a state title. (Courtesy of Bishop McLaughlin Catholic High School Athletics Department)
Bishop McLaughlin volleyball expects to remain elite
The Bishop McLaughlin Catholic High School varsity girls volleyball program has enjoyed one of the more dominant runs across any area sports program over the last three years — going 24-3 in 2020, 25-4 in 2019, and 30-1 in 2018, respectively.
The Hurricanes should again remain very competitive in the FHSAA's Class 3A ranks, under longtime coach Doug Chinchar.
Despite the graduation of Florida Dairy Famers 3A state volleyball player of the year Audrey Koenig —now a freshman at Florida State University — the team returns several other All-State performers and Division I prospects. This includes junior outside hitter Maddie Snider (Florida State University verbal commit) and junior outside hitter Ali Waldon (Mercer University), among others.
What eludes the Hurricanes is a state crown. The program reached the state semifinals in 2020, the regional semifinals in 2019 and was state runner-up in 2018.
Will this be the year the Hurricanes are the last team standing in its class?
The Sunlake High boys cross country team finished state runner-up at last year's Class 3A meet. (File)
Sunlake High cross-country keeps pushing the pace
The Sunlake High cross-country program looks to remain top dog among area schools.
The Seahawks boys squad finished second in the 3A state meet last season — representing the all-time best mark ever achieved by any Pasco County prep cross-country program.
The school's girls squad performed well, too, posting a 10th-place finish at the state 2020 meet.
And, a majority of Sunlake's top distance runners are expected to return.
Last season, there was only one senior among the boys team's top seven runners and two seniors among the girls team's top seven.
The Seahawks haven't been complacent in the offseason, either. Athletes participated in a running camp at University of North Carolina-Asheville — which featured lots of challenging hills work.
Speaking of high school cross-country, pay attention to Land O' Lakes resident Elli Black — a home-schooled student who runs for Tampa Cambridge Christian School. Black is coming off a second-place finish in the 1A girls state meet, posting 18:28.5, as a seventh-grader. She's shaved several seconds off that mark since then.
Former Tampa Bay Rowdies head coach Stuart Campbell is leading the Pasco-Hernando State College's upstart women's soccer program. (File)
PHSC women's soccer kicks off inaugural season
Pasco-Hernando State College launched a women's soccer program earlier this summer, and will kick off its inaugural season in September.
The program is led by former Tampa Bay Rowdies head coach Stuart Campbell, a familiar face and widely known figure in the soccer ranks. The English-born Campbell played professional soccer from 1996 to 2013, before serving as the assistant coach for the Rowdies from 2014 to 2015 and head coach from 2015 to 2018.
Women's soccer marks PHSC's first new sport since 2005 — when it brought on women's cross-country, under head coach Jackie Wachtel.
PHSC joins four other NJCAA (National Junior College Athletic Association) women's soccer programs in the state — Polk State, Daytona State, Eastern Florida State, and Asa College.
The upstart program had open tryouts in late June at the Wiregrass Ranch Sports Campus of Pasco County, in Wesley Chapel.
As for the style of play, players and fans can expect lots of action and high-scoring affairs, under Campbell's tutelage.
Tampa Bay Lightning prospect Gabriel Fortier is expected to highlight the 2021 NHL Prospect Showcase at AdventHealth Center Ice in Wesley Chapel. (Courtesy of Tampa Bay Lightning media relations)
AdventHealth Center Ice to host 2021 NHL Prospect Showcase
Local hockey fans will get a taste of the National Hockey League's (NHL) next generation of top-end talent later this month — in Pasco County no less.
AdventHealth Center Ice in Wesley Chapel is the site of the 2021 NHL Prospect Showcase, to be held Sept. 18 through Sept. 21.
Hosted by the back-to-back Stanley Cup champion Tampa Bay Lightning, the event will welcome prospect teams from the Carolina Hurricanes, Nashville Predators and Florida Panthers.
All four teams will play each other once over the four-day showcase.
Any skater or goaltender in each of the four organizations on an entry-level contract (or less), provided they are 24 years old or younger and have less than 20 games of NHL experience, are eligible to participate in the showcase.
Teams will dress 18 skaters and two goaltenders for each contest. Games are regulation length with three 20-minute periods. A five-minute, three-on-three overtime period will determine a winner if games are tied after regulation. Games will conclude with a five-player-per-team shootout regardless of the final score.
The Lightning roster will include a number of the organization's top prospects, including 2018 second-round draft pick Gabriel Fortier, who recorded six goals and 10 points in 30 games last season for the Syracuse Crunch, the Lightning's American Hockey League (AHL) affiliate.
Also participating for the Bolts is a pair of 2020 second-round draft selections in forwards Jack Finley and Gage Goncalves, who each made their professional hockey debut with Syracuse last season.
Meanwhile, three of Tampa Bay's selections from the 2021 NHL Draft in July will be in attendance as well — defenseman Roman Schmidt (third round, No. 96 overall), forward Cameron MacDonald (fifth round, No. 160 overall) and forward Niko Huuhtanen (seventh round, No. 224 overall).
The contests will be open to the public. They'll also be streamed live on TampaBayLightning.com.
Filed Under: Local Sports Tagged With: 9-Mile War, AdventHealth Center Ice, Ali Waldon, Asa College, Audrey Koenig, Ben Hill Griffin Stadium, Bishop McLaughlin Catholic High School, Bulldog Stadium, Cameron MacDonald, Carolina Hurricanes, Daytona State, Doug Chinchar, Eastern Florida State, Elli Black, FHSAA, Florida Dairy Farmers, Florida High School Athletic Association, Florida Panthers, Florida State University, Gabriel Fortier, Gage Goncalves, Gaither Cowboys, Jack Finley, Jackie Wachtel, Maddie Snider, Mercer University, Nashville Predators, National Hockey League, National Junior College Athletic Association, NHL, Niko Huuhtanen, Pasco Pirates, Pasco-Hernando State College, PHSC, Polk State, Roman Schmidt, Stuart Campbell, Sunlake High University of North Carolina-Asheville, Syracuse Crunch, Tampa Bay Lightning, Tampa Bay Rowdies, Tampa Cambridge Christian School, Tampa Jesuit, University of Florida, Wiregrass Ranch Bulls, Wiregrass Ranch Sports Campus of Pasco County, Zephyrhills Bulldogs, Zephyrhills Christian Warriors, Zephyrhills High School