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Cello Concerto; Solo Cello & Orchestra (2014)
2014 Duration: 16' (1st mvt.)
Solo Cello and Orchestra
Cello Concerto; Solo Cello & Orchestra by Herman Vogt
The Cello Concerto was commissioned by the Norwegian cellist Audun Sandvik.
The work is a symphonic piece divided in two separate movements. The cellist is accompanied by intricately woven orchestral textures, and sometimes commented by a tutti orchestra. Towards the end of the first movement is a solo cadenza accompanied by percussion, timpani, and harp.
While the first movement is quite stringent in its narrative, the second movement is planned to become a rapid and fluid scherzo-like movement with a slow closing Coda.
A main focus in the work is the play between the orchestra and the soloist which merge and divide in different ways throughout the piece.
At the moment the work is going through a thorough revision, a 2nd movement is going to replace the original one.
The work is yet not performed.
Concordia Discors, Etudes I, II and III for Solo Piano (2006)
Etude I
Magnus Loddgard, Piano
Etude II
Etude III
2006 Duration: 12:00
Concordia Discors, Etudes I, II and III for Solo Piano by Herman Vogt
The work Concordia Discors, Etudes for Solo Piano are concentrated and highly condensed character pieces where each etude focuses and cultivates one particular texture or character. Elaborate superimposed linear movements which form complex nets of lines are vital. Different rows of notes are carefully worked out and put together, forming symmetry and asymmetry in a multitude of musical events. The music is often controlled by rigid frames, tight boundaries which the music at some stages escapes from.
The doctrine of concordia discors (discordant harmony) – the idea that the numerous conflicts between the four elements in nature (air, earth, fire and water) paradoxically create an overall harmony in the world – stems from the Greek philosophers Pythagoras, Heraclitus and Empedocles. The notion was picked up in the Renaissance, and a composer like Bach for instance was influenced by this concept by using extended polyphony as a symbol of Gods presence in the world (Bach has a small two voiced Canon called Concordia Discors, BWV 1086).
Tension and resolution, strict control and dissolution, extremes and contrasts are important principles in the etudes.
Concordia Discors, Etudes IV, V and VI for Solo Piano (2007)
Ian Pace, Piano
Concordia Discors, Etudes IV, V and VI for Solo Piano by Herman Vogt
The first performance took place under the World Music Days (ISCM festival) and the Transit Festival in Belgium in October 2012 with the pianist Ian Pace.
Concordia Discors, Etudes VII, VIII and IX for Solo Piano (2010)
2010 Duration: 13'30''
Concordia Discors, Etudes VII, VIII and IX for Solo Piano by Herman Vogt
Concordia Discors, Etudes X, XI and XII for Solo Piano (2015)
2015 Duration: 14'
Concordia Discors, Etudes X, XI and XII for Solo Piano by Herman Vogt
Danksagung an den Bach; Soprano & Ensemble (2004)
Danksagung an den Bach
Ensemble UNKO
Eija Räisänen, soprano
Jani Telaranta, cond
Soprano solo and sinfonietta ensemble (16 musicians)
Danksagung an den Bach; Soprano & Ensemble by Herman Vogt
"Danksagung an den Bach" for soprano and ensemble was written in 2004. The piece is a personal reading of a lied by Schubert with the same title from the song cycle "Die schöne Müllerin". The soprano performs the whole song as in the original with the same text and the same pitches, but stretched and compressed. The orchestra accompanies the soprano, comments on it, and in fact changes the lied completely so that a new piece arises.
The historic and iconic music of Schubert is treated as vague memories of a time that once was. But the borrowed melodic lines are still poignant and vibrant in their strength. The soprano is the controlling element that keeps the music together. In the end the soprano stops singing and the piece crumbles away, there are merely fragments left of melody and tonality.
The piece was first performed by the Ensemble UNKO in Helsinki during the UNM Festival in 2005.
Die liebe Farbe; Cello & Piano (2005)
Die liebe Farbe
Johannes Martens, cello
Joachim Kwetzinsky, piano
Cello and piano
Die liebe Farbe; Cello & Piano by Herman Vogt
"Die liebe Farbe" for cello and piano was written in 2005. Material is derived from the song with the same title by Schubert, from "Die schöne Müllerin". Schubert is stretched and veiled and appears as a vague and melancholy reminiscence of history.
The work was first performed at the UNM festival in Copenhagen in 2006, and was selected for the World New Music Days (ISCM Festival) in Sydney 2010.
Escher Triptych; Trio (2009)
Escher Triptych
Rolf Erik Nystrøm, Alto Saxophone
Håkon Thelin, Double Bass
Frode Haltli, Accordion
Trio (alto saxophone, double bass and accordion)
Escher Triptych; Trio by Herman Vogt
"Escher Triptych" is written to the Norwegian trio POING.
The work is divided in three parts, all based on a polyphony of lines, which creates a web of melodies in different densities. Linear movements and scales are superimposed, stretched and compressed. Ending, starting and meeting points are vital in the piece. Lines end, start, start again, are intertwined, and new lines are formed by the combination of different lines etc. The combination of horizontal events creates vertical formations, to such an extent that the vertical and the horizontal become two aspects of the same.
The title refers to the Dutch artist M.C. Escher and his twisted, but yet organic, perspectives and views on the world.
Et Cetera (or Perpetuum Mobile); Guitar duo (2014)
Et Cetera (or Perpetuum Mobile)
Frevo Guitar Duo,
Pål Granum & Andreas Karlsen
2014 Duration: 7'30''
Guitar Duo
Et Cetera (or Perpetuum Mobile); Guitar duo by Herman Vogt
The work was first performed at Ultima Festival 2015 with Frevo Guitar Duo
Kazbek; Orchestra (2002)
Kazbek
Norwegian Radio Orchestra
Per Kristian Skalstad, conductor
Kazbek; Orchestra by Herman Vogt
The title Kazbek is taken from the mountain with the same name in the Caucasus mountain range in the former Soviet republic of Georgia. A trip there in 2000 made an immense impression on Vogt, the majestic nature shifts from barren to colourful, from hard and stubborn to soft and luxuriant.
(We were hiring a room in the house of a war invalid from the battle of Stalingrad during World War II and his wife in the remote mountainous village of Kazbek just south of the Russian border. The setting and environment is fascinating, with the ongoing conflict between the two countries, and the road through the village being the only physical connection between them.)
The piece is based on different statements that are placed together as in a kind of collage. The statements are solid, almost fixed elements, which form a strong and rigorous landscape, contrasted with subtle and poetic passages.
The piece was first performed by Norwegian Radio Orchestra conducted by Per Kristian Skalstad in 2002.
Laudes Creaturarum; Voice and small ensemble (2019)
Alto or Countertenor, Alto Recorder, Cello, Organ
Laudes Creaturarum; Voice and small ensemble by Herman Vogt
On the piece Laudes Creaturarum (Laudato si'):
Text is comming…
Missa Brevis (2011)
Baroque ensemble, soloists and four-part choir
Missa Brevis by Herman Vogt
Movements:
1. Kyrie, chorus
2. Gloria in excelsis Deo, chorus
3. Gratias agimus tibi, bass
4. Domine Fili unigenite, soprano, alto
5. Qui tollis peccata mundi, tenor
6. Cum Sancto Spiritu, chorus
The work Missa Brevis is written to Norsk Barokkorkester in 2011. It is scored for Baroque ensemble, four soloists (soprano, alto, tenor and bass) and four-part choir.
The work follows the form of the traditional Lutheran Mass (e.g. the four Missae Breves by Bach): a choral "Kyrie" followed by a five-movement Gloria in which a choral "Gloria in excelsis Deo" and "Cum Sancto Spiritu" frame three solo movements.
The music is worked out with extensive polyphony, e.g. the Kyrie which opens with a fugue and subsequently a double fugue, contrasted with sections of transparency and simplicity. The music is alternately tonal and bi-tonal, with a tonality which shifts from being chromatic, flexible and mobile to creating the most fixed tonal progressions. The kinship with polyphonic baroque music is apparent in the phrasing and the fortspinnung. The work is highly influenced by Bach's music, particularly the Cantatas and the Masses. Subsequently the music can be described as a neo-baroque work.
The work is yet unperformed.
Möbius Band; Orchestra (2017)
Möbius Band
Trondheim Symphony Orchestra
Ingar Bergby, cond.
Möbius Band; Orchestra by Herman Vogt
The piece Möbius Band is inspired by the phenomenon as described by the German mathematician August Ferdinand Möbius in 1858, and in particular depictions by the Dutch artist M.C. Escher. The phenomenon consists of a band or strip which is twisted 180°. It gives a sensation of motion and flow, as well as unity and continuity.
In the piece linear and circular movements are layered and twisted in a continuous flow as entwined chains. But on the other hand abrupt breaks are vital elements of the piece, which is an expression of the duality of the Möbius Band: It has in fact only one side if you follow the band in two rounds (you have covered both sides and you end up where you started), but locally it has indeed two sides wherever you look at it. The cyclical and circular elements in the music are superseded by almost static elements which work as frozen moments and partitions in the continuous course. The work 'bites itself in its own tail' and closes the cyclical form by ending as it begun.
The piece was first performed by Trondheim Symphony Orchestra in May 2017.
Piano Concerto; Solo Piano & Orchestra (2019)
Solo Piano & Orchestra
Piano Concerto; Solo Piano & Orchestra by Herman Vogt
Utgangspunktet for Klaverkonserten er en form for neo-klassisisme, i dette verket kjennetegnet som en basis for et musikalsk uttrykk. Dette er avledet av en langvarig og vedvarende fascinasjon for Mozarts klaverkonserter. Orkesteret i verket er modellert etter hans ensembler: en fløyte, treblås og messingblås i par, timpani og strykeensemble, men med to slagverkere lagt til besetningen. Besetningen gir et renskårent klanglig uttrykk. Det klassisistiske ved musikken uttrykkes gjennom motiviske celler som er basert på treklanger, og gjennom en idé om en tidvis tydelig instrumentasjon med inndeling i definerte instrumentgrupper.
Et motorisk element med et visst mekanisk preg går igjen i førstesatsen, hvor tonerekker gjentas, stables oppå hverandre og 'henger seg opp'. En rask harmonisk puls gir en jagende karakter avvekslet av partier med en større grad av indre ro og dveling.
Førstesatsen er en slags tilslørt og utvisket sonatesatsform med tillagt innledningsdel. Eksposisjon og gjennomføringsdel glir over i hverandre, reprisen er kun en reminisens av eksposisjonen, og den renner raskt ut i en solokadens-aktig avslutning med orkesterakkompagnement.
Andre sats er blitt en elegisk kontemplasjon med langsomme og vakre linjer. Den står i skarp kontrast til førstesatsens tidvise urolige og springende karakter. Tredje sats er en tarantella-aktig sats, nesten som en 'moto perpetuo', avløst av rolige og dvelende partier.
Piano Trio (2006)
Jon Gjesme, violin
Øystein Birkeland, cello
Kristian Lindberg, piano
Violin, cello and piano
Piano Trio by Herman Vogt
The piano trio as an ensemble emerged in the wiener classic period. The ensemble as such is linked to a great extent to this era. The work "Piano Trio" by Herman Vogt starts with some fragmented and rather distorted quotes from Beethoven's "Ghost Trio". The Beethoven quotes are veiled and erased. There are merely vague reminiscences left, as a vague memory of something that once was, something almost lost. Beethoven's ghost can be vaguely heard, so to speak. As the work evolves it escapes these historic boundaries.
The trio consists of three movements, each with its distinctive character. But the movements are linked with related material. First movement is a kind of confused, fumbling beginning, which does not establish any unity. Second movement is marked by unity and consonance. Third movement is a contrast to the second movement, and is marked by the instruments' individual fight to gain control. The form of the piece is a bow form. The piece starts with the Beethoven quotes as small isolated "islands", or fragments, which gradually come closer and closer. The work ends in short, strong impulses with gradually increasing silence in between. The piece disperses, crumbles away. In the end only reminiscences of the piece itself remain, in the same way as the piece opens with reminiscences of history.
Ré-sur-Ré…exit; Organ (2016)
Ré-sur-Ré…exit
Anders Eidsten Dahl
Church Organ
Ré-sur-Ré…exit; Organ by Herman Vogt
The title is derived from the Latin word Resurrexit' ('He is risen'). The word is split up and translated into French, where 'Ré' means the note and the chord 'D', as well as it also refers to the prefix 'ré-' meaning 'again'. This duplicity is emphasized in the music by a recurring D chord which represents what is coming again.
The piece 'Ré-sur-Ré…exit' opens with a depiction of the resurrection of Jesus, which is followed by a harmonic calmness in slow moving waves. Successively there is a dialectic battle going on, representing our human struggle, pleasures and sorrows, faith and doubt and trials in our lives. In the end the memory of Christ's resurrection vibrates. It reverberates as an eternal idea, but at the same time it fades out as an open question.
Solsangen (eng. Canticle of the Sun); Orchestra (2018)
Solsangen
Oslo Philharmonic Orchestra, Vasily Petrenko. Recording by NRK
Solsangen (eng. Canticle of the Sun); Orchestra by Herman Vogt
The orchestra piece Solsangen (Canticle of the Sun) by the Norwegian composer Herman Vogt borrows its title from the famous poem by Francis of Assisi from ca. 1225. The text, which is dictated from the sickbed by a nearly blind Francis, is a praise of God and a personal tribute to His creations – the sun, the moon, the stars, the four elements, love, life, and finally death.
In the piece Vogt is inspired by the vitality and the life affirming exuberance in the poem, alongside a sober atmosphere which reflects a wondering over life and our part, as humans, in the world. Vogt has given a musical expression to the duality between rejoicing on the one hand and fragile contemplation on the other. Ambiguity is a central aspect in the musical treatment of the poem, it is reflected in bitonality and shifting tonal centres which so to speak 'slip through the hands'. In this double-sidedness lies the drama of the poem: a rejoicing of our existence and of life itself, while death simultaneously is embedded in it all.
Solsangen was commissioned by the Oslo Philharmonic, and was first performed on 23 August 2018 by the Oslo Philharmonic Orchestra under Vasily Petrenko.
The present recording was done by NRK, and kindly permitted for streaming on this website.
Sonata in A; Solo Violin (2009)
Solo Violin
Sonata in A; Solo Violin by Herman Vogt
The Sonata in A for Solo Violin was written to Norwegian violinist Geir Inge Lotsberg in 2009. It consists of four movements: Preludio, Fuga, Largo and Gigue. All four movements are based on the same material, rows of tones that radiate from one focal point. The Sonata in A is a very personal, intricate and highly complex work. The superimposition of lines form a web, worked out as immanent polyphony. The ambiguity between horizontal and vertical, linear and simultaneous, melodic and harmonic, occurrences is omnipresent. Tension and resolution, rigidity and flexibility, are opposites throughout the work.
The work was first performed in its wholeness by Geir Inge Lotsberg in 2010 (Preludio and Largo was written to Hardanger Musikkfest 2007 and was then given their first performance by students from Barratt Dues Musikkinstitutt).
Sonata in D; Violin & Piano (2012/2017)
2012/2017 Duration: 19'
Sonata in D; Violin & Piano by Herman Vogt
The work is divided in three movements that are linked with transitional passages. The work displays utter loneliness, isolation and despair, at some stages though deep inner calmness and tranquillity as well as loud energetic outbursts. The chorale "Es ist genug" is quoted in the piece. This psalm has a particular meaning in classical music, from the Church Cantata by Bach, "O Ewigkeit, du Donnerwort II" and through the citations in Alban Berg's Violin Concerto ('To the memory of an angel').
The title 'Sonata in D' states the ambiguity of the work. It is not in any clear tonal key, but has tonal centers that float and change all the time, and often with simultanious competing tonal centers resulting in a restless sensation. But it is still a 'classical' piece in its form and shape with the historical links regarding its citations, hence the title 'Sonata'.
It is a 'tour de force' for the musicians involved, intended to be a transcendental experience for both the performers and the audience.
The work is dedicated to the 77 people who lost their lives on July the 22nd 2011 in Norway.
The Sonata in D for Violin and Piano was commissioned by the Norwegian violinist Bjarne Magnus Jensen.
String Quartet, 1st mvt. (2017)
String Quartet, 1st mvt. by Herman Vogt
Written in 2017 without commission, not yet performed. It is a single movement work in roughly speaking an ABA'-form, where the constituent and defining features are intertwined between the overall form-structures. Much of the same musical material is used throughout the piece, but in rather different ways so that there is an overarching wholeness in the work which is not necessarily perceived consciously.
An opening gesture is a tonal whirl, self-generating by overlapping fugato-entries. This musical event is a decisive situation for the rest of the piece, and different versions of it redefine the piece as a whole. Melody and harmony, the horizontal and the vertical, become two sides of the same as the singular events pile up in a musical web. Restless motion and almost static standstill are dialectical oppositions that create a musical drama.
The String Quartet contains at the moment only one movement. It is planned to be expanded to a larger, multi-movement work.
The String Quartet is yet not performed.
The Marvel of Turin; Organ (2012)
The Marvel of Turin
Anders Eidsten Dahl, Organ
Solo Church Organ
The Marvel of Turin; Organ by Herman Vogt
The Marvel of Turin is inspired by the amazing phenomenon of the Shroud of Turin (in Italian: Sindone di Torino, Sacra Sindone). This shroud is according to Christian tradition the historical burial cloth of Jesus Christ, and displays to the naked eye a vague depiction of a man with crossed hands and wounds with actual blood stains on feet, in wrists, in the ribs and on the forehead. In a negative photograph of the shroud this picture is startlingly clear, and the face of a bearded man comes forth.
The shroud has on some occasions been examined by international scientists to find out how the picture of the man actually came to be. It has been a subject of dispute for decades, of its dating and geographical origin and historical authenticity.
But nevertheless, the shroud is a mysterious and intriguing object that has raised more questions than answers by the scientific examinations it has been subjected to. Even after all this thorough research, it still comes down to a question of belief.
The work is inspired by this surprising object and its strange and still quite unknown story. It depicts duality and floating mysticism, followed by glittering outbursts, always with an underlying ambiguity…
The Marvel of Turin was commissioned by the Norwegian organist Anders Eidsten Dahl and first performed in 2013.
Three Spheres; Trio (2017)
Clarinet in Bb, Cello, Piano
Three Spheres; Trio by Herman Vogt
The work 'Three Spheres' was commissioned by the Trio ClariNord ensemble.
It is not yet performed.
Vanishing Points; Ensemble (2009)
Sinfonietta ensemble (9 musicians)
Vanishing Points; Ensemble by Herman Vogt
The piece "Vanishing Points" is a work of intricate linear movements and polyphonic structures. The superimposition of lines form an elaborate network, ultimately forming combined super lines. The music is shifting back and forth from fragile to massive events.
The piece is inspired by the work of the dutch artist M.C. Escher. In dealing with multiple vanishing points that are twisted, curved and turned around he achieves a world of distortion, but also a world of continuation and unexpected cyclic events when working with fractal structures etc. The piece is also inspired by a picture taken by the Hubble Space Telescope, called Pillars of Creation. It shows a giant nebula (remnants of a supernova explosion, a large cloud of debris consisting of dust and gas), displaying beautiful curved structures, almost resembling a thin cloth of silk, of enormous proportions (many light years in width), but still with extremely low density. But this nebula does not exist any more! It was blown apart by a vast supernova explotion relatively close to it. But since light moves in space with a certain speed, we can still observe the nebula here on Earth. Hence it is actually a ghost image of a non existing structure we observe today.
The work is in its broader sence about how things appear, but not necessarily how they actually are in reality, and how history can be a result of continuation but nevertheless a result of chance. Cause and effect, as well as breaches and sudden turning points, are inherent quantities in the work.
Violin Concerto; Solo Violin & Orchestra (2012/15)
2012/15 Duration: 35'
Violin Solo and Orchestra
Violin Concerto; Solo Violin & Orchestra by Herman Vogt
The Violin Concerto was completed in 2012, and rewritten substantially in 2015.
The work is composed as a classical/romantic solo concerto in its general form, consisting of three movements.
It is a large scale symphonic work, where the violin partly has an obligato role while the orchestra has the conductive structures. The violin and the orchestra represent in different passages opposites which are played out as contrasts, the singular versus the massive.
The work was first performed by Geir Inge Lotsberg and Norwegian Radio Orchestra in 2016.
It is available on Spotify, iTunes, Tidal and on CD.
Wenn alle Länder wüsst lägen…; Ensemble (2008/2010)
2010 Version
Athelas Sinfonietta
Pierre-André Valade, conductor
Excerpt, instrumentation of 5th Etude
2008/2010 Duration: 14:00
Sinfonietta ensemble (16 musicians)
Wenn alle Länder wüsst lägen…; Ensemble by Herman Vogt
The title "Wenn alle Länder wüsst lägen…" is taken from a Norwegian psalm by the 17th century Norwegian poet and priest Petter Dass. This text is fatalistic, partly panteistic and apocalyptic. This work is based on organic and evolving forms, and on sudden contrasting breaks and ruptures which open up for new musical events. This follows the general idea of evolution of life on Earth. The work opens with a distorted tonal circle of fifths all the way through all the major chords from the highest A major to the broadest A major. The piece ends with the psalm of Dass which on one hand assembles, on the other hand disintegrates, the piece. A longing for peace and fulfilment closes the piece.
The work was first performed by Ensemble BIT20 at the Borealis Festival in Bergen in 2009.
The work was rewritten substantially in 2010 for the Athelas Sinfonietta during Nordic Music Days in Copenhagen.
Wiegenlied; Violin (2010)
Wiegenlied; Violin by Herman Vogt
Wiegenlied for solo Violin was written to the Norwegian violinist Geir Inge Lotsberg in 2010. The piece consists of evolving lines that are constantly moving. Fragile waving lines create a sorrow and longing atmosphere, in search for resolution and peace.
Wood and wind immanent; Clarinet (2005)
Solo clarinet in Bb
Wood and wind immanent; Clarinet by Herman Vogt
"Wood and wind immanent" utilizes the clarinet as a harmonic instrument, with immanent polyphony, arpeggiated chords, and multiphonics as tonal chord progressions. The use of simultaneous sub tones creates at certain points subtle polyphonic structures. Melodic and harmonic thinking, horizontal and vertical, are more or less the same issue. When performed in a room or hall with good resonance the arpeggiated chords emerge in their full duality.
The piece has never been performed.
WEBDESIGN: GRANQVIST.NO


text:
May 14, 2021 May 14, 2021 by Fred Botha
Figuring out your orientation can be complicated.
In a society where most of us are expected to be straight, it can be difficult to take a step back and ask whether you're gay, straight, or something else.
You're the only person who can figure out what your orientation truly is.
It all started with a sex dream — does this mean what I think it means?
Many of us grow up to assume that we're straight only to find out, later, that we're not.
Sometimes, we realize this because we have sex dreams, sexual thoughts, or feelings of intense attraction toward people of the same gender as us.
However, none of those things — sex dreams, sexual thoughts, or even feelings of intense attraction — necessarily "prove" your orientation.
Having a sex dream about someone of the same gender as you doesn't necessarily make you gay. Having a sex dream about someone of the opposite gender doesn't necessarily make you straight.
There are a few different forms of attraction. When it comes to orientation, we usually refer to romantic attraction (who you have strong romantic feelings for and desire a romantic relationship with) and sexual attraction (who you want to engage in sexual activity with).
Sometimes we're romantically and sexually attracted to the same groups of people. Sometimes we're not.
For example, it's possible to be romantically attracted to men but sexually attracted to men, women, and nonbinary people. This sort of situation is called "mixed orientation" or "cross orientation" — and it's totally OK.
Bear this in mind as you consider your sexual and romantic feelings.
Is there a quiz I can take?
If only Buzzfeed had all the answers! Unfortunately, there isn't a test to help you figure out your sexual orientation.
And even if there were, who's to say who qualifies as gay or straight?
Every single straight person is unique. Every single gay person is unique. Every person, of every orientation, is unique.
You don't have to fulfill certain "criteria" to qualify as gay, straight, bisexual, or anything else.
This is an aspect of your identity, not a job application — and you can identify with whatever term fits you!
Then how am I supposed to know?
There's no "right" way to come to terms with your orientation. However, there are a few things you can do to explore your feelings and help figure things out.
Above all else, let yourself feel your feelings. It's hard to understand your feelings if you ignore them.
Even now, there's a lot of shame and stigma around orientation. People who aren't straight are often made to feel like they should repress their feelings.
Remember, your orientation is valid, and your feelings are valid.
Learn about the different terms for orientations. Find out what they mean, and consider whether any of them resonate with you.
Consider doing further research by reading forums, joining LGBTQIA+ support groups, and learning about these communities online. This could help you understand the terms better.
If you start identifying with a certain orientation and later feel differently about it, that's OK. It's all right to feel differently and for your identity to shift.
How can I ever be sure that my orientation is X?
That's a good question. Unfortunately, there's no perfect answer.
Yes, sometimes people do get their orientation "wrong." Plenty of people thought they were one thing for the first half of their life, only to find that wasn't true.
It's also possible to think you're gay when you're actually bi, or think you're bi when you're actually gay, for example.
It's totally OK to say, "Hey, I was wrong about this, and now I actually feel more comfortable identifying as X."
It's important to remember that your orientation may change over time. Sexuality is fluid. Orientation is fluid.
Many people identify as one orientation for their entire life, while others find it changes over time. And that's OK!
Your orientation may change, but that doesn't make it any less valid over time, nor does it mean you're wrong or confused.
Is there anything that 'causes' orientation?
Why are some people gay? Why are some people straight? We don't know.
Some people feel they were born this way, that their orientation was always just a part of them.
Others feel their sexuality and orientation changes over time. Remember what we said about orientation being fluid?
Whether orientation is caused by nature, nurture, or a mix of the two isn't really important. What is important is that we accept others as they are, and ourselves as we are.
What does this mean for my sexual and reproductive health?
Most sex education in schools focuses solely on heterosexual and cisgender (that is, not transgender, gender nonconforming, or nonbinary) people.
This leaves the rest of us out of it.
It's important to know you can get sexually transmitted infections (STIs) and, in some cases, become pregnant regardless of what your sexual orientation is.
STIs can transfer between people no matter what their genitals look like.
They can transfer to and from an anus, penis, vagina, and mouth. STIs can even spread through unwashed sex toys and hands.
Pregnancy isn't reserved for straight people, either. It can happen whenever two fertile people have penis-in-vagina sex.
So, if it's possible for you to become pregnant — or impregnate someone — look into contraception options.
Still have questions? Check out our guide to safer sex.
You may also consider scheduling an appointment with an LGBTIQA+-friendly doctor to talk about your sexual health.
Do I have to tell people?
You don't have to tell anyone anything that you don't want to.
If you feel uncomfortable talking about it, that's OK. Not disclosing your orientation doesn't make you a liar. You don't owe that information to anyone.
What implications can this have?
Telling people can be great, but keeping it private can be great, too. It all depends on your personal situation.
On the one hand, telling people might help you feel better. Many queer people feel relief and a sense of freedom once they come out. Being "out" can also help you find an LGBTQIA+ community that can support you.
On the other hand, coming out isn't always safe. Homophobia — and other forms of bigotry — are alive and well. Queer people are still discriminated against at work, in their communities, and even in their families.
So, while coming out can feel freeing, it's also OK to take things slow and move at your own pace.
How can I go about telling someone?
Sometimes, it's best to start by telling someone who you're sure will be accepting, such as an open-minded family member or friend. If you'd like, you could ask them to be there with you when you tell others.
If you're not comfortable talking about it in person, you can tell them via text, phone, email, or handwritten message. Whatever you prefer.
If you want to talk to them in person but are struggling to broach the topic, perhaps start by watching an LGBTQIA+ movie or bringing up something about an openly queer celebrity. This could help you segue into the conversation.
You may find it helpful to start with something like:
"After thinking about it a lot, I've realized that I'm gay. This means I'm attracted to men."
"Since you're important to me, I want to let you know that I'm bisexual. I'd appreciate your support."
"I've figured out that I'm actually pansexual, which means I'm attracted to people of any gender."
You could end the conversation by asking for their support and directing them to a resource guide, perhaps online, if they need it.
There are many resources out there for people who want to support their queer friends and family members.
Also let them know whether you mind them sharing this news with others or not.
What should I do if it doesn't go well?
Sometimes the people you tell don't react the way you want them to.
They may ignore what you said or laugh it off as a joke. Some people might try to convince you that you're straight, or say you're just confused.
If this happens, there are a few things you can do:
Surround yourself with supportive people. Whether it's LGBTQIA+ people you've met online or in person, your friends, or accepting family members, try to spend time with them and talk to them about the situation.
Remember that you're not the one in the wrong. There's nothing wrong with you or your orientation. The only wrong thing here is the intolerance.
If you want, give them space to improve their reaction. By this, I mean that they may have realized their initial reaction was wrong. Send them a message to let them know you're willing to talk when they've had some time to process what you said.
It's not easy to deal with loved ones who don't accept your orientation, but it's important to remember that there are many people out there who love and accept you.
If you're in an unsafe situation — for example, if you were evicted from your home or if the people you live with threaten you — try to find an LGBTQIA+ shelter in your area, or arrange to stay with a supportive friend for a while.
If you're a young person in need of help, contact The Trevor Project at 866-488-7386. They provide help and support for people who are in crisis or feeling suicidal, or for people who simply need someone to talk to and vent to.
Where can I find support?
Consider joining in-person groups so you can meet people face-to-face. Join an LGBTQIA+ group at your school or college, and look for meetups for LGBTQIA+ people in your area.
You can also find support online:
Join Facebook groups, subreddits, and online forums for LGBTQIA+ people.
The Trevor Project has a number of hotlines and resources for people in need.
The Centers for Disease Control and PreventionTrusted Source has compiled resources on LGBTQIA+ health.
The Asexual Visibility and Education Network wiki site has a number of entries relating to sexuality and orientation.
There's no easy, foolproof way to figure out your orientation. It can be a difficult and emotionally tough process.
Ultimately, the only person who gets to label your identity is you. You're the only authority on your own identity. And no matter what label you choose to use — if you use any label at all — it should be respected.
Remember that there are plenty of resources, organizations, and individuals out there who are willing to support and help you. All you need to do is find them and reach out.

redpajama_set_name: RedPajamaCommonCrawl


The Kings pub on Church Street, Falmouth has defended plans to extend its opening hours on Fridays and Saturdays, after being accused of attempting to become more like a nightclub.
The pub and restaurant has had its application for a new licence approved by Cornwall Council today. It means The Kings can now stay open until 3am on Fridays and Saturdays, the same time as Club International and Mangos.
Kings had originally applied to stay open until 3.30am on Thursdays to Saturdays, with extended openings hours for Mondays as well, before amending its application after consultation with the police and environmental protection.
He went on to stress that Kings has a strong security presence and worked closely with other drinking establishments in Falmouth to prevent public nuisance.
The addition of a new late-opening venue is likely to be welcomed by students, giving us more options for places to go in town even if the pub doesn't "turn into a nightclub".


My favorite stack of fabric in my studio is, without a doubt, my hand-dyed stash. I am always inspired by the artists who wield their magic with dye pots. While a lot of this stash is solids (if you're not a Cherrywood fabric fan, you should be :)!), there are other pieces that find their way into my heart that are highly patterned. If you listen carefully, the fabric will frequently tell you what to do. See the photos above that show the progression of bringing out a tree-lined lakefront (not finished yet!) that appeared in some lovely pieces dyed by Freida Anderson.
The indigo piece simply insisted on becoming a notebook cover!
What does your fabric say to you?
This entry was posted in Uncategorized on December 24, 2015 by neonkittyquilts.


As I reflect on my current circumstances in life, I have come to understand the connection between forgiveness and expectations out of outcome. Let me explain. As a child I was sexually and physically abused by my father. Throughout my adult life, I wanted vengeance and what I believe is a 'fair outcome' for someone like my father.
Many men were brought into my life who were either predators themselves or supported or enabled predators to injure others, including children. Through these individuals, I needed to learn my life lessons. What I did learn is that forgiveness has nothing to do with forgetting our past or the events that harmed us. These lessons were meant to teach us something important about ourselves and how to love ourselves.
The most important part of forgiveness is that we give up and let go of expectations of outcome that never came into fruition for us earlier. It is this letting go of the Expectations of outcome that allows us to forgive and move on without carrying these burdens with us along our journey forward. This will give us true peace.
Unforgiveness (and hatred also) are poisons you give yourself, hoping someone else will die.
Forgiveness – Just remember, forgiveness is for the forgivER, not the forgivEN. You release YOURSELF by forgiving. And one of the beautiful things about this is that it then doesn't even matter if someone actually wronged you in some way or if you just think / feel they did.
But you don't need to say your forgiveness TO them. Remember, it's not about them, it's about you. The only way it becomes or continues to be about them has to do with how you treat them because you think they've done you wrong. If you're holding a grudge against someone, even if it's just at an energetic level, that will put a strain on your relationship if you are still around this person.
If it is you yourself who you feel needs forgiveness, then forgive yourself. Someone else's forgiveness of you is THEIR business, not yours. You can't force them to forgive you. If you did screw up with them, then just apologize and let them tend to the forgiveness.


text:
import java.util.Set;
/* Your implementation BSTMap should implement this interface. To do so,
 * append "implements Map61B<K,V>" to the end of your "public class..."
 * declaration, though you can use other formal type parameters if you'd like.
 */
public interface Map61B<K, V> {
    /** Removes all of the mappings from this map. */
    public void clear();

    /* Returns true if this map contains a mapping for the specified key. */
    public boolean containsKey(K key);

    /* Returns the value to which the specified key is mapped, or null if this
     * map contains no mapping for the key.
     */
    public V get(K key);

   /* Returns the number of key-value mappings in this map. */
    public int size();

    /* Associates the specified value with the specified key in this map. */
    public void put(K key, V value);

    /* Removes the mapping for the specified key from this map if present.
     * Not required for HW6. */
    public V remove(K key);

    /* Removes the entry for the specified key only if it is currently mapped to
     * the specified value. Not required for HW6a. */
    public V remove(K key, V value);

    /* Returns a Set view of the keys contained in this map. Not required for HW6. */
    public Set<K> keySet();
}

redpajama_set_name: RedPajamaGithub


text:
Amr Aly (en árabe: عمرو علي) (El Cairo 1 de agosto de 1962) es un exfutbolista egipcio nacionalizado estadounidense que jugó como delantero.

Con la selección estadounidense, jugó 8 partidos solamente entre 1984 y 1985, además, participó en los juegos de Los Ángeles de 1984.

Trayectoria

Enlaces externos
 Amr Aly en nasljerseys.com

Nacidos en El Cairo
Futbolistas de Egipto
Futbolistas nacionalizados en Estados Unidos
Futbolistas de Estados Unidos en los Juegos Olímpicos de Los Ángeles 1984
Futbolistas de la selección de fútbol de Estados Unidos en los años 1980

redpajama_set_name: RedPajamaWikipedia


text:
Opatija | Locations | Kvarner Film Commission
Why Kvarner
Filmed Here
Categories: Architecture, Mediterranean, Seaside
Located beneath Učka Mountain, Opatija is a true jewel of the Bay of Kvarner. The so-called "Old Lady" accommodates many elite hotels, promenades and luxurious restaurants, and thus evokes Côte d'Azur.
Photos: TZ Kvarner
Crossing Lines, season 3
"Crossing Lines" is NBC's new action-packed global crime drama. The series taps into a unit mandated by the International Criminal Court (ICC) to investigate cross-border...
During the last two years of her life, Princess Diana embarks on a final rite of passage: a secret love affair with Pakistani heart surgeon...
Ibiza: Love Drunk
Movie "Ibiza" is romantic comedy that was filmed in Croatia in mid-2017. Actors are Vanessa Bayer, Phoebe Robinson and Richard Madden. Director of this Netflix's...
Isadora (The Loves of Isadora)
The film follows the life of a well-known American ballet dancer Isadora Duncan based on her autobiography "My Life." The movie stars Hollywood actors Vanessa...
The BBC's high-budget series McMafia is a story about the globalization of organized crime in the digital world. Most London and Croatian locations were successfully...
An unusual road trip beginning in the Netherlands takes a series of unexpected turns through Germany and Eastern Europe. Scenes shot in Croatia include locations like...
Kvarner Film Commission Promotional Video
We poudly present new Kvarner Film Commission promotional video! Filmed and edited by Ivan Vranjić, with the amazing music and sound composed by JMZM, the...
The town of Rab sits on a narrow sliver of land protruding towards the mainland, bounded by ancient city walls and recognisable by four church...
Villa Ariston
Villa Ariston Hotel is surrounded by beautiful garden that descends all the way to the sea. On its stone terraces you can enjoy stunning views...
Kozala Cemetery, Rijeka
Kozala is one of the oldest cemeteries in Croatia with a very specific architecture dating back to the late 19th and early 20th century. ...
Milenij Hotel
Designed in traditional Habsbourg style. Located on an attractive location in the centre of Opatija, it has a charming view on the Kvarner bay. ...
Torpedo hall
Torpedo factory was opened in 1853. Upon the arrival of Robert Whitehead in 1874, the factory was renamed to Silurificio Whitehead, and later Robert Whitehead...
Built in the late 19th century, modernized on several occasions (the last modernisation took place after WWII), located on Milutin Barač Street, also known as...
2017-22. © Primorje-Gorski Kotar County Film Commission
Art-kino, Public Institution in Culture


text:
Q: How to prodive friend(link) recommendation in social network using mahout Does anyone know how to use the mahout library to provide friend(link) recommendations in a social network? Directed or undirected that could possibly have (only?) positive but also negative links.
Such as the ones found at Standford.

A: If I understand your question the answer is yes. I mined a bunch of "pinned people" from Pinterest and created a recommender using Mahout. It showed up some pretty interesting recs that convinced me it was working.
If you treat the action as "friending" then the data is: (user-doing-the-friending, user-friended) Use a boolean item based recommender with LLR as the similarity measure et voila.
Using negative links is tougher. The obvious thing is to filter an individual's recs by the negative links for a that user. Another might be to create "friending" recs and "hating" recs separately then filter an individual's friending recs by their hating recs.
BTW epinions data is often used as a base test set for the collaborative filtering code in Mahout.

redpajama_set_name: RedPajamaStackExchange


This antiskid floor coating system has excellent flow properties leaving a sealed surface. This selflevelling shop floor saturated with quartz is suitable for medium fork-lift truck traffic and comes out well in wet and oily conditions. And: seamless, durable, impermeable to fluids, low-maintenance and applied on site by own specialists.
Bolidtop 500 RF is a 2.7 mm thick floor finishing based on low-viscous, two component synthetic resins with little odour. The Bolidtop 500 RF which is applied in liquid form is antiskid due to the added quartz on the surface. The seamless character, the adhesion and the durability are such that medium loads such as forklift trucks and heavy pallet wagons can do their work. Bolidtop 500 RF is resistant to the most usual chemicals. A wide range of colours gives the architect many possibilities so that the floor fits into the atmosphere of the building. During hardening a permanent chemical anchoring to the surface is achieved.
Bolidtop 500 RF is resistant to the most usual loads.
Bolidtop 500 RF is resistant to the most usual chemicals and cleaning products.
No electrical properties have been specified for Bolidtop 500 RF.


Travelling to Japan has always been my dream since I was a teenager. During the school holidays, my friends would share with me their incredible travel stories and all I could do was to listen in awe. As I grew up in a lower-income family with lack of opportunity to travel, I always perceived that Japan is an expensive country to travel to and I would have to wait until I had a substantial amount of savings. Oh, how wrong was I!
This prevailing personal belief of mine delayed my Japan travel dream until last year and I totally regretted not doing this earlier! It is by far the most incredible and fulfilling vacation in my life. The whole trip only cost me a total of RM2,600 inclusive of flights and accommodations – Can you believe it? Let's do the math together!
There will be a full itinerary and costing at the end of the article. Feel free to use it for your reference.
We flew with AirAsia after a thorough price comparison from Traveloka. The return flight tickets from KL-Osaka cost us about RM950 per person, inclusive of 15kg luggage check-in and travel insurance. Our flight was at 1.00am (Malaysian time) and we arrived at Osaka at 8.20am (Japan time). We actually slept throughout the whole journey, hence, we saved the cost of accommodation for one night and we could start our adventure in Japan upon arrival!
We spent the first 2 nights in Osaka in this cozy apartment that could host all four of us for only RM125/night. If we breakdown the figure, we are only paying RM62.50/person for the entire stay. We actually did a lot of research from all available online platform as we did not want to stay in a cheap dodgy hostel but neither did we want to stay in a luxurious hotel. We booked this accommodation through Airbnb and this is the link to our accommodation if you're interested to check it out.
On the other hand, accommodation in Kyoto is surprisingly slightly more expensive. Our stay for 3 nights in this lovely hotel called RESI STAY Higashiyama Sanjo cost us RM 249/per night. As the hotel room can only accommodate 2 people, we have to get 2 rooms instead. In total, we spent RM 373.50/person for the entire stay in Kyoto. We booked this accommodation through Expedia and this is the link to our accommodation if you're interested.
The total cost that I spent on accommodation for the entire 6D5N trip adds up to RM436 and we were totally satisfied with our stay.
The transportation in Japan is amazingly convenient for us and the locals there were always helpful and polite. Although we did get lost occasionally, we still had a lot of fun discovering the hidden gems in Osaka & Kyoto. It was super easy to travel in Osaka by subway and we got a 2-days "Osaka Amazing Pass" from Klook for only RM120. Not only do we have unlimited use of the subway, tramway, and bus system within the city, the pass includes entrance fees to 30 Osaka tourist sites.
In Kyoto, we learnt from the locals there that we could get a 1-day city bus pass for a flat rate of 500 yen (RM18.50) which can be easily bought in all convenient stores. We only bought the pass for 2 days as we mostly travelled by train on one of the days.
We rented a portable 4G Wi-Fi from Klook for RM19/day which we picked up at the Osaka airport upon arrival. We shared among 4 of us, hence, that would be RM28.50/person for 6 days rental. The Wi-Fi came in very handy because we depended a lot on Google Maps for detailed directions whether we were travelling by foot, bus or train – even the stations to get off to get to our destinations! Although both our accommodations provided us free portable Wi-Fi, I would still suggest you to rent one as you'll need it when switching hotels.
The train ride from the airport to Tengachaya station cost us RM34 before we switched to the subway line to get to our apartment. As we were starving, we stopped by an Udon Stall in Tengachaya station for a bowl of udon (RM11) and I swear it was the best udon ever! Just look out for this restaurant in the photo below if you are at the station.
After checking in to our apartment, we visited the famous Osaka Castle for a stroll and then proceeded to explore Kuromon Market. We bought some street food in the market (RM10) and then headed to the famous Shinsaibaishi. We had our dinner at Ichiran Ramen in Dotonbori (RM33) as it was highly recommended by our friend. The taste was heavenly! After dinner, we explored the area and of course, snacked on street food along the way (RM12).
We were curious as to why our friends love having breakfast at the convenience stores in Japan, so we decided to try! I had my favourite "Onigiri" and a cup of latte (RM10) before heading to Osaka Aquarium Kaiyukan. We had to pay an additional RM84 for the entrance fees as the aquarium was not covered under the "Osaka Amazing Pass".
We had sushi and sukiyaki for lunch (RM25) at Tempozan Market which is just next to the aquarium. Basically, you can just walk into ANY restaurants in Japan and come out delightfully satisfied. I'm not kidding, even the food in the convenience stores are delicious.
After lunch, we explored the Tempozan Ferris Wheel, Umeda Sky Building and the Floating Garden Observatory with some street food (RM10) along the way. After a fulfilling day, we indulged in more good food in a random restaurant in Shinsekai (RM53). It was slightly pricey because we ordered plum wine to go with our food. We headed to the bar to chill (RM12) before taking the cab back to the apartment (RM5).
We had breakfast at a bakery cafe nearby our apartment (RM10) before heading to Kyoto by train. The train ride (Keihan Line) cost us RM15/person. After checking in to our hotel, we then explored the Fushimi Inari Taisha shrine. We had to get there by train (RM15 for both ways) and we spent most of the day just strolling around the area. The lunch and street food we had there cost us around RM30.
We returned to GION for dinner at Izuju Sushi which was recommended by our Japanese friend. This hidden gem is the local's favourite and they serve really authentic and flavorful sushi (RM42). As Kyoto usually closes their shop very early, we had to head back to the hotel after a quick stroll around GION. We took the cab (RM5) as we were exhausted from too much walking that day.
We had breakfast (RM10) at the convenience store again! When you're at Japan, do go to Lawson as they serve better food than Family Mart. We walked a good 15 minutes to a kimono rental shop "Mission Gion" that we found on google map for a makeover! Although it cost us RM220/person to rent a kimono for a day, the experience was meaningful and memorable. Note: If you plan to rent a kimono, do get it from a shop near your hotel so that you can return it at the end of the day.
We travelled to Arashiyama district in our kimonos by train (RM16 for both ways) and we basically spent our whole day there, exploring the district and just snapping away on our cameras. Our lunch at a random restaurant which serves really good "Donburi" cost me RM26.
After returning our kimonos, we were craving for hotpot but we accidentally walked into a Korean bbq restaurant (RM40). It was definitely an accidental discovery for the best Korean bbq ever! It actually tastes better than the ones I had in Korea, or maybe I'm just bias towards Japan. The restaurant is called Vege-Teji located in GION. After dinner, we bought some plum wine to chill at the hotel (RM10).
As we wanted to visit Kyoto's Nishiki fish market, we might as well have our breakfast there (RM20). We travelled around with bus to explore Kinkakuji temple (RM15) and after lunch (RM20), we experienced the Japanese traditional tea ceremony! We had to pay RM74 and it was definitely worthwhile! The experience was truly surreal and we get to taste Japan's authentic green tea.
We then explored Kiyumizu-dera temple and stroll along the old streets at the area, Higashiyama district. The "ancient city" was truly breathtaking and it was definitely one of our favorite highlight of the trip. If you're lucky, you will also get to spot Geishas in this district. We were so captured by the view that we had late dinner and we finally satisfied our hotpot craving at this amazing restaurant in an alleyway at GION (RM56) before taking the cab back to our hotel (RM5).
On the last day, we spent RM15 to travel back to Osaka after having breakfast at Family Mart (RM6). We stopped by Shinsaibashi for souvenir shopping (RM50) before heading to the airport (RM34). Our lunch at the airport cost me RM30 and that's the end of our amazing Japan trip!
Here is our full itinerary with the costing for your reference!
Japan is truly a beautiful country to travel to. If you haven't been to Japan before, do visit Osaka and Kyoto as your first destination! Do check out our article on 6 Ways to Better Manage Your Spending as well to prevent yourself from going on a massive shopping spree in Japan!
If you have any questions or comment, feel free to drop us a note. Do subscribe to our site for free weekly money tips and occasional mystery gifts!
Wow!! Never knew a Japan trip is so affordable. Gives me a new aim for my holiday next year. ;P I just started working so pay is not high. Thank you so much for this article. Looking forward to other travel tips from you, June.


A special blog post about one special lady who works at APH and was also one of the original writers for Fred's Head. The article is so good, I had to share it with you! Originally posted on the Faith Filled Mom blog by Lori Hadorn.
Fingertips, the palms of our hands, shapes, and textures are some things we sighted people take for granted. My daughter's 4th grade class visited The American Printing House for the Blind for a field trip last week. The 4th grade is learning about disabilities and blindness is one of those. The children were able to touch the different learning tools for the blind. They were taught how to use a Braille writer to type their names. We were shown many different inventions to help the blind be more mainstreamed giving them the ability to live more independently.
One of the women who work at APH is Maria Delgado. Maria is so very special to our school. She is blind and has visited our school for the past 4 years to share her story with our 4th graders. She is an inspiration to us all. She has been blind since she was a young adult and she lives on her own with her service dog Corbin. I love the time I spend with her. I volunteer to drive her to our school to talk and back to her work place after she is finished. She always brings cool gadgets with her to show the kids; like the one that reads colors with a push of a button. She tells the story of how she lost her vision and how she gets around. She lets the kids ask anything they want to ask. She is so very kind and caring. She travels for her job on planes, in taxis etc. She has no fear, she just goes. She has such a love for children and an amazing amount of compassion for others.
In order for the children to experience a little bit of what it is like to be disabled I set up a disability workshop. The kids worked at different stations one of which was for the blind. They were blindfolded and had to trust another person to lead them outside the building and back into the room, sounds easy right? A student guided me and it was a powerless feeling. I had to totally rely on this child, that she would not run me into something or into the parking lot. I could feel the heat on my face and as we re- entered the building the noise level was so high I could not tell which direction I was walking. Maria has told the 4th graders how much trust a blind person has to have in those who guide them through the grocery stores, to buy clothes, to get their hair done etc.
I thank God for Maria and her love for others. Because of her, all the 4th graders from our school know a little bit more about this disability and the fact that it does not disable everyone. Maria is more than just a functioning adult she is a thriving, beautiful, inspirational woman whom none of them are soon to forget. My prayer is the field trip, the disability workshop and the visit from Maria will help our children to appreciate our fingertips, the palms of our hands, shapes textures and the triumph of human will over all disabilities.


text:
Column: Accessible GP Appointments
Stephanie calls for more accessible GP appointments in her column in the Barnsley Chronicle
We need accessible GP appointments. We need to reduce waiting times. We need to tackle the backlog in cancer care.
But under this Government things are getting worse, not better.
My column for the Chronicle last week:
I have been contacted recently by a number of constituents struggling to get an appointment with their GP.
Some have told me they tried calling their surgery over 100 times without being able to get through. Others have reported waiting over 6 months to gain a face-to-face appointment.
For those that work regular hours from 8am Monday to Friday, I have also been told that it is impossible to even call for an appointment in the first place, with lines closed for appointments by lunch time.
Last week, I wrote to the Health Secretary to express my concern about this. I have also raised the matter in Parliament.
As winter begins once again, it is clear that our NHS is under a huge amount of pressure.
Since the pandemic, the NHS has redirected resources away from its usual services in order to make staff and beds available for treating COVID-19 patients.
As a result, many have had to wait longer than usual to receive the care they need.
Barnsley CCG have said there is currently a huge gap between the unprecedented levels of demand for GP services and available capacity in GP practices both in Barnsley and nationally.
However, even before COVID-19, waiting times were increasing.
Without sufficient funding and staff, doctors and nurses in Barnsley were working hard to meet increasing demand but were not given the support they needed to meet it.
Now, a new report from the National Audit Office has warned that the number of people waiting for care could double by March 2025.
Whilst Labour have committed to properly staffing our health service to bring down waiting lists, the Government have failed to outline any plan for getting waiting lists down, increasing access to GP appointments, or speeding up treatments such as cancer care.
I understand the Omicron Variant will also be causing many of you concern.
Another wave of COVID-19 will only put further pressure on our NHS staff who are already going above and beyond to care for as many people as possible.
For now, our best protection against it is to come forward for our booster vaccinations as soon as we are eligible.
Barnsley has seen nearly 50,000 cases of COVID-19 since the pandemic began, and we must do our best to protect ourselves from any further tragic loss of life.
Last month, Barnsley was one of the first places in the country to a reveal a COVID-19 memorial.
I was proud to be at the unveiling to commemorate the near 1,000 lives lost to the pandemic in our town and pay tribute to the amazing key workers who kept our health system afloat during such a challenging time.
If you are experiencing any COVID related symptoms, no matter how mild, please do continue to get tested. Let's keep ourselves and our loved ones as safe as possible over the festive period.
We owe it to the NHS doctors, nurses, and key workers in Barnsley who work extremely hard in difficult circumstances to look after us when we need it most.